Peeing: to ***; to urinate; to release the body of its liquid toxins; to pass or discharge *****; characteristically yellow- the strength of the color depending on the body’s hydration.
People have strange habits when peeing; urinating; releasing the body of their liquid toxins. Some people procrastinate it to the last minute and rush to the bathroom, barely yanking their pants down in time and shuddering in relief. They are those who habitually whip in and out, even when they don’t really need to. There’s the common usage of an escape from boredom in classes or meetings. Perhaps it even causes a slight blushing in the cheeks of painfully shy woman at hearing rushed tinkling so close by. And of course, they are also the people who love to leave surprises for the next person who uses the bathroom.
All in all, peeing seems to mean not much to people – a small part of life; but a very, very necessary part.  

                                 *                 *                    * .

The rain poured furiously outside the window as Emily sat, straining her brown eyes against the whiteboard flashing images of trigonometry from Mr. Well’s laptop, trying hard to concentrate. She was sitting in her usual seat in class, and also her favorite. It was a solitary table with a chair, away from the clusters of tables and the chattering children, and the only chair by the window. She liked to look out the window, even if it distracted her from Mr. Well’s loud explanations. The booming of “SOHCAHTOA” in her ears became distant as the wind’s movement caught her eye. She gazed out on sheets of rain flapping across the sky like giant teary spirits and pressed her fingertips on the glass. Cold.
Absent-mindedly, she pressed her cheek against the coolness and felt it absorb her body warmth. Her imagination kicked in and the glass became a panel of energy, ******* a little life from all those who touched it, vibrating with a strange purple light until it was so filled with energy the particles of the glass would explode and she would be the first to die from the sharp shatters that would spray across the room, causing droplets of blood to-
Ahem.
Mr. Well coughed meaningfully at her dreamy face. The class exploded into laughter and the bell rang. A skinny girl smiled at her but she was so lost in her own world, she forgot to smile back as she slung her bag on her shoulder and ran out. Maybe that’s why she didn’t have too many friends.
The dark skies were pouring furiously as only Bangkok in Monsoon weather can.
A walk home or a motorbike ride? A motorbike ride would be a little dangerous in this flooding… and with that reasoning she waved up a motorbike. The seat was soaked and so was the driver, whose brown leathered feet struggled to keep red flip-flops on as they sloshed through the flooded Sois.
Fat water bullets pelted her skin and the wind blew them ferociously into her face till her eyes stung. The motorbike swerved in and out of the cars stuck in traffic (slightly floating), the bottoms of their wheels immersed in ***** water.
The pockets of her school shorts were hastily rummaged through and she pulled out a soggy green twenty-baht note bank before running into the shelter of the lobby, dripping over the marble floor and completely drenched. The building-maid widened her eyes, and watched her horrified; knowing it meant extra work mopping and drying up the lobby floor as soon as Emily vanished into the elevator.
The plastic button with the circular metal piece glowed orange. It was strange how she was shivering with cold but her touch was still warm enough to light up the elevator buttons.
The usual itchy, impulsive, restlessness was building up inside her from the wet motorbike ride. Thunder roared and crackled through the lobby’s swinging glass doors and they vibrated slightly. Another flashing image of splintering glass splashed across her mind and in the split-second, she saw the diamond shards pierce the eye of the lobby’s guard and splinter across the floor-
She shook her head. This was what happened when she had too much pent-up energy. She had to do something- something reckless and fast and dangerous… now! A bolt of lightning went through her as a familiar wide open space came into her mind… the rooftop of her thirty-five floored building.
The elevator ride up was slow, much too slow for the fast pacing of her heart and she hit the metal doors with wet fists. Tearing out of the doors when it finally jolted to a stop, she climbed up to the top, running up the stairs two steps at a time and caught her breath. It was flooded up to her ankles and violent gusts of wind made her steady herself.
Emily’s Dad often told her stories of when he was child. “The winds in my home during Monsoon season were so strong we could lean into it with our fully body weight and we wouldn’t fall. It was almost as good as flying.”
Her lids squinted shut and the sensitive skin was immediately exposed to the pebbles of the rain and whipping wind; and in almost dream-like state, she leaned into the howling wind.
There was a comically slow fall and her bony knees hit the concrete flooring with a dull thud. She burst into tears of laughter in her own stupidity at thinking the wind could hold up against her gigantic frame and rubbed her ***** knees sorely. Reaching up to wipe her tears with muddy fingers, she laughed to herself again. There was no point in wiping away tears. They were so trivial in comparison to the current weeping of the skies.
Against the thick opaqueness of the wind, she could see how the view towered over a jungle of buildings as far as the eyes could see, with snaking concrete roads and skinny black canals. Slums scattered around nearby swanky hotels of the rich. The buildings faded into small dark shapes in the distance. Bangkok.
No matter how tall and industrial it tried to become, everyone ran for cover under this blinding rain.
Up here, completely a victim to nature’s power, she felt exposed; naked; real. The animalistic instincts inside her swelled up. Humans weren’t meant to wear these annoying pieces of material or shoved inside skinny architectural designs. With aggressive tearing motions, a pile of soggy clothes half lay, half floated on the flooded floor beside her and she stood there bare… and completely naked. Laughter spilled out from the depths of her naked chest with the two tiny hints of possible womanhood; it was louder than thunder. Screaming, laughing and gasping she stumbled around – climbing over objects and feeling the beautiful dizziness: a sweet, sweet dizzy. She stood up on a random block a meter high; spread her arms wide as her wet body shone with raindrops. The rain threatened to push her over, her soaked hair twitching heavily on her neck.
She ****** in her breath, ready to yell so that the heavens could hear but instead, the voice that came out was controlled with a shaky undertone of joy,
“I need to ***.”
And then she did.

                                                *         *            *.

