1
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.

I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.

My tongue, every atom of my blood, form’d from this soil, this air,
Born here of parents born here from parents the same, and their
parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.

Creeds and schools in abeyance,
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.

2
Houses and rooms are full of perfumes, the shelves are crowded with
perfumes,
I breathe the fragrance myself and know it and like it,
The distillation would intoxicate me also, but I shall not let it.

The atmosphere is not a perfume, it has no taste of the
distillation, it is odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised and naked,
I am mad for it to be in contact with me.

The smoke of my own breath,
Echoes, ripples, buzz’d whispers, love-root, silk-thread, crotch and
vine,
My respiration and inspiration, the beating of my heart, the passing
of blood and air through my lungs,
The sniff of green leaves and dry leaves, and of the shore and
dark-color’d sea-rocks, and of hay in the barn,

The sound of the belch’d words of my voice loos’d to the eddies of
the wind,
A few light kisses, a few embraces, a reaching around of arms,
The play of shine and shade on the trees as the supple boughs wag,
The delight alone or in the rush of the streets, or along the fields
and hill-sides,
The feeling of health, the full-noon trill, the song of me rising
from bed and meeting the sun.

Have you reckon’d a thousand acres much? have you reckon’d the
earth much?
Have you practis’d so long to learn to read?
Have you felt so proud to get at the meaning of poems?

Stop this day and night with me and you shall possess the origin of
all poems,
You shall possess the good of the earth and sun, (there are millions
of suns left,)
You shall no longer take things at second or third hand, nor look
through the eyes of the dead, nor feed on the spectres in
books,
You shall not look through my eyes either, nor take things from me,
You shall listen to all sides and filter them from your self.

3
I have heard what the talkers were talking, the talk of the
beginning and the end,
But I do not talk of the beginning or the end.

There was never any more inception than there is now,
Nor any more youth or age than there is now,
And will never be any more perfection than there is now,
Nor any more heaven or hell than there is now.

Urge and urge and urge,
Always the procreant urge of the world.

Out of the dimness opposite equals advance, always substance and
increase, always ***,
Always a knit of identity, always distinction, always a breed of
life.
To elaborate is no avail, learn’d and unlearn’d feel that it is so.

Sure as the most certain sure, plumb in the uprights, well
entretied, braced in the beams,
Stout as a horse, affectionate, haughty, electrical,
I and this mystery here we stand.

Clear and sweet is my soul, and clear and sweet is all that is not
my soul.

Lack one lacks both, and the unseen is proved by the seen,
Till that becomes unseen and receives proof in its turn.

Showing the best and dividing it from the worst age vexes age,
Knowing the perfect fitness and equanimity of things, while they
discuss I am silent, and go bathe and admire myself.

Welcome is every ***** and attribute of me, and of any man hearty
and clean,
Not an inch nor a particle of an inch is vile, and none shall be
less familiar than the rest.

I am satisfied - I see, dance, laugh, sing;
As the hugging and loving bed-fellow sleeps at my side through the
night, and withdraws at the peep of the day with stealthy
tread,
Leaving me baskets cover’d with white towels swelling the house with
their plenty,
Shall I postpone my acceptation and realization and scream at my
eyes,
That they turn from gazing after and down the road,
And forthwith cipher and show me to a cent,
Exactly the value of one and exactly the value of two, and which is
ahead?

4
Trippers and askers surround me,
People I meet, the effect upon me of my early life or the ward and
city I live in, or the nation,
The latest dates, discoveries, inventions, societies, authors old
and new,
My dinner, dress, associates, looks, compliments, dues,
The real or fancied indifference of some man or woman I love,
The sickness of one of my folks or of myself, or ill-doing or loss
or lack of money, or depressions or exaltations,
Battles, the horrors of fratricidal war, the fever of doubtful news,
the fitful events;
These come to me days and nights and go from me again,
But they are not the Me myself.

Apart from the pulling and hauling stands what I am,
Stands amused, complacent, compassionating, idle, unitary,
Looks down, is *****, or bends an arm on an impalpable certain rest,
Looking with side-curved head curious what will come next,
Both in and out of the game and watching and wondering at it.

Backward I see in my own days where I sweated through fog with
linguists and contenders,
I have no mockings or arguments, I witness and wait.

5
I believe in you my soul, the other I am must not abase itself to
you,
And you must not be abased to the other.

Loafe with me on the grass, loose the stop from your throat,
Not words, not music or rhyme I want, not custom or lecture, not
even the best,
Only the lull I like, the hum of your valved voice.

I mind how once we lay such a transparent summer morning,
How you settled your head athwart my hips and gently turn’d over
upon me,
And parted the shirt from my *****-bone, and plunged your tongue
to my bare-stript heart,
And reach’d till you felt my beard, and reach’d till you held my
feet.

Swiftly arose and spread around me the peace and knowledge that pass
all the argument of the earth,
And I know that the hand of God is the promise of my own,
And I know that the spirit of God is the brother of my own,
And that all the men ever born are also my brothers, and the women
my sisters and lovers,
And that a kelson of the creation is love,
And limitless are leaves stiff or drooping in the fields,
And brown ants in the little wells beneath them,
And mossy scabs of the worm fence, heap’d stones, elder, mullein and
poke-****.

6
A child said What is the grass? fetching it to me with full hands;
How could I answer the child? I do not know what it is any more
than he.

I guess it must be the flag of my disposition, out of hopeful green
stuff woven.

Or I guess it is the handkerchief of the Lord,
A scented gift and remembrancer designedly dropt,
Bearing the owner’s name someway in the corners, that we may see
and remark, and say Whose?

Or I guess the grass is itself a child, the produced babe of the
vegetation.

Or I guess it is a uniform hieroglyphic,
And it means, Sprouting alike in broad zones and narrow zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I
receive them the same.

And now it seems to me the beautiful uncut hair of graves.

Tenderly will I use you curling grass,
It may be you transpire from the ******* of young men,
It may be if I had known them I would have loved them,
It may be you are from old people, or from offspring taken soon out
of their mothers’ laps,
And here you are the mothers’ laps.

This grass is very dark to be from the white heads of old mothers,
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.

O I perceive after all so many uttering tongues,
And I perceive they do not come from the roofs of mouths for
nothing.

I wish I could translate the hints about the dead young men and
women,
And the hints about old men and mothers, and the offspring taken
soon out of their laps.

What do you think has become of the young and old men?
And what do you think has become of the women and children?

They are alive and well somewhere,
The smallest sprout shows there is really no death,
And if ever there was it led forward life, and does not wait at the
end to arrest it,
And ceas’d the moment life appear’d.

All goes onward and outward, nothing collapses,
And to die is different from what any one supposed, and luckier.

7
Has any one supposed it lucky to be born?
I hasten to inform him or her it is just as lucky to die, and I know
it.

I pass death with the dying and birth with the new-wash’d babe, and
am not contain’d between my hat and boots,
And peruse manifold objects, no two alike and every one good,
The earth good and the stars good, and their adjuncts all good.

I am not an earth nor an adjunct of an earth,
I am the mate and companion of people, all just as immortal and
fathomless as myself,
(They do not know how immortal, but I know.)

Every kind for itself and its own, for me mine male and female,
For me those that have been boys and that love women,
For me the man that is proud and feels how it stings to be slighted,
For me the sweet-heart and the old maid, for me mothers and the
mothers of mothers,
For me lips that have smiled, eyes that have shed tears,
For me children and the begetters of children.

Undrape! you are not guilty to me, nor stale nor discarded,
I see through the broadcloth and gingham whether or no,
And am around, tenacious, acquisitive, tireless, and cannot be
shaken away.

8
The little one sleeps in its cradle,
I lift the gauze and look a long time, and silently brush away flies
with my hand.

The youngster and the red-faced girl turn aside up the bushy hill,
I peeringly view them from the top.

The suicide sprawls on the ****** floor of the bedroom,
I witness the corpse with its dabbled hair, I note where the pistol
has fallen.

The blab of the pave, tires of carts, sluff of boot-soles, talk of
the promenaders,
The heavy omnibus, the driver with his interrogating thumb, the
clank of the shod horses on the granite floor,
The snow-sleighs, clinking, shouted jokes, pelts of snow-*****,
The hurrahs for popular favorites, the fury of rous’d mobs,
The flap of the curtain’d litter, a sick man inside borne to the
hospital,
The meeting of enemies, the sudden oath, the blows and fall,
The excited crowd, the policeman with his star quickly working his
passage to the centre of the crowd,
The impassive stones that receive and return so many echoes,
What groans of over-fed or half-starv’d who fall sunstruck or in
fits,
What exclamations of women taken suddenly who hurry home and
give birth to babes,
What living and buried speech is always vibrating here, what howls
restrain’d by decorum,
Arrests of criminals, slights, adulterous offers made, acceptances,
rejections with convex lips,
I mind them or the show or resonance of them-I come and I depart.

9
The big doors of the country barn stand open and ready,
The dried grass of the harvest-time loads the slow-drawn wagon,
The clear light plays on the brown gray and green intertinged,
The armfuls are pack’d to the sagging mow.

I am there, I help, I came stretch’d atop of the load,
I felt its soft jolts, one leg reclined on the other,
I jump from the cross-beams and seize the clover and timothy,
And roll head over heels and tangle my hair full of wisps.

10
Alone far in the wilds and mountains I hunt,
Wandering amazed at my own lightness and glee,
In the late afternoon choosing a safe spot to pass the night,
Kindling a fire and broiling the fresh-****’d game,
Falling asleep on the gather’d leaves with my dog and gun by my
side.

The Yankee clipper is under her sky-sails, she cuts the sparkle
and scud,
My eyes settle the land, I bend at her prow or shout joyously from
the deck.

The boatmen and clam-diggers arose early and stopt for me,
I tuck’d my trowser-ends in my boots and went and had a good time;
You should have been with us that day round the chowder-kettle.