His eyes are brown. Dark chocolate brown – a simple, solid color. Simple and solid like him.
Because he was so simple, people enjoyed his companionship. Though he was simple, he was not boring. Rather he was sharp-mouthed, quick on his feet, witty and observant speaking bald truths about people that either provoked them to scandalized laughter or humiliated fury.
What some people forgot to recognize was that he didn’t really love anyone. Plenty called him a close friend, but so absorbed were they in their own world; they seldom realized the fact that most of his thoughts were concealed. Kept in a little box of surprises in the back of his mind, and hidden so well nobody knew they existed.
He could spend months with a friend traveling in a different country, and return back home with no feelings of attachment. He could care for a friend while they were here and not really miss them while they were gone.
Most of the time his eyes were neutral and observing and they would sparkle amusedly when he had provoked someone with his words. This was how remained to almost everyone; everyone but one person. The one person that could turn his normally calm face even more still, the dark brows would rise slightly and a quick flash of fire would shoot through his eyes- and for a long while, they would burn slowly like two twin coals; the one person who could cloud his eyes dreamily; the one person who could make them glint wetly.  
He reached over and grabbed her hand. Emily turned smiling eyes at him.
A group of teenagers were strolling down the closed roads, armed with water guns, pasted in thick white powder, thoroughly drenched in the hot, dry weather and skipping over puddles (except for Emily who splashed into them).
Songkran in Bangkok: celebrated in the middle of April where temperatures reach forty-degrees Celsius, Thailand’s New Year and a time to pay respect to the elders in the family, but as most traditions, they became really just an excuse to enjoy oneself and in this case, one-year-olds to eighty-year-olds roamed the ***** streets splashing ice-cold water from hoses and water guns and smeared each other with chalk in buckets.
The street they were being shoved along was crowded with slick, drunk bodies. The heat of the afternoon sun shone down on their backs. The sign that introduced excited people in was sprayed by a passing pick-up truck filled with screaming locals. “WELCOME TO SOI COWBOY” printed the red letters.
Red-faced fat foreigners held in each arm a tiny ******* with their bright lace bras showing through the wet see-through shirt and their black eye shadow playing havoc with their cheeks.  Country-side Thai music blared in its jumpy, quirky manner with the over done sound effects. Those nasal voices of dark skinned women with their skins covered with make-up to an ashy white whined out of the stereos. A man with the head of a buffalo mask sauntered past. It was a mark of how wild things got at Songkran that eyes merely flickered over the shirtless buffalo briefly with a quick laugh. Transsexuals clad in diamond-studded flip-flops, wet white tank tops and mini jeans shorts the size of underwear danced to the blasting music from the open pubs down either side of the road. Their surgically-made ******* were all-too visible in the white shirts, their dark ******* poking out as they grabbed the crotches of good-looking men and boys that passed by, squealing and rubbing their bodies against white men especially. Most of these white foreigners had a look of bewildered pleased ness... for only a few realized that underneath that squeaky voice was a very deep rumble, and underneath those lacy thongs lay a very big surprise indeed.
One of the better-looking boys in the group, his green eyes and pointed chin drawing the fancy of many hookers, was pulled off by four pairs of wet skinny arms touching him and yelling in broken English, “Oh so handsome! You so handsome! I love you! What your name! You tell me your name, handsome boy!”
The handsome boy proceeded to manage some sort of scream for help while laughing until his stomach ached. It was Songkran; it was a merry time, and he knew he was good-looking. Kat, who held a secret crush on him laughed amusedly at his yelping.
Emily stumbled after him with Kat and parted through the crowd of ladies in time to see a tiny little ****** trip on her squeaking flip-flops and fall beside a sprawled figure, face down in the ***** road with a massive bag of ice on top of him.
“Hey! Are you alright?” Emily cried, half-amused and half-concerned, lifting the heavy ice bag off his shoulders.
Kat rushed forward, laughing but compromising her concern with furrowed brows and helped him up. “You okay Tom?”
He whimpered in pain and put a hand on his neck, rubbing it sorely. “That ice bag was ******* heavy.” The girls decided to make no note of his skinny arms.
They walked back to their group of friends who turned around and saw a limping green-eyed boy and roared with laughter. The noise caught the attention of predators searching for a good target and they were hosed down with water pipes.
Suddenly Emily felt a huge body lift her up and swing her around while hands plastered her with wet chalk.
“Emily!”
She felt safe hands grab her and looked up into the pair of dark chocolate eyes. They were a little annoyed as they flickered over the fat drunk man who released her heavily but it was Songkran, and he managed to laugh at her bewildered expression.
Just then they passed a horde of prostitutes and she felt him being ripped from her. “I like this one!” screeched a passing market lady who rushed in to jump on him. “I like this one! Let’s keep this one!” They dunk his head in a bucket of white goo.
She screeched with laughter and even at something that silly, felt protective of him. “Brad!”
He was too busy being attacked. “Brad!” she tried to reach in and he opened his mouth to call out to her. That was a big mistake, he realized, as he received a handful of powder in his mouth. Spitting, coughing, and trying to breathe through nostrils blocked with powder he managed to wipe his stinging eyes clean. The prostitutes released him but not before a huge ******* screamed with glee at his straight nose and thin red lips, and reached forward giving his crotch a good grab. He screeched in genuine disgust and fear, had a moments feeling of guilt in case he had offended the ******* which was immediately wept away as he, no she, no it, yelped joyfully and massaged his **** before trotting off to his, no her, no its next victim.
Where was Emily? With his height, he managed to see a brown head that stuck above the other dark-haired and light-haired heads being jostled out of the street by the moving crowd. He ran to catch up and grabbed Emily’s hand as the group of teenagers tripped out of “Soi Cowboy”.  
They stood for a moment catching their breath. Zoey, a tiny little girl with a chest that threatened to put her out of balance, pushed her brown curls out of her face. A red glow was starting to spread over her cheeks.
Kat laughed scornfully, her wide smile spreading generously over her face. “Sunburn?! You white girl!”  
They had all been out around the streets since early morning and it was late in the afternoon now. Rose’s cheeks were flushed and the tip of Kat’s nose was a little pink herself. The rest of them, with their darker skin, had tanned slightly but unnoticeably. They laughed at Zoey for a short while. It was an interesting group of friends: all of them of mixed heritages from around the world with different backgrounds that became common in the world of International schools. It was alright to tease Emily’s honey skin; it was funny to crack jokes about Stefan’s hairiness; it was hilarious when Zoey tried to tan.
Emily shot a picture of everyone laughing: their clothes wet, their faces scrunched up, eyeliner smudged (Kat and Rose had lined their eyes with water proof kohl that of course wasn’t really waterproof), their cheeks and chin caked a crumbly white.
Kat and Zoey clambered over her shoulders, peering at the little digital screen of the water proof camera. “Ew! Gross!” yelled Kat who was only used to pictures of her lips rosy from lipstick, camera at a flattering angle with a bright flash from her professional equipment that made her black-lined green eyes sparkle like emeralds.
“Delete! I look sick!”
Even Zoey, who admired Kat’s photogenic ness to a great extent, could find no words of solace except to say, “Me too! I look gross! Delete! Now!”
Emily just laughed and said, “No you don’t.” Of course it wasn’t a type of picture they’d profile on Facebook, but all the same it was beautiful with their wild-looking and uninhibited faces and un-posing body shapes, curled up in laughter.
Zoey snatched the camera from her and they fiddled with the buttons till the picture was deleted. It was regretful, annoying, but not unexpected.
Emily rubbed her sore knees and noticed how Tom was still rubbing his neck sorrowfully with Stefan laughing at him, shaking his head wearily. Brad was holding onto her arm a little tiredly, Kat and Zoey had their arms wrapped around each other’s shoulder for leaning support and Rose and Emily’s younger brother, Jason, were standing together, staring absen

Perched upon a corporate throne,

We march into the great unknown

As wasted words of gossip drone

And steel replaces brick and stone.
Soon you find yourself alone

In crowded streets with a global phone,

Doing a random strangers bidding.



A means to an end they say,

As poor men die while rich men play,

When honest work brings modest pay,

And doesn't last 'em through the day

Though profiteers in moral grey 

Flood the airwaves to in turn say,

"Our wealth simply paves  the way,

Tomorrow is your salvation day,

You want peace? Then war is only fitting."



Look and you will see

Money buys democracy,

The Citizens United, see?

If we knew the truth, would we agree?

Those answers are not  going to be

Yes or no but more likely

Maybe, perhaps, or possibly,

Because in reality,

Right and wrong are just kidding.



To those who fret the plagues we face,
Yet believe we can change this place,
Who stifle doubts about the Human Race,
And yearn to be together in this chase,
With subdued pride and envy, in every case,

Seeking common goals to found the base,

May we lay the evil plots to waste,

For evils clients who once stood are now sitting.



The time is now, make a stand
,
Pull our heads out of the sand

Call their bluff with a hidden hand

Of virtue they don’t quite understand,
Defy procedure’s they have planned
,
Unite across the lines that brand,

Refuse all prejudice, none may be accepted.



Some know for they already looked

And the flow of money keeps them booked,

Takes but once to have them hooked,

Setting the table with food uncooked

For others whose foundations shook

Are pitted against the small time crook

Hoping only that we be protected

.

Hark the sounds of rebellious cries

For those that call, they realize

All that lives sure enough dies
But when displeased we close our eyes

To the masters of disguise

Who think their profit justifies

The invisible hand growing in size

While their strings attached go uncorrected



They kept us quiet all the while

Waiting with numbers dialed

To put the innocent to trial

Lining up in single file

To be cast into the same old pile

None willing to lay down their tile,

Casting shadows upon their guile,

The double agent mercantile,

Lobbying candidates to endorse.



All I ask, is to what do we base belief?

Dying children get no relief

Oil poisons the coral reef

Prophecy of the fallen chief

Given a thought but a bit too brief
Together a tree, alone but a leaf
Although it is all who feel the grief

Of our actions consequential course



Corrupted elites discuss our goals

So we continue to dig our holes

To depths that darken souls

Rigging markets to decide our roles

Assumptions made so that greed controls

They draw their graphs till the pencil dulls

Then add a factor, see how that goes

Without even the slightest feeling of remorse



Growth is sacred, but is it moral?

Strengthen reason yet we quarrel

Over falsities of ***** oral

Arrangements like that of floral

Remedies but not doctoral

Blood of fallen lives pastoral

Remind that we’re all mortal

But all thereafter bear the force.



So please tell me at what cost?

In a moments past our objectives lost

Compassion was our hand now tossed

Lines we’ve drawn, lines we’ve crossed

How much dirt can be washed

From our conscience we exhaust

Before shattering glass of fate we sloshed?

Working from the scattered pieces back to the source



It is us who blindly lead the strut

We are the source and nothing but

Whose center point is one giant rut

Where false desires cracked and cut

And the selfish feed an endless gut,

When our culture begins to split and jut,

We might finally ask... It was all for what?