I saw the marriage of the trapper in the open air in the far west,
the bride was a red girl,
Her father and his friends sat near cross-legged and dumbly smoking,
they had moccasins to their feet and large thick blankets
hanging from their shoulders,
On a bank lounged the trapper, he was drest mostly in skins, his
luxuriant beard and curls protected his neck, he held his bride
by the hand,
She had long eyelashes, her head was bare, her coarse straight locks
descended upon her voluptuous limbs and reach’d to her
feet.

The runaway slave came to my house and stopt outside,
I heard his motions crackling the twigs of the woodpile,
Through the swung half-door of the kitchen I saw him limpsy and
weak,
And went where he sat on a log and led him in and assured him,
And brought water and fill’d a tub for his sweated body and bruis’d
feet,
And gave him a room that enter’d from my own, and gave him some
coarse clean clothes,
And remember perfectly well his revolving eyes and his awkwardness,
And remember putting piasters on the galls of his neck and ankles;
He staid with me a week before he was recuperated and pass’d north,
I had him sit next me at table, my fire-lock lean’d in the corner.

11
Twenty-eight young men bathe by the shore,
Twenty-eight young men and all so friendly;
Twenty-eight years of womanly life and all so lonesome.

She owns the fine house by the rise of the bank,
She hides handsome and richly drest aft the blinds of the window.

Which of the young men does she like the best?
Ah the homeliest of them is beautiful to her.

Where are you off to, lady? for I see you,
You splash in the water there, yet stay stock still in your room.

Dancing and laughing along the beach came the twenty-ninth
bather,
The rest did not see her, but she saw them and loved them.

The beards of the young men glisten’d with wet, it ran from their
long hair,
Little streams pass’d all over their bodies.

An unseen hand also pass’d over their bodies,
It descended tremblingly from their temples and ribs.

The young men float on their backs, their white bellies bulge to the
sun, they do not ask who seizes fast to them,
They do not know who puffs and declines with pendant and bending
arch,
They do not think whom they ***** with spray.

12
The butcher-boy puts off his killing-clothes, or sharpens his knife
at the stall in the market,
I loiter enjoying his repartee and his shuffle and break-down.

Blacksmiths with grimed and hairy chests environ the anvil,
Each has his main-sledge, they are all out, there is a great heat in
the fire.

From the cinder-strew’d threshold I follow their movements,
The lithe sheer of their waists plays even with their massive arms,
Overhand the hammers swing, overhand so slow, overhand so sure,
They do not hasten, each man hits in his place.

13
The ***** holds firmly the reins of his four horses, the block swags
underneath on its tied-over chain,
The ***** that drives the long dray of the stone-yard, steady and
tall he stands pois’d on one leg on the string-piece,
His blue shirt exposes his ample neck and breast and loosens over
his hip-band,
His glance is calm and commanding, he tosses the slouch of his hat
away from his forehead,
The sun falls on his crispy hair and mustache, falls on the black of
his polish’d and perfect limbs.

I behold the picturesque giant and love him, and I do not stop
there,
I go with the team also.

In me the caresser of life wherever moving, backward as well as
forward sluing,
To niches aside and junior bending, not a person or object missing,
Absorbing all to myself and for this song.

Oxen that rattle the yoke and chain or halt in the leafy shade, what
is that you express in your eyes?
It seems to me more than all the print I have read in my life.

My tread scares the wood-drake and wood-duck on my distant and
day-long ramble,
They rise together, they slowly circle around.

I believe in those wing’d purposes,
And acknowledge red, yellow, white, playing within me,
And consider green and violet and the tufted crown i

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

We are all human beings
We all have our own lives
And different ways we live them
But each one of us is a writer
And this poem is for all of you

All of you who have virtues and use them in your writing
Those who use flashbacks and revisit mental photo albums

Beginning the story from the middle for that’s usually where you mind is at
Looking back then looking forward
Studying the past so you can be ready for what is to come

Recording catastrophes with a number two pencil

Tales and blurbs of tragedy
Caused by love or the lack there of

Rewards and punishment
Self-reliance and self-fulfillment

We are mere narrators
Humble, maybe unreliable
Equipped with numerous devices
Ironic Paradoxes
Red herrings
Fortuitous plot twists
Metaphors
Allegoric hyperboles
Analogies
Oxymorons and onomatopoeias

We sling Chekhov’s gun like bandits of literacy

We’re visionary revolutionaries
Revolution of the mind, body and soul

Changing ourselves and examining who and what we are
To become what we are destined to be
The best

Rejecting convention
Building our own paths
That lead to cliffhangers

Romantic lust
Comedic affairs
Dark massacres
Spiritual healing

Religious speculation
And the questioning of the way we, the people are being governed

We use the tools we are giving to sculpt new art that the world can stand in awe of

Personification
Symbolic imagery

Practicing pastiche with respect
Dionysian imitatio

Surreal reality
Defying mortality

Reiteration and retort

Using nature to express emotion and thought

Doubts and fear

Opposites
Morals and ethics

Satisfying curiosity

Parodying what we see
Embellishing just a little

We us word play to dive deep into the topic of conscious, subconscious and unconscious thought

Using satire to poke fun at the human condition,  its senses and perception of the universe to get readers thinking

Expressing our anger, our boundless joys
Desiring unknown pleasures

Seeing past the fallacies put before us

We write with great candor about war, personal conflicts, and self-abuse

With hinting undertones to give these ideas a second thought

We write of the supernatural, metaphysical mysteries
Outlandish, obscure mind boggling theories

As the clock ticks too fast for us and the characters we’ve created

Demolishing the fourth wall with a sledge hammer of defamiliarization

Epiphanies in a parking lot
Speaking in the 1st, 2nd or 3rd person

Using fun things like anagrams and palindromes
Candy for the lovers of such things

Spontaneity is an understatement
Nonsense is an insulting overstatement
Absurdity seems to fit just right

We are chameleons
We can write in various forms
Streams of gratifying consciousness
Brilliant prose
Beautiful poetry

And chose to use or merely acknowledge the ways to achieve these forms
Rhetoric, rhythm  and rhyme
Meter and mora
Conceit and consonance
Assonance
Intonation
Working with phonaesthetics  

And accenting aesthetics

A poem can or could not be organized as such
If we want to get technical about it

We have a poem
With a number of verses
And in those verses
Are lines
And those lines might rhyme
And have a meter or rhythm
Stressed or unstressed syllables

In contrast to that we may write
Without all of that and use emotion
Feeling and structure our work with what we feel is the best way
Line breaks
Pauses and puns
Silly similes
Ambiguous antonyms  
Intonation, linguistics
Fight against the fascists of grammar and conservative correctness

So, in the end we are writers of a rainbow kaleidoscope forms, devices, ways and ideas

But we alone are the ones who make the world think
Make it move
Revolt
Renew
Learn
Look back
Remember
Cry
Smile
Forget
Ease

Write my friends write until your mind explodes and your fingers bleed

Read, read and become inspired
Even if what you’re reading is bad cheese

Forget getting published it’s the writing that matters
Disregard the off-putting, critical chatter

And if you think no one reads
Than be the seed and sprout a tree of astounding artistry
And let’s begin a new movement composed of ideals that will hold true forever
I might be preaching to the choir but it must be said that poetry; literature isn’t dead

Noon; I swear by what the angels write,
When I met you the world bloomed in me, with flowers far and wide
Ahh of all times you have chosen winter to come
Its so cold here that I cant even feel my thumb
The snow falls into a pretty pile
Lets go and sledge, then drink a hot chocolate after a while
But in reality, I am sitting here on my chair
Trying to write new poems, ideas are quite rare
With pen in hand I will try my best
And see this as some kind of  a test
Until I may or may not run out of ink
Until I may am not able to think
And until I just want to sink into my bed
Ah my pen, you are so pretty, you're elegant and sweet
Documenting stuff with you is really so neat
Please pen write on


~ Umi

“Even the streets leading up to its outer barriers were roamed by gorilla-faced guards in black uniforms, armed with jointed truncheons.”
                                                    ­ George Orwell, 1984* (published in 1949)

Which brings us, of course, to the subject of torture since 1949.
Come with me to the Casbah, Babaloo.
We begin in the 1950s with the French in North Africa,
****** baguettes in Algeria,
Couilles frits, anyone?
Electrodes wired to Mustapha’s *****.
And "Bigeard's Shrimps,” as the bodies were called,
Dumped over the Mediterranean from aircraft,
All things considered a je ne sais quoi,
Though Camus and Sartre gave it a whack.

Then the 1960s: the CIA dabbling in mind-control and LSD.
Later, a Phoenix Program,
Very secretive, sympathies with the Cong required,
Various elders selected,
The village disinfected,
**, **, ** and a bowl of Pho.

Apartheid anyone?
Thirty years of South African terror & torture.
Torment in the townships,
Shaka Zulu gold and diamonds,
De Beers in Swaziland swing.

1971: riots at Attica,
Prisoners abused and tortured,
Rockefeller’s overcrowded slammer,
An upstate New York katzenjammer,
Nelson’s finger on the trigger,
39 dead and counting,
But who’s counting?

The CIA, back in the news in 1973,
Torture chambers under Chilean soccer stadiums,
And the Khmer Rouge:
Those Wacky Cambodians with skull racks.  
And let us not forget the British,
With centuries of colonial experience behind them,
Occupy six counties in Northern Ireland.
Finally codify the imperial process,
The Five Techniques:
Sounds like a Motown group,
Satin smooth colored boys,
But more method than music:
(1) Wall-standing,
(2) Hooding,
(3) Subjection to noise,
(4) Sleep deprivation,
(5) No food and drink.

And there’s a bunch of horrible ****,
We still don’t know about the Argentine ***** War,
And other Mai Lai-like,
****-fest massacres in Vietnam.