i can't stop feeling this pounce of melancholy,
and i mean: it's like a lynx pouncing on my chest,
i can't even claim a clinical dimension to it,
it's a sadness that comes on two fronts...
   it's a sadness that i left Poland when i was 8,
and the greater part of my life was spent
using the English language...
         and i find the Anglophone world so devoid
of consistency... all this post-truth
          labelling...
       this throwing of the cartesian maxim the other
way around, the "i am" really does
   predated the "i think" scenario on the hopes
of asking for a genesis, a (0, 0) / (ο, ω) coordinate
beginning... yes, i know more of a dougnut
   and less the orbit of a planet in the latter case...
     i can't believe i'm getting this technical -
but it sometimes happens, you know?
i don't really like it... i'd love to write about less
claustrophobic matters, less constrictive intellectual
matters... and before you shoot me down
by denouncing the crass lack of motivation -
                i am frail in undertaking another "poem",
and i mean that as a way of saying:
              terse narration and no claim to technique,
or at least that's what i know is modern...
           i watch the following list of videos
as a sort of freak-natured lullaby while drinking
Obey the Walrus         I FEEL FANTASTIC
Agamemnon Counterpart       Username 666
Cursed Kleenex Commercial      There is nothing
Performance Olivier de Sagazan 2008  
     The Wyoming Incident        My Dead Great
Grandma’s Coffin in My Own backyard!
K-Fee Car Commercial       Pretty Woman
Fatal Diving Accident        Girl Goes ****** During
Makeup Tutorial       Paris Catacombs Lost Footage
Shaye Saint John – Hand Thing (yes, copy & paste
given the uppercase lettering, i can be lazy
once in a while) -
                          so i do see a lot of potential in
these clips... if you can't dazzle them: might as well
scare them...
                      but i watch them and then write
a native-language poem while listening to
    music accompanying a zbigniew herbert poem
by tadeusz woźniak - and i get all nitty gritty
when using a language i should have forgotten
aged 8... and i type one out and i am brought
to tears with it... and then it vanishes from the html
blank...
             and then a deeper horror sets in,
which Ezra Pound would have liked
and it merely means: ten quotes by Horace,
a video, with only 230 views on youtube...
                    no one would dare say carpe diem
like a cliche after seeing this video...
             but still the sadness persists...
and i can't make it systematic, not systematic in
the sense that it might appeal to the zeitgeist of:
the January blues, or... i need the pharmacological
rainbow...
        i have a miniature vineyard... enough for
35 litres of wine... and i make the wine myself...
i pick the grapes...
i crush them, i buy the yeast, i melt the sugar until
i get runny sugar-thick water,
   and you know? out of the 5 litre holders for it...
i get about 10 pristine bottles of wine,
roughly in the range of 15% a pop...
                   from 35 litres i get about 10 pristine bottles
of wine... quality-wise: the stuff you'd expect to
buy in a shopping market...
       and that's the sad part...
it bothers me that i've waited for long for the wine,
i might have mentioned it a few months back that
i do actually make my own wine... but given the addiction
it's a product that could only last for something
worth celebrating...
                     these days people speak of a marathon's
worth of abstinance from the stuff for a month...
    which is a bit sad, given that if people ventured
into producing their own alcohol, they'd have
a Dionysian month of binging on it... and then having
11 months being sober... until the natural cycle comes
back, like the rare event of a comet...
    i'm sad i lost a few poems on the way...
but i'm also sad that the drinking should begin by spring
and that i'm ****** already...
                  that i'm still buying whiskey,
and when i do actually drink that one bottle of clouded
wine today, i'll feel a sense of the most minute accomplishment...
   i can't stop facing this industrialisation of
everything... whether it's alcohol, or art...
   or intellectual debate...
   sure, i'll listen to Breitbart for a bit...
then i'll listen in on how we've began mutilating
language... then i'll think of god, and recount
kant's concept: imagine the pangs of despair i felt
reading through the second volume of the critique -
if you do: you'd be surprised by what's involved
in transcendental methodology...
    what could possibly obstruct you in the existence
of: said word... not enlarged in religious practices?
   i am comforted by the fact that kant deals with
god on a non-religious basis...
    religious i mean: worthy of a reciting only one
book a thousand ******* times and building churches...
if god is merely lodged in your mind and allows
for a narrative, who is sane enough to take that
narrative initiative from you, considering the fact
that you're not bound to kneel and read only one
book a thousand times as if that one book held
the sole capacity for your vocab exfoliation and learning
of the alphabet?
     how can you ever be bound to a cognitive detestation
of god? that really must be painful...
considering that thought is so ****** whimsical, frail,
   picky, panicky... give it all you want...
you can't establish a cognitive detestation of god
  on the simple ground that thought is being bombarded
by a 5:1 ratio of the senses versus 1 non-sense -
    which god evidently is: given the numbers of
the good-church going folks... kneeling lunatics i call them...
but the simple fact that you want to do a lobotomy on
yourself with atheism, is a bit like saying
you'll censor the mathematical statement 1 + 1 = 2...
      at least the concept of god is: language exists...
and can i add to that? if a being as such exists:
he wouldn't consist of games... the verbal colliseum
of anagrams and crosswords... language you seize
to be entertaining... it would spell out a clear
format: a x, y, z      vector precision:
    starting from point (0, 0) moving to (1, 1),
  (2, 2)        to ( 5, 5) etc. you'd get a y = x graph...
   not a ******* parabola of nuance and political
chess... or nuanced ***...
                    and is that a.i.?
           well: the french question about man inventing
god because it would be useful is much better said
these days since we we have the capacity to create ourselves...
and given how it looks: i'm going to be a caveman
trapped in a two-dimensional world of the collective
consciousness by the time the true avant-garde in this
medium starts... creating a god became boring...
so many had to recreate himself in the robotic form...
    man is currently needing this exploration...
forget the space project... it's a case of definition...
but i'm still melancholic about the wine...
     i've been waiting to sniff it and feel the sharpness
of the alcohol for a good 3 months...
       and i really wish i could write in my native tongue
so easily as i do in my acquired tongue...
     i'm sad because i'm drinking the whiskey
prior, rather than getting completely sloshed on
what alcoholism looked prior:
    it's that curse of town insomnia and how we don't
celebrate enough of what comes with natural
cycles...
              which means that ontology is dead...
given we've managed to tame the seasons...
  means that any ontological question, based on
the cycle of wine-making, brings us to a more dreary
position than with nietzsche's god is dead...
look here: at least you have something tangible...
   you can't erase god from thinking...
it's the primost a priori essence of every, single man,
it's not an a posteriori fact,
god is there, in that a priori medium like space
and time...
                              and why do people never claim
that god can contain a dualism, primarily because
the herd is encapsulated by a monotheism?
              if god could ever be an a posteriori you'd
be forced to experience some sort of revelation,
and later encounter the evil contained within the concept's
dualism, so in actual sense: be considered mad:
for not making certain choices in life and wishing to
reach for the pulpit... mind you: i had such an experience...
and my life didn't become better for it...
     evidently i should have pressed harder for
the ontological argument of: marrying the girl...
but then the same ontological argument came back
to me when i started making wine...
                      meaning i could produce alcohol
on an industrial level... and forget any ritualism involved
in consuming it prior... since i would only be
left with an addictive socio-pathological use of the
once celebrated, collective engagement by waiting for
autumn to ferment and keep me warm through
the winter... which i suppose is when all the Greeks
were kept together... drinking and ******* rather
than bother to exploit natural resources like gas and oil...
but hey! that's just me...
         but there's a sadness behind this...
start making your own wine and you'll see it...
which is to say: i don't know whether i'd have lived
a happy life with my russian fiance...
             i have only a quantum idealism to mind
expressed by fanciying myself counter to the history
i'm writing right now...
    so why is god as a priori bound as time and space?
well... why would you otherwise get so many eager
atheist gobs to reach for an argument?
                  i find that the most authentic atheists are
murderers... why? they have transcended
    the cognitive debility of an atheistic argument...
      i'll prove god does not exist by "thinking" about it...
my my: what a lovely congregation you have there!
      i'm not even trying to be clever here...
  well... there's an antidote to this scenario...
               so he's permanently lodged in our a priori
  "consciousness" (might as well do away with psychiatry
******* about with its three-layer cake of
con- subcon- and uncon-) -
                   and he's not lodged in our a posteriori
"consciousness" - i hate becoming the fiddler on the roof -
because what then? experiencing the omniniscence
and the omnipotency and whatever other trait that ******
thing does, would translate as what?
     at best a monotheism... or a place where people concentrate
in numbers... not necessarily worths of being beyond
the estimates concerning their congregation...
            it's dangerous to claim a god in the a posteriori
realm...
                that's why the safest place to keep him is in
the a priori realm... where all the big things happen,
or don't happen, depending whether you're from New York
or Hiroshima...
                    and following from kant's distinction
in transcendental methodology concerning time and space...
and god...
                 it dawned on me that he did see a distinction
between mathematical language and the lingua of
  doodling and anagrams and all those poetic jives that
give no precision...
    if time... then space...
                    if god...            then nothing...
and how are dual in the a priori realm...
       only that with regards to time and space
i'm more likely to throw a 1, or a 2 into conceptualising
these things, than i am to throw an a, or a b into it...
    algebra is secondary in talking about these two mediums...
why? because i'll get a definite rationalisation of
time and space... if i tell you the fastest man on earth
can run 100m in under 10secs...
                       if i throw in x y z into this: i might as well
end this whole narrative with: oi! Zeno! give us
that Achilles joke!
                when i mean god i mean: medium of
communication... that's not necessarily a democratic
omni-versed plateau of sponging everything every human
has to say...
       but i primarily throw 1, 2, 3... 4, 5... 8, 9 and 0
into the a priori conceptualisation of time and space...
  but if i do the same when i throw in the other symbols
into the a priori conceptualisation of god and nothing -
sure, mathematical symbols can be phonetic encoding,
as one, two, three, four... five, six...
          but apply them as one two three four to time and space
and there's no way to rationalise time and space,
because time and space is met with a nonsense
in dealing with a phonetic encoding of 1 (as one) -
due to the vacuum of space... and the timelessness of
    time as a ref. point fixated upon... let's just leave
it with the vacuum of space... 2 overpowers two (because
of to and too), 3 overpowers three (because of free)...
4 overpowers four (because of for)... not only that:
but they're more about photographic memory
and visual conceptualisation ease - no one really bothers
   a - z to be anything more than: what they actually
are as phonetically: awaiting pronunciation.
sure... letter can become mystical in a sense of:
   y looks like a tree (other than pine),
           H is a rugby goal...
                               w is a cosine graph...
                    y is a serpent's tongue...
              but that's mysticism and that's also: fair enough!
what bugs me is the opposite of the a priori
magnetism... as opposed to space and time...
god and nothing...
     well... if i throw 1 and 0 into a priori thinking
about working time and space...
  i'll get, say: 365 days in a calendar year...
               or that the acceleration of earth if 9.8 metres
per seconds squared... (cubic gravity evidently
becomes a bit pointless -
                                        imagine it:
   9.8m/s(superscript)3...   or 9.8m(superscript)2/s...
or whatever variation...
no wonder the chemists got the ****-end of the stick
when they were told they weren't allowed into
the heaven of superscript... but sent to the subscript hell
of writing dwom oxygen... ah shame: Faust! i'm coming!)...
yes... but throw 1 - 0 into the a priori
"conceptualisation" opposite of time and space,
i.e. god and nothing... the best answer you can get
is matthew chapter 1 verse 8... or SIX SIX SIX!  boogie man!
well... not... you throw in the symbols α - ω
into the a priori "conceptualisation" of god & nothing
and you get, e.g.: δατυμ -
which basically means: it can't be meaningless -
       otherwise we'd be stuck with animalistic intuition
and intelligence, overloaded with sensual intelligence
and not marred by the murk of thought...
  how this devolution happened is beyond me...
  no amount of wit makes up for the sensual sharpness of
a monkey shouting at a congregation: spy! snake!
and all with the bare minumum of phonetic distinction...
    thus α - ω are slightly meaningless when it comes
to time and space, i know these symbols to enter
this a priori venture, but we're still primarily talking
about using 1 - 0 symbols to get at the knitting-work...
just like in verse, i say of a crossword
    sound of Valhalla (4),
                 and you say: 1 across... horn!
                              and then we get the pretty picture.
3a.m.
       and the wine ritual is about to begin...
      

We drink. We love. We drink to pretend we have love. We fake love to feel loved. We know very well what we are doing. We have no idea what we are doing. We gather in groups. We push outsiders out. We know very well what we are doing. We can’t get a hold of what we are doing. We hate each other. We hate ourselves. We hate outsiders. We love our lives. We very well might hate our lives. Stockholm. We drink. We love. We **** ourselves.

We slosh through days. We get sloshed through days. We could be certain that we love the way we slosh through sloshy days and pretend that we have it under control. We have it under control. Do we have it under control? In thirty years there will be a phenomenon. We will all drop dead. We will all drop dead and we will think back to this time when we hated how much we loved our lives because we loved the very lives that allowed us to hate each other and wish we were the outsiders. We push away the outsiders. We are killing ourselves.

Then there are those who are unaware. There are those who might be naïve enough to think this is how the rest of our lives will play out. There are those who believe that the rest of their lives will consist of sloshing through sloshy days and pretending they aren’t killing themselves. And then there are those who very well might have the lives that allow them to slosh through, living and dying because we are killing ourselves. Peter Pans. They will not make it to thirty years before dropping dead. It won’t be a phenomenon at all. They will **** themselves. The outsiders will live on.

We do not know what love is because love is sloshy. Love is sloshy because our minds are sloshed. We pretend that what we feel is love. We pretend that these people are our friends and our lovers and they watch us **** ourselves and they **** themselves and we are all dying together. We are dying for love. We are dying to live. So we slosh through our sloshy days seriously not giving a **** that we are dying. Seriously giving too many ***** about what others think. Seriously ******* around. ******* around is serious business. ******* each other. ******* up. *******. *******. *******. We are killing our plans. We are killing ourselves.

We know very well what we are doing. Except the few that have no idea what they are doing. We live in the moment and pretend not to notice that in thirty years we will all drop dead and the outsiders will live on and love because we kept them out. We kept them out and saved their lives. They resented us because we ***** up and ***** around and ***** each other but we never ***** them and it saved their lives. We resent them because they live. We pretend we do not resent them because we think they don’t live. They don’t live like we do.

We pretend to love our lives. We love our lives. We think we love our lives. We do not know what love is because we are *******. We do not know what love is because all we do is *****. We do not know what love is because we are dying and we know very well that we aren’t well, so we hurt each other and pretend that it is the outsiders we hate. Pretend that we don’t envy them because they aren’t dying.

Some will get by. Some have plans and money and parents to put their screws back where they belong, so that their bookshelf can hold up the book of their life that was written for them. They will live on and slosh through their lives and make money and make babies and make fake substance. They will get married and get jobs and get divorced and get depressed. But they will be rich. Their lives will not be rich. They will be rich but they will lack richness. These people will have everything. These people will have nothing. I will have nothing. But I will have everything. If I do not **** myself the way that we are killing ourselves.

Why does time ***** us over? Everything is changing. Everything is staying the same. People are sloshing by with their sloshy minds. It will remain this way. The way it has remained this way for as long as we can remember it remaining this way. We have terrible memories. We have wonderful memories. We have these memories and then we have some memories that we cannot remember. We will get by. We will get out. We do not want to get out. We do not have a choice. Do we have a choice? I need to get out.

We do not want to leave the lives we hate but love because we are sloshing through and pretending we are rich. We are not rich. We are salty. We are salty and messy but we are happy. Are we happy? I am happy. Sometimes I am happy. Sometimes I slosh through my sloshy life and wish it were over. I never want it to end. I am the some that are naïve enough to have hoped this would last forever. We are the Peter Pans. If we never grow old we can never drop dead and blame it on the time when we hated that we loved this sloshy exclusive mayhem that we call life. I survived my youth, I will get out. I do not want to get out. I hate the love I pretend to love because I hate that I love it so much. Stockholm.

I ran over your tongue
like silk
or is it
fine wine
You sloshed me in your mouth
tasting the way
I ripened with age
I danced with your taste buds
I thought I did well
but then
you spit me out
and decided you preferred
the 2010

T*hree seventy-five. At my current muscle weight, that’s the amount of force, in pounds, with which my fist smashes into my opponent’s face. Flesh molds against my knuckles, vessels rupture under the impact; I am that unstoppable object, that destruction you can only watch. I am that confused, hurt, angry child. I channel it through my arms, conduct it through my knuckles, watch it spark and jump from fist to cheekbone. This is the therapy I so wantonly crave, so needed. The only place I can vent the full wrath of my frustration upon the world; or…at least, a single member of it….

Jump back three days.

     *Why can’t I see you more? I text her. Because I don’t want a relationship. She says. I don’t need a relationship. I just want to see more of you. I tell her. I’m afraid I’ll invest too much. She says. I don’t understand. Is that a bad thing? Seven years of friendship, two of off-on dates and rendezvous. How could you get more invested? What else can you spill after your hearts in a pool at my feet?
I drank a lot that night.

Jump back four days.

     I’m coming out that way. What are you doing tonight? I always initiate…everything. Always the first question, the first proposal, the first, the first, the first. Am I that threatening? Going out with friends. Homework and going out is all this woman seems to do. Maybe one less night with friends, one more with me wouldn’t hurt? Cool. Celebrating a birthday with friends, we’ll be out and about. Maybe we should meet up? If I’m here, she’s got no reason to refuse me…right? I thought distance was our only problem. Maybe it isn’t. I don’t know. I don’t want you to see me stupid drunk. What a stupid excuse. I actually want to see you stupid drunk. I will at some point if we keep things up.