How about torture since 1984?
Abu Ghraib and Guantanamo,
Come quickly,
(www.prematureejaculatorsanonymous.com)
To mind,
As do US-sponsored rendition facilities,
Spread throughout the NATO alliance.
And closer to home, it’s never a dull moment in the 5 Boroughs:
Brooklyn, Queens, Staten Island, The Bronx and Manhattan.
Take your pick from Giuliani’s Greatest Hits,
Rudy Kazootie’s campaign of law and order,
Not necessarily in that order.
More awful than lawful,
A bathroom plunger rammed up,
The Haitian voodoo ****** of Abner Louima,
While he be handcuffed at a Brooklyn station house.
Or, the NYPD partying like it was 1999.
When in fact, it was1999,
And a curious death it was for Amadou Diallo,
Would-be American citizen from The Republic of Guinea,
(No connection to Italy or Italians),
Abner & Amadou: a pair of cautionary tales,
Either/or reflecting standard procedure for the Po-Po,
Time and time again from coast to coast.
Either/or: poor Abner, no Haitian Papa Doc.
Poor Amadou, on his way home from night school,
When police squeeze off 41 rounds,
Most of them in his direction,
Hitting him 19 times.
Just the facts, ma’am:
Diallo had reached into his jacket.
A trigger-happy police officer yells “Gun.”
A jungle warfare quartet springs into action:
Shenzi, Banzai, Ed & Zazu,
Four equally trigger-happy colleagues,
Empty their weapons.
No gun was found on Diallo,
Only the wallet he tried to pull out,
Containing his Green Card,
4 U.S. dollar bills;
And a laminated,
Credit card-sized copy of the U.S. Bill of Rights.
(I just didn’t know when to quit, did I?
The wallet was there with Green Card and the bucks,
But I made up the part about the Bill of Rights,
Trying to add poetry to tragedy, as usual.)

I don’t have to say much about Rodney King (RIP).
You watched it on TV a hundred times,
And a picture’s worth a thousand words.
Or ten thousand or a million, I suppose.
“Can’t we all just get along?” asked Rodney Glen King.

Last but not least there’s Kelly Thomas (RIP),
Another incidence of police insanity,
It was July of 2011 in Fullerton, California.
Thomas, a 37-year-old homeless man,
Schizophrenic, but unarmed,
Beaten to death at a bus depot,
During an altercation with six Fullerton police officers.
Read more: http://www.dailymail.co.uk/news/article-2019225/Kelly-Thomas-Poli­­ce-beat-taser-gentle-mentally-ill-homeless-man­-death.html#ixzz1e­3­4QnHtr

Mervyn Lazarus | Attorney | (www.mervlazarus.com) Police Brutality, Excessive Force and Jail Injury cases | California . . . Albuquerque

Jackie Chiles perfect attorney -YouTube, (www.youtube.com/watch?v=jpcEietIoxk) Nov 17, 2010 - 13 min - Uploaded by Kroeger22 All the scenes with Jackie Chiles from Seinfeld."Chiles is a parody of famed attorney Johnnie Cochran; both ... www.seinfeld.com

Perhaps the greatest torture of all,
Is that which artists subject us to.
Let us examine the case of Roberto Bolaño:
Roberto Bolaño, the great Chilean writer,
Tells a fabulous World War II story,
About a Spaniard--an Andalusian--
Fighting for the Germans against the Russians.
Captured by the Russians,
He is tortured for information.
The Spaniard speaks no Russian,
He knows only four words of German.
The Russian interrogators strap him into a chair,
Attach electrodes to his *****,
Attach pincers to his tongue.
The pain makes his eyes water.
He said--or rather shouts--the word coño.
It is Spanish for ****.
The pincers in his mouth,
Distort the expletive,
Which in his howling voice comes out as KUNST.
The Russian who knows German looks at him in puzzlement.
The Andalusian was yelling KUNST,
Yelling KUNST and crying in pain.
KUNST in German means art,
And that was what the bilingual Russian heard, KUNST.
“This ******* must be an artist or something.”
The torturers remove the pincers,
Along with a little piece of tongue,
And wait, momentarily hypnotized by the revelation:
The word ART had soothed the savage beasts.
So soothed, the savage beasts take a breather,
Waiting for some kind of signal.
Meanwhile, the Andalusian bleeds from the mouth,
Swallows his blood liberally mixed with saliva, and chokes.
The word coño,
Transformed into the word *KUNST,
Had saved his life.
It was dusk when he came out of the building.
Light stabbed at his eyes like midday sun.

So, it’s a fact that I love,
Truly love the simple blunt Anglo-Saxon expletive ****,
****: I pray that while I am being tortured some day,
I have the dignity to scream the word out loud.
And if I am screaming **** at the very end,
When my nervous system finally fails,
When I **** my pants,
When my pulmonic heart and lungs collapse,
Is that so bad?
Is that so wrong?

Do you realize that 1984 came--
Came and went, without any significant cultural hoopla?
The networks ignored it.
As did the cable pundits.
No significant comparative analysis between,
Orwell’s book 1984 and the year 1984,
Was broadcast electronically or publicized in print.
Steve Jobs got it, but as usual no one else did.
Mr. Jobs (RIP) did his best,
To mainstream its profound cultural relevance,
But ultimately failed,
Despite the $1.5 million he paid one of the networks,
To air a one minute nation-wide commercial,
During the 3rd Quarter,
Of Super Bowl XVIII,
January 22, 1984.
Despite Ridley Scott’s astonishing spell-binder,
His 60-second spot for The Macintosh 128K--
Still considered a watershed event,
And an advertising industry masterpiece,
…YouTube it and watch it.  (www.youtube.com/watch?v=Z8ji0B98IMo).
See the hammer throwing athlete chick,
See her fling the sledge,
That huge sledgehammer,
Smash into Big Brother’s flat screen face.
Despite Jobs’ global presence,
Despite Steverino’s unfettered microphone access,
Whenever he felt an oraculation coming on,
Despite everything,
He was unable to move the powers that be,
To either hype the book or the prophecy come true.

So, what’s my point? I have two.
First, in April 1984 the estate of George Orwell,
And the television rights holder to the novel 1984,
Considered the edgy Jobs/Scott commercial to be,
A flagrant copyright infringement,
Sending a cease-and-desist letter to Apple Inc.
And the advertising agency that produced the spot: Chiat/Day Inc.
The commercial was never televised as a commercial after that.  
Score: Lawyers 1, Artists 0.

My second point is that in November 2011,
The U.S. government argued before the U. S. Supreme Court,
That it wants to continue utilizing GPS tracking of individuals,
Without first seeking a warrant.
In response, Justice Stephen Breyer (one of the sane ones),
Questioned what this means for a democratic society.
Referencing Nineteen Eighty-Four, Justice Breyer asked:
"If you win this case, then there is nothing,
To prevent the police or the government from monitoring 24/7,
The public movement of every citizen of the United States.
So if you win, you suddenly produce what sounds like 1984 . . .”*

My third point,
(Yeah, I know I said two, but *******.)
My third point is that I’m just so ******* angry,
All the time, late and soon like Wordsworth,
(Was anyone more aptly named?)
I am angry about so many different things,
And every day that goes by I relate more and more,
To the thousands of Americans that occupied,
Zuccotti Park and Oakland,
And countless other venues,
Out into the streets.
Across the country.
Around the world.  
I am humbled by their courage and perseverance.
Yet, I am afraid for them.
I am made paranoid by the scope and power,
Of the government,
Of the ruling class that controls it,
And the technology they allow us to embrace,
Technology’s sinister potential,
Now that more and more knowledge and information,
Has been digitized,
Existing only in cyberspace.                                                      ­                                                 
What frightens most is the realization,
That anyone with a word processor,
And access to the database could rewrite,
Any historical or legal document,
To fit the needs of a current agenda.
The scary part is—
Repeating myself for emphasis—
That anyone with a word processor
And access to the database could rewrite,
Any historical or legal document,
To fit the needs of a current agenda.

Does anyone out there give a ****?
Does anyone out there share my nightmare?
Do it to Julia.
Do it to Julia.

Look outside and watch the snow
If you see it falling then just go!
Have some fun in those pure white fields

Make an angel out of snow or even an entire man
And enjoy the winter as long as you can

You could also simply just go and sledge, if you find a hill
Surely that could give you a nice little thrill

Or enjoy the cold, cuddling your lover
A chocolate milk and a blanket would be a nice cover

Or you could write
Under an starlit night
Full of wonder and delight
Amazed by this season and its might


~ Umi

I've seen the look of presidents who know they are wrong
but still believe in charisma over honesty.
We want to be charmed apparently.
That or somebody has a gun pointed to his wife’s head.
Would you **** for a loved one?
There is no romance in pushing the button that drops the bomb,
it’s all in the explosion, mangled flesh
and the outcry that is content to exist in social media.
Sit kids down with dominoes
so they may grow up to know how to fall
into some actual form of impactfulness.
Until then, the children will grow up impotent,
with all that they believe true in the world to be contained in gossip.
We are almost onto something.
We know it to exist only through reading between the lines
of countries and cages.
Who built this?
Who lives here?
Who put clutter into the wide open?
Freedom is the space of sense
but where I live if you looked up that word
you’d see a rabbit pulled from a hat
screaming that nothing is moved by tradition.
If thought is language
then I’m concerned for all the smoke and mirrors
in my dictionary.
I’ve never met a Webster
but I know people who could make you rethink your education.
Make you wonder if ideals
are places you exist at the moment
ideas come to pass in action.
Then a space must have the air to move.
I want to breath,
approach the world when I inhale
and it to know me upon release.
To be reminded of this exchange every time I speak.
A fire sale of all I love
I am burning all the price tags off everything.
I am the emotion behind the sinewy meat
in the arms singing hammer fall
at a Berlin wall
full of vandalism.