     Long story short, a guy she sometimes ***** is going to be wherever it is they’re going, and she doesn’t want to have two guys she’s seeing in the same vicinity. What does that make me? I’m getting frustrated with all this confusion and sideways talking. My group incidentally ends up at the same place they are. I don’t even talk to her face-to-face. I’m such a sporting guy. She goes home...alone, to my relief. I get stupid drunk with friends. But never forget to message her back and act like everything’s cool.

Jump ahead a week.

     More conversations to clear up why I fill only one void in her life lead to more confusion. I’m frothing with it. It’ll be in my mouth soon. Wait…I taste it already.

     “Let’s drink and pick fights,” I say to a couple buds. Two hours out, we’re sloshed and trading licks in a back alley. The guy that had taunted and jostled me in the bar follows us out and picks a fight. Says I’m too drunk. Not worth it. I hide a smile, raise my arms, “Let’s see.”

     Shirts are off. Left hook to my ribs, I pivot an elbow, deflect with forearm. This leaves his side open. I duck his wild right-hand and drive a straight hit into his open spleen. He hits the alley wall. “Still want to take a drunk?” I taunt from my knee. He comes back, still sure of himself. I’ll show you what confidence does to us, my friend. He puts up a boxer’s guard and comes back, more cautious. Friends and enemies cheer and joan around me. I don’t hear a thing. There are thoughts. Dark, confused, smashed together, waiting to be dealt with. I focus on all of it. I focus on his face. I listen to the conversations that leave me more hurt and alone than they should. I lean into a false waltz stance, he doesn’t notice the feet. I notice his. He’s more drunk, on less, than I. Every time you breathe, I hope you think of me. The mass in my mind flows through my arms and legs. I charge and he punches straight where my head should go. I dodge right, grab his wrist, snap in and pull out, stringing him in an invisible flaying bed; my left elbow crosses his solar plexus, throwing him to the ground. Knees pin his arms. The hate, and anger, and confusion, and helplessness dissolve between fist and flesh, arc across the pain in my heart and the bruises and blood flowing freely from a fool....

Never entice a man with a need to portray his problems upon a heedless world.

     His friend steps in and plants a well-thought-out fist against my jaw. The one on the ground is down for the count. My friends don’t step in. They know me. I roll off him before his friend’***** can follow through. Now I have physical pain to channel, too. I grin and my assailant isn’t comforted. This is the release I need. This is my way out. This is what will help. *******, world. ******* girl. **** all of you for your games and your feelings and your mysteries. To hell with why you think you need to hide your heart. Wear it on your ******* sleeves. **** your dishonesty and your insincerity. **** your exes. May you all drowned in your lies and guilt and shame. **** you for assuming I’d ever judge any of you, for not taking my love at face-value, for thinking I had anywhere near the ulterior motives you all harbored. My left hand grabs his left elbow, simultaneously blocking a right jab and flipping his arm out of the way for the full force of my right arm into his ribs. A cacophony of bone and flesh giving way to my wrath meets my ears. He yelps. Never yelp when you’re trying to be strong for a friend. Keep your ****** lips closed, *******. He recovers only slightly before my right meets his face. My arc is perfect: the momentum of muscle as it curves the natural twist of a muscled arm, the darkness of my life gathering on knuckle-tips like obsidian gems glinting in the ***** hallway between worlds of vice and vindication, the cording muscle releasing the pent-up rage of a thousand lives gathered in one body.

     Connection shatters worlds. The horror of life bleeds across his broken window to the world. The reflection of my jeweled nirvana winks across his eyes. See the world I live in, failed rescuer. See the hopeless honor I hold in my *****. Sleep with the knowledge that even when you try, someone will always be there to flash the dark, jaded realities across your eyes…and bring you to my level.

     The other friends won’t budge ‘till I’ve stepped past. They part like the Red Sea for me. My ark is empty until I interact with the world tomorrow.

Brief peace is better than none.

-###-

Once I met a platypus;
I took her to my heart.
We held hands by the lake at night,
And flew kites in the park.

We drank red wine by moonlight,
And closer, by degrees,
Expressed our deepest feelings;
Explored our fantasies.

And then, as these things happen,
There came a happy day:
We took an ad out in The Times
Announcing progeny.

But outrage at the outcome -
Our beloved platy-pups -
Was front page in the tabloids!
What was the platy-fuss?

We gave the papers interviews,
We gave our truth and trust -
But still my Love was slandered
Just for being oviparous!

We formed an equal rights group.
We founded charities.
To educate, to celebrate
Our ovi-parity!

We swore a solemn, binding oath,
Between the two of us
The Wedding feast and party was
Quite monatrematous!


Uncle Mallangong was tearful;
Aunt Echidna was abeam:
The Boondaburra “Moonwalking”
Was something to be seen!

There were Joeys sloshed on cider,
Wombats smoking ****;
Emus snogging at the bar -
Koalas wild on speed!

For sickness, health; for poorer,
Or for great prosperity;
I will love and hold and cherish,
Through all adversity,

My nondarwinian lover;
My mutant, duck-billed Queen!
My unconventional ******;
My monotreme – my dream!

maple-cured, smoked, rawhide hands,
tarantula hands bulldozing rice onto
tines like an icebreaker ramming through

glacial bergs, Holly
Golightly on the tv, on
mute, and oh those hips,

that figure, in that black dress,
banana hands cracking Alaskan king
crablegs and ******* the juice and eating

the meat, legs spindly and hairy
and soaked in butter, dripping,
liver cooking, roasting, sloshed on gin,

cribbage board patinaed
in dust, he eats his liver, downs
another gin, cracks another leg, crab

hair caught in his teeth, Holly talking about
getting the mean reds but he can’t
hear it, his luck run out,

his luck a prize from a box of ******* Jack,
and the snarling throb in his head,
cinderblock face, cinderblock house,

3-day-stubble, has he had enough (to drink)?
not by the stubble of his
chinny-chin-chin,

liver is gone, crab is gone,
so he eats the eyes,
dowsing his ******* Jacks

in gin, yesterday wine-in-a-box
and Cheez-****, sprayed right into his
unbrushed maw, a one-person wine-

and-cheese fête classy as it gets,
he’s Mister High Society,
Cheez-**** crust in his stubble,

and a cinderblock CRASHES to the floor and it’s
lights out, and Holly, still no one
to hear her, saying

she’ll never let anyone put her in a cage.

She spent all her eyelashes
And birthday candles
And 1:11 “close your eyes and  breathe slow” wishes
On one moment
One moment that sloshed around, losing its heat like a soup
Left out too long.
She spent all the soft breaths of dandelions
On one person who’s sleepy skin
Curdled
Under her wilting hands.

The water pooled up at the lowest points on the sidewalk.
The rain gave way to the sun and the random puddles of water now sparkled with life.
My attention was guided to a single puddle.
The puddle had positioned itself right in the middle of the sidewalk.
People were hopping over to avoid getting their feet drenched.
Others sloshed through the puddle paying it no mind.
The puddle was calling out, but received no attention from the people.
A small child heard the call, and approached the puddle.
It was a small boy no more than the age of eight.
He leaned over and looked at his reflection in the still pool of water.
The boy began making silly faces into the mirrored surface.
The puddle responded by making the same silly faces back at the boy.
The boy squatted down and dipped his finger into the water.
Small ripples left from his fingers, and made their way to the edges of the puddle.
He carved his finger through the water making shapes for a time.
The puddle enjoyed the attention, and was glistening.
The boy stood up, and a smile slowly made it's way onto his face.
He then leapt into the puddle splashing water in every direction.
Jumping up and down in the puddle, and smiling the biggest smile the entire time.
An infectious laughter sprang from the boy.
Other's noticed, and smiled and laughed with the boy.
The boy's mother appeared, and scolded the child for playing with the puddle.
The smile left from the child's face, and those watching now walked back into their lives.
The puddle calmed itself back into a smooth surface.
Slowly evaporated, becoming smaller and smaller,  leaving only the dry concrete below.
The puddle would return after the next rain. Calling out once again.
Waiting patiently to give away it's joy.

Villanelle: The Divide
by Michael R. Burch

The sea was not salt the first tide...
was man born to sorrow that first day,
with the moon―a pale beacon across the Divide,
the brighter for longing, an object denied―
the tug at his heart's pink, bourgeoning clay?

The sea was not salt the first tide...
but grew bitter, bitter―man's torrents supplied.
The bride of their longing―forever astray,
her shield a cold beacon across the Divide,
flashing pale signals: Decide. Decide.
Choose me, or His Brightness, I will not stay.

The sea was not salt the first tide...
imploring her, ebbing: Abide, abide.
The silver fish flash there, the manatees gray.

The moon, a pale beacon across the Divide,
has taught us to seek Love's concealed side:
the dark face of longing, the poets say.
The sea was not salt the first tide...
the moon a pale beacon across the Divide.

"The Divide" is essentially a formal villanelle despite the non-formal line breaks.



Villanelle: Ordinary Love
by Michael R. Burch

Indescribable―our love―and still we say
with eyes averted, turning out the light,
"I love you," in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
"I love you," in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that "love" has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
"I love you," in the ordinary way.

"Ordinary Love" was the winner of the 2001 Algernon Charles Swinburne poetry contest. It was originally published by Romantics Quarterly and nominated by the journal for the Pushcart Prize. It is missing a tercet but seemed complete enough without it.―MRB



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



Because Her Heart is Tender (II)
by Michael R. Burch

Because her heart is tender
there is hope some God might mend her, …
some small hope Fates might relent.

Because her heart is tender
mighty Angels, come defend her!
Even the Devil might repent.

Because her heart is tender
Jacob’s Ladder should descend here,
the heavens open, saints assent.

Because her heart is tender
why does the cruel world rend her?
Fix the world, or let it end here!



Villanelle: Hangovers
by Michael R. Burch

We forget that, before we were born,
our parents had “lives” of their own,
ran drunk in the streets, or half-******.

Yes, our parents had lives of their own
until we were born; then, undone,
they were buying their parents gravestones

and finding gray hairs of their own
(because we were born lacking some
of their curious habits, but soon

would certainly get them). Half-******,
we watched them dig graves of their own.
Their lives would be over too soon

for their curious habits to bloom
in us (though our children were born
nine months from that night on the town

when, punch-drunk in the streets or half-******,
we first proved we had lives of our own).



Double Trouble
by Michael R. Burch

The villanelle is trouble:
it’s like you’re on the bubble
of beginning to see double.

It’s like you’re on the Hubble
when the lens begins to wobble:
the villanelle is trouble.

It’s like you’re Barney Rubble
scratching itchy beer-stained stubble
because you’re seeing double.

Then your lines begin to gobble
up the good rhymes, and you hobble.
The villanelle is trouble,

just like getting sloshed in the pub’ll
begin to make you babble
because you’re seeing double.

Because the form is flubbable
and is really not that loveable,
the villanelle is trouble:
it’s like you’re seeing double.



Villanelle Sequence: Clandestine But Gentle
by Michael R. Burch

Variations on the villanelle. A play in four acts. The heroine wears a trench coat and her every action drips nonchalance. The “hero” is pallid, nerdish and nervous. But more than anything, he is palpably desperate with longing. Props are optional, but a streetlamp, a glowing cigarette and lots of eerie shadows should suffice.

I.

Clandestine but gentle, wrapped in night,
she eavesdropped on morose codes of my heart.
She was the secret agent of delight.

The blue spurt of her match, our signal light,
announced her presence in the shadowed court:
clandestine but gentle, cloaked in night.

Her cigarette was waved, a casual sleight,
to bid me “Come!” or tell me to depart.
She was the secret agent of delight,

like Ingrid Bergman in a trench coat, white
as death, and yet more fair and pale (but short
with me, whenever I grew wan with fright!).

II.

Clandestine but gentle, veiled in night,
she was the secret agent of delight;
she coaxed the tumblers in some cryptic rite

to make me spill my spirit.
Lovely ****!
Clandestine but gentle, veiled in night

―she waited till my tongue, untied, sang bright
but damning strange confessions in the dark...

III.

She was the secret agent of delight;
so I became her paramour. Tonight
I await her in my exile, worlds apart...

IV.

For clandestine but gentle, wrapped in night,
she is the secret agent of delight.



Villanelle: Hang Together, or Separately
by Michael R. Burch

“The first shall be last, and the last first.”

Be careful whom you don’t befriend
When hyenas mark their prey:
The odds will get even in the end.

Some “deplorables” may yet ascend
And since all dogs must have their day,
Be careful whom you don’t befriend.

When pallid elitists condescend
What does the Good Book say?
The odds will get even in the end.

Since the LORD advised us to attend
To each other along the way,
Be careful whom you don’t befriend.

But He was deserted. Friends, comprehend!
Though revilers mock and flay,
The odds will get even in the end.

Now infidels have loot to spend:
As ****** as Judas’s that day.
Be careful whom you don’t befriend:
The odds will get even in the end.

NOTE: This poem portrays a certain worldview. The poet does not share it and suspects from reading the gospels that the “real” Jesus would have sided with the infidel refugees, not Trump and his ilk.



Villanelle: The Sad Refrain
by Michael R. Burch

O, let us not repeat the sad refrain
that Christ is cruel because some innocent dies.
No, pain is good, for character comes from pain!

There’d be no growth without the hammering rain
that tests each petal’s worth. Omnipotent skies
peal, “Let us not repeat the sad refrain,

but separate burnt chaff from bountiful grain.
According to God’s plan, the weakling dies
and pain is good, for character comes from pain!

A God who’s perfect cannot bear the blame
of flawed creations, just because one dies!
So let us not repeat the sad refrain

or think to shame or stain His awesome name!
Let lightning strike the devious source of lies
that pain is bad, for character comes from pain!
Oh, let us not repeat the sad refrain!