Under a spreading chestnut-tree
  The village smithy stands;
The smith, a mighty man is he,
  With large and sinewy hands;
And the muscles of his brawny arms
  Are strong as iron bands.

His hair is crisp, and black, and long,
  His face is like the tan;
His brow is wet with honest sweat,
  He earns whate’er he can,
And looks the whole world in the face,
For he owes not any man.

Week in, week out, from morn till night,
  You can hear his bellows blow;
You can hear him swing his heavy sledge,
  With measured beat and slow,
Like a sexton ringing the village bell,
  When the evening sun is low.

And children coming home from school
  Look in at the open door;
They love to see the flaming forge,
  And hear the bellows roar,
And catch the burning sparks that fly
  Like chaff from a threshing-floor.

He goes on Sunday to the church,
  And sits among his boys;
He hears the parson pray and preach,
  He hears his daughter’s voice,
Singing in the village choir,
  And it makes his heart rejoice.

It sounds to him like her mother’s voice,
  Singing in Paradise!
He needs must think of her once more,
  How in the grave she lies;
And with his hard, rough hand he wipes
  A tear out of his eyes.

Toiling,—rejoicing,—sorrowing,
  Onward through life he goes;
Each morning sees some task begin,
  Each evening sees it close;
Something attempted, something done,
  Has earned a night’s repose.

Thanks, thanks to thee, my worthy friend,
  For the lesson thou hast taught!
Thus at the flaming forge of life
  Our fortunes must be wrought;
Thus on its sounding anvil shaped
  Each burning deed and thought.

1
Who will honor the city without a name
If so many are dead and others pan gold
Or sell arms in faraway countries?


What shepherd's horn swathed in the bark of birch
Will sound in the Ponary Hills the memory of the absent—
Vagabonds, Pathfinders, brethren of a dissolved lodge?


This spring, in a desert, beyond a campsite flagpole,
—In silence that stretched to the solid rock of yellow and red mountains—
I heard in a gray bush the buzzing of wild bees.


The current carried an echo and the timber of rafts.
A man in a visored cap and a woman in a kerchief
Pushed hard with their four hands at a heavy steering oar.


In the library, below a tower painted with the signs of the zodiac,
Kontrym would take a whiff from his snuffbox and smile
For despite Metternich all was not yet lost.


And on crooked lanes down the middle of a sandy highway
Jewish carts went their way while a black grouse hooted
Standing on a cuirassier's helmet, a relict of La Grande Armée.


2
In Death Valley I thought about styles of hairdo,
About a hand that shifted spotlights at the Student's Ball
In the city from which no voice could reach me.
Minerals did not sound the last trumpet.
There was only the rustle of a loosened grain of lava.


In Death Valley salt gleams from a dried-up lake bed.
Defend, defend yourself, says the tick-tock of the blood.
From the futility of solid rock, no wisdom.


In Death Valley no hawk or eagle against the sky.
The prediction of a Gypsy woman has come true.
In a lane under an arcade, then, I was reading a poem
Of someone who had lived next door, entitled 'An Hour of Thought.'


I looked long at the rearview mirror: there, the one man
Within three miles, an Indian, was walking a bicycle uphill.


3
With flutes, with torches
And a drum, boom, boom,
Look, the one who died in Istanbul, there, in the first row.
He walks arm in arm with his young lady,
And over them swallows fly.


They carry oars or staffs garlanded with leaves
And bunches of flowers from the shores of the Green Lakes,
As they came closer and closer, down Castle Street.
And then suddenly nothing, only a white puff of cloud
Over the Humanities Student Club,
Division of Creative Writing.


4
Books, we have written a whole library of them.
Lands, we have visited a great many of them.
Battles, we have lost a number of them.
Till we are no more, we and our Maryla.


5
Understanding and pity,
We value them highly.
What else?


Beauty and kisses,
Fame and its prizes,
Who cares?


Doctors and lawyers,
Well-turned-out majors,
Six feet of earth.


Rings, furs, and lashes,
Glances at Masses,
Rest in peace.


Sweet twin *******, good night.
Sleep through to the light,
Without spiders.


6
The sun goes down above the Zealous Lithuanian Lodge
And kindles fire on landscapes 'made from nature':
The Wilia winding among pines; black honey of the Żejmiana;
The Mereczanka washes berries near the Żegaryno village.
The valets had already brought in Theban candelabra
And pulled curtains, one after the other, slowly,
While, thinking I entered first, taking off my gloves,
I saw that all the eyes were fixed on me.


7
When I got rid of grieving
And the glory I was seeking,
Which I had no business doing,


I was carried by dragons
Over countries, bays, and mountains,
By fate, or by what happens.


Oh yes, I wanted to be me.
I toasted mirrors weepily
And learned my own stupidity.


From nails, mucous membrane,
Lungs, liver, bowels, and spleen
Whose house is made? Mine.


So what else is new?
I am not my own friend.
Time cuts me in two.


Monuments covered with snow,
Accept my gift. I wandered;
And where, I don't know.


8
Absent, burning, acrid, salty, sharp.
Thus the feast of Insubstantiality.
Under a gathering of clouds anywhere.
In a bay, on a plateau, in a dry arroyo.
No density. No harness of stone.
Even the Summa thins into straw and smoke.
And the angelic choirs fly over in a pomegranate seed
Sounding every few instants, not for us, their trumpets.


9
Light, universal, and yet it keeps changing.
For I love the light too, perhaps the light only.
Yet what is too dazzling and too high is not for me.
So when the clouds turn rosy, I think of light that is level
In the lands of birch and pine coated with crispy lichen,
Late in autumn, under the hoarfrost when the last milk caps
Rot under the firs and the hounds' barking echoes,
And jackdaws wheel over the tower of a Basilian church.


10
Unexpressed, untold.
But how?
The shortness of life,
the years quicker and quicker,
not remembering whether it happened in this or that autumn.
Retinues of homespun velveteen skirts,
giggles above a railing, pigtails askew,
sittings on chamberpots upstairs
when the sledge jingles under the columns of the porch
just before the moustachioed ones in wolf fur enter.
Female humanity,
children's snots, legs spread apart,
snarled hair, the milk boiling over,
stench, **** frozen into clods.
And those centuries,
conceiving in the herring smell of the middle of the night
instead of playing something like a game of chess
or dancing an intellectual ballet.
And palisades,
and pregnant sheep,
and pigs, fast eaters and poor eaters,
and cows cured by incantations.


11
Not the Last Judgment, just a kermess by a river.
Small whistles, clay chickens, candied hearts.
So we trudged through the slush of melting snow
To buy bagels from the district of Smorgonie.


A fortune-teller hawking: 'Your destiny, your planets.'
And a toy devil bobbing in a tube of crimson brine.
Another, a rubber one, expired in the air squeaking,
By the stand where you bought stories of King Otto and Melusine.


12
Why should that city, defenseless and pure as the wedding necklace of
a forgotten tribe, keep offering itself to me?
Like blue and red-brown seeds beaded in Tuzigoot in the copper desert
seven centuries ago.


Where ocher rubbed into stone still waits for the brow and cheekbone
it would adorn, though for all that time there has been no one.


What evil in me, what pity has made me deserve this offering?


It stands before me, ready, not even the smoke from one chimney is
lacking, not one echo, when I step across the rivers that separate us.


Perhaps Anna and Dora Drużyno have called to me, three hundred miles
inside Arizona, because except fo me no one else knows that they ever
lived.


They trot before me on Embankment Street, two hently born parakeets
from Samogitia, and at night they unravel their spinster tresses of gray
hair.


Here there is no earlier and no later; the seasons of the year and of the
day are simultaneous.


At dawn ****-wagons leave town in long rows and municipal employees
at the gate collect the turnpike toll in leather bags.


Rattling their wheels, 'Courier' and 'Speedy' move against the current
to Werki, and an oarsman shot down over England skiffs past, spread-
eagled by his oars.


At St. Peter and Paul's the angels lower their thick eyelids in a smile
over a nun who has indecent thoughts.


Bearded, in a wig, Mrs. Sora Klok sits at the ocunter, instructing her
twelve shopgirls.


And all of German Street tosses into the air unfurled bolts of fabric,
preparing itself for death and the conquest of Jerusalem.


Black and princely, an underground river knocks at cellars of the
cathedral under the tomb of St. Casimir the Young and under the
half-charred oak logs in the hearth.


Carrying her servant's-basket on her shoulder, Barbara, dressed in
mourning, returns from the Lithuanian Mass at St. Nicholas to the
Romers' house in Bakszta Street.


How it glitters! the snow on Three Crosses Hill and Bekiesz Hill, not
to be melted by the breath of these brief lives.


And what do I know now, when I turn into Arsenal Street and open
my eyes once more on a useless end of the world?


I was running, as the silks rustled, through room after room without
stopping, for I believed in the existence of a last door.


But the shape of lips and an apple and a flower pinned to a dress were
all that one was permitted to know and take away.


The Earth, neither compassionate nor evil, neither beautiful nor atro-
cious, persisted, innocent, open to pain and desire.


And the gift was useless, if, later on, in the flarings of distant nights,
there was not less bitterness but more.


If I cannot so exhaust my life and their life that the bygone crying is
transformed, at last, into harmony.


Like a Noble Jan Dęboróg in the Straszun's secondhand-book shop, I am
put to rest forever between tow familiar names.


The castle tower above the leafy tumulus grows small and there is still
a hardly audible—is it Mozart's Requiem?—music.


In the immobile light I move my lips and perhaps I am even glad not
to find the desired word.

"Wagons East (1994) - IMDb www.imdb.com/title/tt0111653/ Internet Movie Database Rating: 4.7/10 - ‎3,545 votes (stylized onscreen as ‘Wagons East’) is a 1994 western comedy film directed by Peter Markleand starring John Candy and Richard Lewis. The film marked one of Candy's last film appearances although it was not his last film release. His last film, Canadian Bacon which he had completed before “Wagons East,” had a delayed release in 1995. The film was notable for its leading actor Candy dying of a heart attack during the final days of the film's production. A stand-in and special effects were used to complete his remaining scenes and it released five months after his death."

And it’s Wagons East!
John Candy’s last mega-bomb,
Released 5 months postmortem.
Alas, even the sympathy vote stayed home,
Reject the we-owe-it-to-him-for
“Planes, Trains & Automobiles”(1987, IMDB).
The role, like money in the bank,
Earning diminishing returns,
Yielding interest but losing value over time.
The myth of INTEREST:
Das Capital, 2015.
The Prime is at 0%,
Yet, Inflation soars at, well,
At inflationary rates,
Digit-pounding inflation,
Higher food & shelter prices,
Masked ever so cleverly,
So deftly obscured by benevolent gasoline prices.

“Planes, Trains & Automobiles” (1987, IMDB)
Meet Del Griffith,
An obnoxious slob,
A complete schlemiel
(Also shle·miel (shlə-mēl′),
A serene shower curtain ring
Salesman and tour de force.
A film illustrative of everything
We love about farce,
(Merci beaucoup, Molière!)
And love about any
John Hughes/Steve Martin collaboration.

Needless to say,
I watched “Wagons East”
On TV the other day.
It was ten o’clock in the morning.
Will-o'-wisping in the ashtray,
Smoke from my first joint of the day.
The ashtray, a mosh pit carbonara--
Actually, an inverted exoskeleton dome--
One of dem big muthas,
I once free-dived for,
Offshore Mendocino Coast,
Back in the day,
Back when THE FRENCH LAUNDRY . . .
(The French Laundry: Thomas Keller Restaurant Group, www.thomaskeller.com. Chef Thomas Keller visited Yountville, California in the early 1990's on a quest for a space to fulfill a longtime culinary dream: to establish a destination for fine --314 Google reviews · Write a review 6640 Washington St, Yountville, CA 94533 (707) 944-2380. Daily Menus - ‎Make a Reservation - ‎Restaurant)
Back when THE FRENCH LAUNDRY
Paid beaucoup bucks for
Well-tenderized,
Sledge hammered slabs of illegal,
Black Market abalone.
Most assuredly, I digress.

So where else would I be?
My laptop was open & willing,
Legs spread, wet and waiting for
Whatever comes what may.
What came was a film
Earning pitch perfect
Dramatic chops for Candy.
We owe you, Del.
We owe you for this Anthem:
“You wanna hurt me? Go right ahead if it makes you feel any better. I'm an easy target. Yeah, you're right, I talk too much. I also listen too much. I could be a cold-hearted cynic like you . . . but I don't like to hurt people's feelings. Well, you think what you want about me; I'm not changing. I like . . . I like me. My wife likes me. My customers like me. Cause I'm the real article. What you see is what you get.”
But that was then,
This is now.
Wagons East:
A disastrous ****** bomb.
A vapid character jambalaya:
(1) A defrocked doctor
(2) A sagebrush *****.
(3) A queer book vendor.
(4) A Donner Party Survivor
Sounds can’t miss, right?
Or was it a classic Broadway/Hollywood sting?
Redux: “Spring Time for ******.”
N'est-ce pas?
Four *******
Heading east by wagon train;
Giving up on The West,
Heading east for Saint Louie,
Where freaks & geeks go undercover.
Down go their guards.
Camouflaging the chimera,
Transits the urban Wasteland,
Vast & nasty, as it were.

St. Louis, Missouri:
A much more tolerant
Hideout place.
THE WEST:
Just too much of
A hassle, I guess,
Too much for one’s
Flat-lined human mind,
Bored too shitless by
Buffalo turds to venture thought.
THE WEST:
Neorealismo italiano.
Complete Jolting-Joe reality,
A veritable wake-up call
Devouring any & all
Residual romantic fantasies . . .
THE WEST:
Struggle & Drudge,
Life lived west of the Mississippi.

Rangeland Romances #9 Go West For Your Man! Kindle (www.amazon.com) Books Literature & Fiction Amazon.com, Inc. Start reading Rangeland Romances #9 Go West For Your Man! Get the free Kindle Reading App or read on your Kindle in under a minute. Don't have a Kindle? www.amazon.com

That’s right: another advertisement,
Smack dab in the middle of
Of the ******* poem!
My invention, by the by,
Putting herein another plug for
A preferred memorial gravesite,
The Shrine To Me!
Situated in Scituate,
(Always wanted to say that.)
Scituate MA (www.scituatema.gov)
Knowing my kryptonite crypt,
My not-marble-nor-gilded
Princely-monument,
Had no chance to outlive
This fakakta rhyme scheme . . .
The Shrine To Me!
My final resting place:
My very tony, exclusive
Sub Zip Code?
The South Transept
Westminster Abbey
The so-called Poets’ Corner,
Of course!

Which brings me to my true purpose:
My true intentions for you this morning?
To publicize the strange Case of
CHARLES ROCKET:
(Go ahead, ******* Google him!)
“Charlie Rocket, found dead in a field near
His Connecticut home on October 7, 2005,
His throat had been cut.
He was 56 years old.
The state medical examiner
Later ruled the death a suicide.”
And if you believe the Coroner,
A Medicine Man &
Master of Self-Interest;
If you give that sharp-dealing,
Proverbial Connecticut Yankee his due,
Then you will probably also think
That millionaire Robert Durst
Didn’t **** Susan Berman,
Even as we see him
Getting away with ******.
Again.

there was a little husky in land so far away
he would pull as sledge each and every day
pulling very hard through the snow so thick
going very fast going very quick
he had big bright eyes they were coloured blue
with a big fur coat a husky through and through
he would take his sliegh to the trading post.
so they could fill it up. the thing he liked the most
then he would go away again with his little sled
till he got very tired then off he went to bed

They put me by the door
And I could see below
800 feet to the ground
A solid green carpet
Looking soft enough to sleep on.
But the limbs underneath
Were sharp and deadly.
It wasn't a good day
For a jump I thought.
Who wants to jump out of a C-47
On their first airplane ride
Into the wild blue yonder--
No one with good sense
As I answered my own question.
I remembered hearing about
The guy who received a parachute
Not knowing it needed repair
But he had faith nothing happened
To a nice guy like him.
So when he jumped out
And didn't feel the jolt slow down
His descent to the ground
He looked up with panicked eyes
And saw the chute fluttering away.
He muttered a few cuss words
When he saw the ground come fast.
He didn't pull his reserve in time
And never heard the deadly thud.
Those were my thoughts
As the T-7 parachute
Opened with the snap of a whip
Just as the parachutist behind me
Started walking on my canopy.
I could see his boots sink in deep
And I hollared, get your sorry *** off
You low life no good *******--
A panic lingo that flowed out
Because I was scared crapless
At the turn of events.
Luckily my chute didn't collapse
And his chute started floating away.
No harm done except my nerves
Were a little frayed.
It only takes about 8-10 seconds
To get to the ground
From the time you leave the plane.
So I looked down and there it was
With the wind blowing about 20 knots.
I could feel myself swaying
Much like a pendulum on a clock.
I wasn't trained to land on my back
As I'd learned the five point landing technique
But then the ground slammed my rear
With a sledge hammer effect
Knocking the light off in my brain.
But I must have awakened shortly
As the wind had opened my canopy
Dragging me across the rocky landing zone
Till I became aware and remembered
To pull the bottom risers on my chute
To empty the air from it
So I could roll on top of it.
Then an instructor came by yelling
Get your *** up soldier
And take your chute back where you got it.
I responded accordingly
Wanting to keep my nose clean
And make the rest of my jumps
So I could get my Parachutist Wings.
It would take 4 more jumps that week.
I had to meet those requirements
Or they would send my derriere oveseas
Where a war was going on.
That was all the incentive I needed
To bust my **** gladly
And claw my way to paratrooper status.
Geronimo-o-o-o-o-o-o-o
I thought sheepishly to myself
For my not so altruistic bravado.

Sinner

What have I done to my world?

Egrets

Pelicans

Whales

Are you diving into the plume

A 10 mile depth of black hell?

Are you in another dimension now?

Have you given up on this world of

Easy living?

I am guilty.

I work too much and care less

As one superficial lifestyle Blends into the other

Money seems like security blanket

It is Not.

My land is covered in a part of me that dies

As the sea spits up the overdose of

Consumerism.

Each time I feel the powerlessness of hope fade

I take my plastic water bottle and throw it into a

Bin labeled

RECYCLE…

HA!

Plastic

OIL OIL OIL…

PLASTIC

******* Hell,

I bet oil is in my food chain somewhere

A box that makes it easy to cook in

A packing tool to deliver me the goods

OIL OIL OIL

Saturated Guilt

I feel like a harlot

A sinner

A part of something I cannot stop

I don’t want my world to look like this

Stop Me.

From the desire for convenience

Let me take living down a notch or two

Let me see with a part of me that is lost

THIS IS A CRY IN

(the
sledge of redemption)

I remember my body gave me another chance

When I filled it with poisons that made me feel good (you know what they are)

Will you do the same?

Oh heavenly body that holds my own.

Can you ever forgive me?

Linaji

Your love is like a hammer, babe
hits me like a twelve-pound sledge.
Your love is like a hammer, baby,
hits me like a twelve-pound sledge.
Breaks my heart wide open,
knocks off the rough edge.

Your love is like a fire, babe
burns me to the ground.
Your love is like a fire, baby,
burns me to the ground.
Glowing in the ashes
some diamonds I have found.

Your love is like a mirror, babe
one I don't want to see.
Your love is like a mirror baby,
I don't want to see.
Staring in the fiery eyes of truth's
not a place I like to be.

Your love is like a hammer, babe
It can break or it can build.
Your love is like a hammer, baby
Break or it can build.
Your love will make me stronger
if it doesn't ****.

Psst
Hey man
You looking for a boost?
Some bud? Molly? *****?
I gotch you
Let's be out

Let's look forward, shifting eyes
Thick blunts, welcome to The Court of Miracles
Where no ones ever dry and everyone's good

The whole place was flooded with music
Pounding, pulsing, entrancing
thump thump thump thump
Laser lights flashing neon colors
Multicolored creatures of night dancing to the whimsical noise

The DJ was young
Attentive to his machine that dispensed exuberant sensate explosions
Rocking back and forth, flipping switches, turning knobs
We are, we can, we will live forever
Then it all went silent and the whole place shot out with a feeling of anticipation
WE ARE IMMORTAL
BOOM BOOM BOOM BOOM
The bass caused everyone of us to vibrate and pick up the vibrations of one another

Hey bro
Take this
Molly
Nerves become fervent

Now meet my other friend
Lucy
Mind is widened
Now you're candy flipping
Hippy tripping

We met a girl
Her dad was a record producer
She was way out there
She was out of her head

We met an artist
He used different types of wood
And carved shapes and patterns in to them
Then painted it with acrylics
Then smashed it with a sledge hammer

People bought it
He was brilliant
He was ******
I was dazzled

She tasted like *****
He tastes like cigarettes
***** devils
Looking for a time

I saw veterans from Iraq letting loose
Thank you
A sea of sweaty smiles going for miles
Under a baroque moon

Sleeveless shirts
Minuscule skirts
Beads, glow sticks
Unity

Altogether
Under one universe
Dedicated to this single moment
And what it means to us
One mind
Joined
For equal freedom

It is one fourth inch thick.
God must have granted you
An extra one fourth inch
At least.
Bullets may still have
The power to shatter
But those words spoken
Never had a living chance
To break through
That one fourth and
One extra one fourth inch
You have.
If words were a sledge hammer
I would have to crack your skull.

stress I’m not like the rest. hell half of what you hear these kids write about is me I’m all that they have in there lives. no dad, no mom, no home, there best friend is drugs, cigarette burns in the rug. **** all they wanted was a hug. stress is doing its best swinging a sledge at your back hoping you’ll crack. these kids don’t see there are ways to rid themselves of me. but they just are to blind to see the guy who will take that heavy bag off your back for just one fee. tell him how your day is. whats on your mind. anything because he cares. but nobody is in the line with zero wait time. no they all just keep to themselves walk along as there back cracks.

The room was filled with burnout nuts who looked half crazy dear lord what was someone as normal as me doing here.
Yeah dont laugh im being serious or however ya spell it.

The group slash cult leader approached the mic.
Hello im Dan .
Hello Dan.

Dear lord these people were some brainwashed hampsters almost as bad
as that voodoo priestest Taylor Swift yeah Her new song sounds just like her last okay.
the only people who like her are kids and perverts that reminds me gotta put that video on mute when i
watch it it really messes up the mood what!
Im talking bout when im writting ya perves haha no im not.

Enough with the foreplay kids.
The man went into his speech how he used to snort lines that went from here to texas
picked up hookers drank till he passed out.
Hey No wonder this man was a leader he was soon becoming my hero.

But then I hit rock bottem and stopped found Jesus once honestly i didnt know he was lost.
Now he hadnt had a dam bit of fun in four years i couldnt contain my laughter
what a ***** huh?
I said to the old drunk beside me.

Hey what you got in that cup there grandpa.
He just looked at me in a strange manner must be on a hell of a trip lucky *******.
He spoke slow in a ***** old seductive kinda scared shitless by me manner
It's Koolaide.

Yeah weird mixer what ya trying to pick up kids ya nut what else is in it?
This oldman was playing a game yeah  sure dont share you old ***** hound
my flask was nearly empty and my patience was fading with every sober ***** that took the stage Jesus people it was listening to Jeff Foxworthy it's great if your ******* but honestly its one step above a ******* puppet.

The group of lame areses was almost done when they looked at me hey there friend feel like sharing?
It was something I should fight but a mic and stage was as tempting as a
wild turkey and college keg party.

Why not.

Hey Kids Im Gonzo!
Hey Gonzo jesus it was like dealing with a human parrot or Brittney Spears really
you've  seen one mindless drone ya seem em all.

I took a deep sip from my coffee with a little something extra cup
mmm acid and folgers it goes togather like teens and ****** reallity  shows ******* MTV!

Well Im Gonzo , Hello Gonzo.
Look meeting of the living braindead it's funny the first time okay.
Okay jesus these people were bad as a boy band dam three tenors yeah your all
hot and can sing opera but wants to party to that ****.

Look here  Ive been drinking since 12  umm commited alotta fun crimes
Once paid the babysitter to show me her *******  yeah I know winning.
Ive been in 20  car crashes some of em not just other peoples cars  like I can afford one.

Ive done every drug known to man and some that arent made by people named skull and eightball.
dated strippers snorted coke off of more than just a table  get your mind outta the
gutter cause if ya dont your gonna end up like me serious!

My wife is full of life and strung out on pills that reminds me
i gotta pick her up after cheerleading practice.
Ive been in the iron bar hotel many a night yeah that ****** but he hairy guys are great to cuddle with
like big teddy bears who'll **** you yeah that ****** so ive herd well yeah.

The group was silent till DR Downer spoke up but when did you hit bottom.
Sir thats my personal life okay and besides i not that hung okay.
But you stopped right.

Stopped what are you high on crack Bobby Brown?  
First off amigo its cheap second I aint stopping till im dead yeah i could work out have no
fun and spend the rest of my life speaking in front of nuts who used to be cool
Like you Irene hey personally i wish i had seen you in the ******* cause you seem
like a nice lady and really easy to get into bed okay yeah im
sensative I always pay after that's manners.

The crowd was filled with something what was this place Jonestown
Look at what ya all become eating cookies and drinking **** I wouldnt even
drink when i was ******* five okay.

And you ****** Dave well okay it's kinda weird ya hung out in park restrooms
But if only you had met George Micheal maybe then he'd still be making good  records but ya gotta have faith im just saying.

Sure you can be nice live good yeah then one day ya cross the street and some *******
spoiled brat   teenager  who just got his license runs over your *** cause he's texting sally
asking to see her **** to share e with the rest of the football team okay.

Hey whatever happend to *** drugs and rock n roll kids.
**** living forever.
Lets party now and ***** tommorow cheers I kicked back the last
of the wild turkey hitting that liver like a sledge

The group was silent yet again **** I had crossed the line yet again ahh someone needs a spanking
but enough bout lady gaga.

Sir there leader said leave now!
Just then like something off of saturday night pro wrestling.
A folding chair hit the
hugging preachy nut over the head.

***** this guy the old drunk exclaimed lets go get trashed my life ***** lets get some ***** drugs and
Irene crank the music.

And like something outta a stupid wholsome after school special my heart grew
okay aybe thats a bit much .

We were off like fellow addicts set lose in a world as ******* up as us
And everything was as messed up as us we partyed laughed made some movies of are own that probaly wont be seen on tv anytime soon.

And we lived in the moment cause its all we ever have.
And this perves gonna make sure his is
******* fun stay crazy and avoid the clap love always
Gonzo

there was a little husky in land so far away
he would pull as sledge each and every day
pulling very hard through the snow so thick
going very fast going very quick.

he had big bright eyes they were coloured blue
with a big fur coat a husky through and through
he would take his sliegh to the trading post.
so they could fill it up. the thing he liked the most.

then he would go away again with his little sled
till he got very tired then off he went to bed.

Tonight, whenst my soul wasth dancing about its walls,
I chall-enged myself to potter about th' halls.
Having adjusted my red shawl and added some more
tints of blush into my frazzled cheeks, didst I swing myself
out of my chamber.
A sleek rain wasth but mumbling outside; and evoked within me
a longing for domestic adventures-to **** th' silent drear of
th' dying evening! With only th' rain as its ember, flitting away
wasth its cold shadows, with shards of plainness around
its damp, frail body, awash in th' childlike pouring shower-
th' one t'at would betray it soon-and ended with a blunt
thump as th' morbid clouds hanging aloft, dyeing th' sky faithfully red,
but consoling in such irresistible ways! How I remembereth its leaving a scent
to my skin and constitution so soft, and indulged it away, so unlike
th' smug moonbeam-immaculate like th' stars, but unsettled and tumultous
at heart-and in th' lap of bleak, unsoundly thunderstorms would be torn apart.
So ventured I, downstairs! No soul was rolling around th' corridors,
in spite of th' lamps, t'ose yellow halos against
th' wooden walls. How I gleefully descended th' adjacent steep bars-
downwards, in a quiet stroll, whilst coolly whistling to my own *****-
to procure the merriment of letters-yes, th' abodes of t'ose ****** words,
unappalled yet by th' venerable worlds. And t'eir tiny chambers, t'ose neatly
glued; inked papers, flocked into t'eir serene boxes this afternoon-ah, by those
blokes so punctual, honourable indeed areth t'eir perseverance, strength,
and little carriages! With horses as divine, crowding people's lives
with th' ornaments of phrases carved within envelopes
in t'eir leather bags-an occupation so holy! It is-it is, indeed! Like a sledge
t'at never utters a complaint-or sheep t'at dares not to leap, or
wiggle, in th' threat of its young master, albeit grimaces of sickness,
and pain, pain as of giving mortal births, affordeth. And howeth it shalt invade
its listening hearts with blades of agony-whose sullen grass
is bitter but never to wither-a resemblance of long-living memory,
so dark but unspoken-and whose life is but willingly tethered t' th' snow beneath;
a pampered sea of whiteness with bonds of accusation
enshrined along its surface,
regardless of th' pure-hearted toil of th' reindeer,
and its honesty t'at so charmingly planted within its roots. Agreeable element,
just as it is! T'ose men so deserving of praise-hark, hark how t'ey clutched at my letters,
and gently shoved 'em forwards; amidst t'ose gloomy bits of chuckling dews!
Frosts t'at sent chills through th' afternoon's vigilant pains,
o, what dormant a serpent, as t'ey wert! But now wert t'ey inventing t'eir slots
out o' t'eir caves-andeth greedly rendering it more gratuitous
t' th' old man's eyes. Horrendous! Inescapable! Disagreeable! How t'is fate, but fate
t'at is intimate with wonder-obstinate in 'tis own credulity, and paths
of security, esteem, and actuality; fate t'at canst ot'erwise be unfathomable-
at th' most desirous times such as t'is!
Thrown was I into th' view of another, fancy who it was-
a former friend, about whom my heart once so dearly throbbed, and perchance
plentifully longed to meet! But as encounter, didst we-a river of grand, prosperous ambitions
and plots of weaving merciful fortune, andeth devious thirst for far precarious,
yet precious, lore-forgotten wereth thus our memories, and stepped away but we,
from each ot'er's undeniably hearty regions.
But he! How, this evening, with t'at pair of eyes
kind with endless blueness-blowing so handsome into my face,
t'at lake of golden hair, and skin so moist in its ripe, whole whiteness,
as bright as th' moonlit skies above-sensuous and translucent
in his searing youth, o my dear!
How he entereth th' door with t'ose passionate airs about 'im,
and abruptly captivated my soul! Atoned, hastily, wasth all my grief
and pangs of gloom, upon my laying my first sights on 'im! What a majestic being!
A charm so frank as th' most desired odour of nature;
and unbreakably calm in its greetings-a lure so powerful to my entire soul!
How decent, yet enticing, t'is gentleman to my comprehension!
How lovable wasth his manly voice-as he first attempted to speak;
blanketed and cheered most adorably
by colourful fogs of courage, waves of veritable determination-o, how a gaze
can be so tender into my heart!
O, but it now appeareth t'at I ought to doubt not
about falling in love again;
with t'ese new fits o' charms I've found,
of a soul t'at was but so long abandoned
whilst I let myself being disheartened-so cruelly
and unthinkingly, by that poor fiend! A brute, a lonesome wretch as he is-
whose love is but unworthy, fraudulent, to my eyes-
a rustic, odd liar! And let him but shrink
into nothingness; and be unthoughtfully buried within th' cold arms
of th' dismantled sun-wherein a wrathful furnace shalt he burn, and cry,
cry sorrowfully in deplorable hatred, with no-one else to shoulder his castigations
and bestow neither any ot'er love-nor pity, for 'im,
as th' wife whom his chest daintily adores
is but th' sin he has made, andeth th' ashes of his ungodly remains-
As cursed and woven away from t'is world by our kingly God-just as how she
hath misled him hitherto, and duly tortured wasth her by our new faith-
whence soulless was she left, a thin, uncrucial vapour of triviality-as most sane creatures
shalt know! How after t'at disaster of death,
damnation becameth her home and bower,
whereth howl wilt she like a prone elf-
andeth be th' mourning fire itself.

there was a little fox he lived in a hedge one day when it was snowing he built himself a sledge
he pushed in the snow till it began to slide then he jumped on top so he could have a ride
he it took  a hill and pushed it from the top till it reached the bottom then he made it stop.
he was having fun on his little sleigh then came out the sun to the melt the snow away
then the fox went back and climbed into the hedge waiting for the snow again so he could use his sledge.

Decolor, obscuris, vilis, non ille repexam
  Cesariem regum, non candida virginis ornat
  Colla, nec insigni splendet per cingula morsu.
  Sed nova si nigri videas miracula saxi,
  Tunc superat pulchros cultus et quicquid Eois
  Indus litoribus rubra scrutatur in alga.
  CLAUDIAN.


I sat beside the glowing grate, fresh heaped
  With Newport coal, and as the flame grew bright
--The many-coloured flame--and played and leaped,
  I thought of rainbows and the northern light,
Moore's Lalla Rookh, the Treasury Report,
And other brilliant matters of the sort.

And last I thought of that fair isle which sent
  The mineral fuel; on a summer day
I saw it once, with heat and travel spent,
  And scratched by dwarf-oaks in the hollow way;
Now dragged through sand, now jolted over stone--
A rugged road through rugged Tiverton.

And hotter grew the air, and hollower grew
  The deep-worn path, and horror-struck, I thought,
Where will this dreary passage lead me to?
  This long dull road, so narrow, deep, and hot?
I looked to see it dive in earth outright;
I looked--but saw a far more welcome sight.

Like a soft mist upon the evening shore,
  At once a lovely isle before me lay,
Smooth and with tender verdure covered o'er,
  As if just risen from its calm inland bay;
Sloped each way gently to the grassy edge,
And the small waves that dallied with the sedge.

The barley was just reaped--its heavy sheaves
  Lay on the stubble field--the tall maize stood
Dark in its summer growth, and shook its leaves--
  And bright the sunlight played on the young wood--
For fifty years ago, the old men say,
The Briton hewed their ancient groves away.

I saw where fountains freshened the green land,
  And where the pleasant road, from door to door,
With rows of cherry-trees on either hand,
  Went wandering all that fertile region o'er--
Rogue's Island once--but when the rogues were dead,
Rhode Island was the name it took instead.

Beautiful island! then it only seemed
  A lovely stranger--it has grown a friend.
I gazed on its smooth slopes, but never dreamed
  How soon that bright magnificent isle would send
The treasures of its womb across the sea,
To warm a poet's room and boil his tea.

Dark anthracite! that reddenest on my hearth,
  Thou in those island mines didst slumber long;
But now thou art come forth to move the earth,
  And put to shame the men that mean thee wrong.
Thou shalt be coals of fire to those that hate thee,
And warm the shins of all that underrate thee.

Yea, they did wrong thee foully--they who mocked
  Thy honest face, and said thou wouldst not burn;
Of hewing thee to chimney-pieces talked,
  And grew profane--and swore, in bitter scorn,
That men might to thy inner caves retire,
And there, unsinged, abide the day of fire.

Yet is thy greatness nigh. I pause to state,
  That I too have seen greatness--even I--
Shook hands with Adams--stared at La Fayette,
  When, barehead, in the hot noon of July,
He would not let the umbrella be held o'er him,
For which three cheers burst from the mob before him.

And I have seen--not many months ago--
  An eastern Governor in chapeau bras
And military coat, a glorious show!
  Ride forth to visit the reviews, and ah!
How oft he smiled and bowed to Jonathan!
How many hands were shook and votes were won!

'Twas a great Governor--thou too shalt be
  Great in thy turn--and wide shall spread thy fame,
And swiftly; farthest Maine shall hear of thee,
  And cold New Brunswick gladden at thy name,
And, faintly through its sleets, the weeping isle
That sends the Boston folks their cod shall smile.

For thou shalt forge vast railways, and shalt heat
  The hissing rivers into steam, and drive
Huge masses from thy mines, on iron feet,
  Walking their steady way, as if alive,
Northward, till everlasting ice besets thee,
And south as far as the grim Spaniard lets thee.

Thou shalt make mighty engines swim the sea,
  Like its own monsters--boats that for a guinea
Will take a man to Havre--and shalt be
  The moving soul of many a spinning-jenny,
And ply thy shuttles, till a bard can wear
As good a suit of broadcloth as the mayor.

Then we will laugh at winter when we hear
  The grim old churl about our dwellings rave:
Thou, from that "ruler of the inverted year,"
  Shalt pluck the knotty sceptre Cowper gave,
And pull him from his sledge, and drag him in,
And melt the icicles from off his chin.

Words are a fickle thing.
They claim those faint of heart,
Destroying those heathenish men,
Who dare try to control the world
Through the power of words.
Those who try are instantly conquered
By the omniscient dictionary,
Destroyed by their constant use of a thesaurus,
And taken over by attempting mimicking another man’s voice,
Instead of trying to find their own.

They fail because they write for the wrong reasons.
They fail because of their selfishness.
They fail because they want fame.
They fail because their words are…
Lifeless….
Hopeless...
Stubborn…
Their words refuse to conform to their ideas.
Their words punish their minds with sleepless nights,
Over their horrid word choice.
Crush their dreams with metaphor upon metaphor.
Win over their imaginations by continuous simile stacking.
Imagine if you would,
Attempting to perform heart surgery,
With a sledge hammer,
While a hungry lion is in the room,
And you’re in your underpants.
That is the challenge that these miserly men face
When they sit at their desks, with their pens twirling,
And their minds racing, asking why their characters
Are like puppets with no puppeteer.
Why their poems have no reason.
Why their words truly have no power.

When you write, think not about what you want to accomplish.
Don’t think about what will make people stir.
Think about what you feel.
Feel your heart pound and your soul quake.
When your words make you want to dance,
That’s when you know that you wrote something worthwhile.
Because it made sense to you, someone else will feel it.
Someone else will know exactly what you mean.
Always remember that your first draft comes from the heart.

The forcible torrents rave on, ceaseless
Turmoil spins in a topsy-turvy wave
Bodies in shambles, minds twisted, restless
Drama and crises, emotions we crave
Twerking with the devil, licking the sledge
Morison's snake ride to "The (darkest) End"
Pushing the limits over the damp edge
Following and tweaking the latest trend
Emotional upheaval - rebellion
Creative juices overflow with paint
There is art in every great Hellion
But little ink flows from the mighty saint
Be content in the rich chaos of youth
It's the rains that nurture the seeds of truth

I often wondered what thoughts were running through his head
as he stared out the window chained to the floor by his bed
watching the gallows being built that would soon seal his fate.
Was he planning at that very moment his last great escape?
Did he know then that his hanging would never come to be?  
Did he know then that before nightfall once again he'd be free?
What ever his thoughts he was interrupted rudely
by Deputy Bob Ollinger, one of his guards while in custody.
"Word has it you said that if we ever met again you'd **** me on the spot.
Well here I am Kid. Now's your chance. Show me what you've got.
It's a shame that you'll hang in another week or two,
because I'd love to be the one who gets to **** you.
I've got 16 silver dimes in each barrel of my shotgun.
I'd love to try them out on you, but I can't unless you run.
If I free you from those chains will you run for the door?
Oh by the way Kid, your Ma was one sweet ******* *****.
I'll **** you before you hang Kid. That's a sure bet."
"Be careful Bob," said the Kid, "I'm not hung yet."
" Bob thrusted his shotgun hard into Billy's gut.
The Kid looked up at him in pain and said, "Now what?"
"Don't do it Bob," Bell said angrily, "or you'll be the one who'll hang for sure
for killing a man in cold blood who was chained helplessly to the floor.
It's time for the other prisoners to be escorted across the street to be fed.
The Kid's not going anywhere. He's chained to the floor by his bed.
Anyway, I took the prisoners last so now it's your turn.
Go and have yourself a beer and I'll stay here and guard the Kid until you return.
Bob Ollinger placed his shotgun into the gun rack.
Before he left he said to Billy, "I'll see you when I get back."
No one can say for sure if the above dialog ever truly took place.
One thing's for sure. Ollinger tormented Billy at a merciless endless pace.
They were arch enemies who fought against each other during the Lincoln County War.
Ollinger was in the posse that killed John Tunstall, Billy's employer, friend and mentor.
"I have to use the privy Bell," Billy said to the deputy.
Bell kept his rifle trained on Billy as he tossed him the key.
Billy unlocked the chains that kept him bound to the floor.
Still in handcuffs and leg irons, Bell escorted Billy out the door.
Billy entered the outhouse closing the door behind him.
"Let's not take too long in there Kid," Bell said with a humorous grin.
While in the outhouse Billy managed to slip one of his hands out of his handcuff.
"You fall in there Kid," Bell laughed, "You've been in there long enough."
"I'm coming out now Bell," Billy said opening the door.
"Sorry I took so long Bell. I must have ate something bad for sure."
Deputy Bell then escorted Billy back to the jail cell.
Once inside, Billy spun around and smacked hard Deputy James Bell.
Bell lost his balance, dropped his rifle and was momentarily stunned.
"Hands Up Bell!," the Kid yelled. In his hand was a gun.
"Please don't do it Bell," Billy pleaded, but Bell tried to run.
The Kid had no choice but to do what had to be done.
He shot and killed Bell, then went for Ollinger's shotgun.
The Kid never found pleasure in killing, but Ollinger was indeed the exception.
Knowing that Ollinger heard the gunfire, Billy stood by the window
and waited for Ollinger to appear in the street down below.
One senior named Godfrey saw Bell fall dead down the stairs.
The moment probably gave Godfrey a few more grey hairs.
Ollinger ran out into the street as Godfrey screamed, "The Kid's killed Bell!"
Ollinger looked up into both barrels of his own shotgun and whispered,
"Now he's killed me as well."
"Hello Bob!," Billy called out with a song in his heart just prior to blowing Bob Ollinger apart.
He blasted both barrels into Ollinger's chest and face.
Pieces of old Bob lay scattered all over the place.
Billy smashed his shotgun in two, threw it at him but missed.
"You'll never rifle me again," he screamed, "you *******!"
On the balcony he addressed the crowd whose jaws hung agape.
"I don't want to hurt anyone, but I'll **** anybody who tries to prevent my escape."
In the office he found a sledge hammer and smashed the chains of his leg irons free.
He told Godfrey to fetch him a fast horse immediately.
As he walked down the stairs, he came upon Bell's lifeless body
and many eye witnesses admit
that The Kid looked upon him and said most remorsefully,
"I'm sorry I killed you Bell, but couldn't help it."
As Billy mounted the horse the chains of his leg irons startled the beast.
The horse reared up and threw Billy down onto the street.
He was at this point his most vulnerable laying down on the ground.
The crowd could have overtaken him easily, but none made a move or a sound.
Once again Billy mounted the horse and fled with the sound of his leg iron chains ringing.
Many say that as he rode out of Lincoln County that they heard the Kid singing.
Billy had escaped danger so many other times in his past,
but this was his greatest escape ever. It would also be his last.

Because I was content with these poor fields,
Low open meads, slender and sluggish streams,
And found a home in haunts which others scorned,
The partial wood-gods overpaid my love,
And granted me the freedom of their state,
And in their secret senate have prevailed
With the dear dangerous lords that rule our life,
Made moon and planets parties to their bond,
And pitying through my solitary wont
Shot million rays of thought and tenderness.

For me in showers, in sweeping showers, the spring
Visits the valley:—break away the clouds,
I bathe in the morn's soft and silvered air,
And loiter willing by yon loitering stream.
Sparrows far off, and, nearer, yonder bird
Blue-coated, flying before, from tree to tree,
Courageous sing a delicate overture,
To lead the tardy concert of the year.
Onward, and nearer draws the sun of May,
And wide around the marriage of the plants
Is sweetly solemnized; then flows amain
The surge of summer's beauty; dell and crag,
Hollow and lake, hill-side, and pine arcade,
Are touched with genius. Yonder ragged cliff
Has thousand faces in a thousand hours.

Here friendly landlords, men ineloquent,
Inhabit, and subdue the spacious farms.
Traveller! to thee, perchance, a tedious road,
Or soon forgotten picture,— to these men
The landscape is an armory of powers,
Which, one by one, they know to draw and use.
They harness, beast, bird, insect, to their work;
They prove the virtues of each bed of rock,
And, like a chemist 'mid his loaded jars,
Draw from each stratum its adapted use,
To drug their crops, or weapon their arts withal.
They turn the frost upon their chemic heap;
They set the wind to winnow vetch and grain;
They thank the spring-flood for its fertile slime;
And, on cheap summit-levels of the snow,
Slide with the sledge to inaccessible woods,
O'er meadows bottomless. So, year by year,
They fight the elements with elements,
(That one would say, meadow and forest walked
Upright in human shape to rule their like.)
And by the order in the field disclose,
The order regnant in the yeoman's brain.

What these strong masters wrote at large in miles,
I followed in small copy in my acre:
For there's no rood has not a star above it;
The cordial quality of pear or plum
Ascends as gladly in a single tree,
As in broad orchards resonant with bees;
And every atom poises for itself,
And for the whole. The gentle Mother of all
Showed me the lore of colors and of sounds;
The innumerable tenements of beauty;
The miracle of generative force;
Far-reaching concords of astronomy
Felt in the plants and in the punctual birds;
Mainly, the linked purpose of the whole;
And, chiefest prize, found I true liberty,
The home of homes plain-dealing Nature gave.

The polite found me impolite; the great
Would mortify me, but in vain:
I am a willow of the wilderness,
Loving the wind that bent me. All my hurts
My garden-***** can heal. A woodland walk,
A wild rose, or rock-loving columbine,
Salve my worst wounds, and leave no cicatrice.
For thus the wood-gods murmured in my ear,
Dost love our manners? Canst thou silent lie?
Canst thou, thy pride forgot, like nature pass
Into the winter night's extinguished mood?
Canst thou shine now, then darkle,
And being latent, feel thyself no less?
As when the all-worshipped moon attracts the eye,
The river, hill, stems, foliage, are obscure,
Yet envies none, none are unenviable.

My poem lay
in fragments
over my desk.

I tried to sculpt it to my will
but it only cut
my flesh -

tried for hours, days, weeks,
slicing myself more, coating it
with my dried blood.

Hordes of flies reveled in my poem.
Disease infested, it only grew
until that came

blasting through
my dead-bolt door.
Your toad of a poem arrived,

feasted itself on my massive poem
unyielding, even when it grew full.
It wouldn't stop

Exploding, a sickening squirt.
Flies, blood, entrails,
bile, and shards

enveloped me, my house
with a vast loden fog killing
my neighbor's pit bull.

I called you on the phone
said ****
said I had a twenty pound sledge.

A twenty pound sledge
and was coming over to thank you.

At the Berkeley protests,
the streets smiled with
sledge-hammer teeth
chomping away for peace.
Windows were smashed,
trash became the air
     in flags of ash,
police in riot costumes
picketed the peace
     like a fence
teaching the pretty
     protesters a thing or two about place
but the tear gas said it all first:
the system is broken.

Blank
They stare at me
Oblivious
To the rage below

Congregating in corners
They plot against me
Sadistically
Blocking out the world

Chained
Voice eludes my tongue
Hoarse from silence
Deafened by its echo

Determined
My will hammers away
Rhythmic
I will not succumb

Heart beats or sledge strokes?
I will break free

pick the ending- 1 or 2 and any comments


standing at the bus stop chilled to the bone
just now realizing he was all alone
everything in his life had been destroyed
when he lost his little boy.

a father who is single trying to make it in this life
no family members and no wife.
his sons life had been taken by a drunk driver that day
when he sped through a red light
as he tried to get out of its way.

too many memories does he face-that he has to leave this place.
so many memories flood his mind
as he thinks what could he have done if he had the time.

the driver has convicted of drunk driving but not jailed
the judicial system to him had failed.
his son was dead and his life was shattered
nothing in this life ' now mattered'.

#1-  two years had passed and he would now get revenge
the life this driver knew would soon end.
he staggered out of the bar and headed to his car
when the sledge hammer hit him across his knee
then another blow on the other knee, as he started to scream.
two more blows on each leg, and on the ground he would stay.
stuck in a wheel chair for the rest of his life
he's now paid the ultimate price.

                    or #2
he prayed every day for justice for his son
this man was still drinking and driving
and nothing being done.

the question always entering his mind
is this judicial system so doggone blind?
why wasn't this man taken off of the streets
are they waiting for more bodies in a crumpled heap.

yet! he always believed ' what goes around comes around'
and his justice will be found.