Villanelles by Michael R. Burch

The modern formal villanelle is a poetic form with a double refrain, although in early incarnations it was simply a pastoral poem with a refrain. The villanelle is related other poetic forms with refrains, such as the rondel, the roundel and the rondeau.



Villanelle: The Divide
by Michael R. Burch

The sea was not salt the first tide...
was man born to sorrow that first day,
with the moon―a pale beacon across the Divide,
the brighter for longing, an object denied―
the tug at his heart's pink, bourgeoning clay?

The sea was not salt the first tide...
but grew bitter, bitter―man's torrents supplied.
The bride of their longing―forever astray,
her shield a cold beacon across the Divide,
flashing pale signals: Decide. Decide.
Choose me, or His Brightness, I will not stay.

The sea was not salt the first tide...
imploring her, ebbing: Abide, abide.
The silver fish flash there, the manatees gray.

The moon, a pale beacon across the Divide,
has taught us to seek Love's concealed side:
the dark face of longing, the poets say.
The sea was not salt the first tide...
the moon a pale beacon across the Divide.


'The Divide' is essentially a formal villanelle despite the non-formal line breaks.



Villanelle: Ordinary Love
by Michael R. Burch

Indescribable―our love―and still we say
with eyes averted, turning out the light,
'I love you, ' in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
'I love you, ' in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that 'love' has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
'I love you, ' in the ordinary way.

'Ordinary Love' was the winner of the 2001 Algernon Charles Swinburne poetry contest. It was originally published by Romantics Quarterly and nominated by the journal for the Pushcart Prize. It is missing a tercet but seemed complete enough without it.―MRB



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: 'Never Forget, '
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: 'Never Forget, '
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: 'NEVER FORGET, '
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond...
its reach, and still the boot-heeled world strode on.

She writes in adamant: 'NEVER FORGET'
because her heart is tender with regret.



Villanelle: Because Her Heart is Tender (II)    
by Michael R. Burch

Because her heart is tender
there is hope some God might mend her, …
some small hope Fates might relent.

Because her heart is tender
mighty Angels, come defend her!
Even the Devil might repent.

Because her heart is tender
Jacob's Ladder should descend here,
the heavens open, saints assent.

Because her heart is tender
why does the cruel world rend her?
Fix the world, or let it end here!



Remembering Not to Call
by Michael R. Burch

a villanelle permitting mourning, for my mother, Christine Ena Burch

The hardest thing of all,
after telling her everything,
is remembering not to call.

Now the phone hanging on the wall
will never announce her ring:
the hardest thing of all
for children, however tall.

And the hardest thing this spring
will be remembering not to call
the one who was everything.

That the songbirds will nevermore sing
is the hardest thing of all
for those who once listened, in thrall,
and welcomed the message they bring,
since they won’t remember to call.

And the hardest thing this fall
will be a number with no one to ring.

No, the hardest thing of all
is remembering not to call.




Villanelle of an Opportunist
by Michael R. Burch

I'm not looking for someone to save.
A gal has to do what a gal has to do:
I'm looking for a man with one foot in the grave.

How many highways to hell must I pave
with intentions imagined, not true?
I'm not looking for someone to save.

Fools praise compassion while weaklings rave,
but a gal has to do what a gal has to do.
I'm looking for a man with one foot in the grave.

Some praise the Lord but the Devil's my fave
because he has led me to you!
I'm not looking for someone to save.

In the land of the free and the home of the brave,
a gal has to do what a gal has to do.
I'm looking for a man with one foot in the grave.

Every day without meds becomes a close shave
and the razor keeps tempting me too.
I'm not looking for someone to save:
I'm looking for a man with one foot in the grave.



Villanelle: An Ode to the Divine Plan
by Michael R. Burch

This is how the Universe works:
The rich must have their perks.
This is how the Good Lord rolls.

Did T-Rexes have souls?
The poor must live on doles.
This is how the Universe works.

The rich must have their dirks
to poke serfs full of holes.
This is how the Good Lord rolls.

The despot laughs and lurks
while the Tyger slaughters foals.
This is how the Universe works.

What are the despots' goals?
The poor must mind, not shirk.
This is how the Good Lord rolls.

Trump and Putin praise the kirks
while the cowed mind ancient scrolls.
This is how the Universe works.
This is how the Good Lord rolls.



Ars Brevis
by Michael R. Burch

Better not to live, than live too long:
this is my theme, my purpose and desire.
The world prefers a brief three-minute song.

My will to live was never all that strong.
Eternal life? Find some poor fool to hire!
Better not to live, than live too long.

Granny ******* or a flosslike thong?
The latter rock, the former feed the fire.
The world prefers a brief three-minute song.

Let briefs be brief: the short can do no wrong,
since David slew Goliath, who stood higher.
Better not to live, than live too long.

A long recital gets a sudden gong.
Quick death’s preferred to drowning in the mire.
The world prefers a brief three-minute song.

A wee bikini or a long sarong?
French Riviera or some dull old Shire?
Better not to live, than live too long:
The world prefers a brief three-minute song.



The vanilla-nelle
by Michael R. Burch

The vanilla-nelle is rather dark to write
In a chocolate world where purity is slight,
When every rhyming word must rhyme with white!

As sure as night is day and day is night,
And walruses write songs, such is my plight:
The vanilla-nelle is rather dark to write.

I’m running out of rhymes and it’s a fright
because the end’s not nearly (yet) in sight,
When every rhyming word must rhyme with white!

It’s tougher when the poet’s not too bright
And strains his brain, which only turns up “blight.”
Yes, the vanilla-nelle is rather dark to write.

I strive to seem aloof and recondite
while avoiding ancient words like “knyghte” and “flyte”
But every rhyming word must rhyme with white!

I think I’ve failed: I’m down to “zinnwaldite.”
I fear my Muse is torturing me, for spite!
For the vanilla-nelle is rather dark to write
When every rhyming word must rhyme with white!
I may have accidentally invented a new poetic form, the “trinelle” or “triplenelle.”



Why I Left the Right
by Michael R. Burch

I was a Reagan Republican in my youth but quickly “left” the GOP when I grokked its inherent racism, intolerance and retreat into the Dark Ages.

I fell in with the troops, but it didn’t last long:
I’m not one to march to a klanging gong.
“Right is wrong” became my song.

I’m not one to march to a klanging gong
with parrots all singing the same strange song.
I fell in with the bloops, but it didn’t last long.

These parrots all singing the same strange song
with no discernment at all between right and wrong?
“Right is wrong” became my song.

With no discernment between right and wrong,
the **** marched on in a white-robed throng.
I fell in with the rubes, but it didn’t last long.

The **** marched on in a white-robed throng,
enraged by the sight of boys in sarongs.
“Right is wrong” became my song.

Enraged by the sight of boys in sarongs
and girls with butch hairdos, the clan klanged its gongs.
I fell in with the dupes, but it didn’t last long.
“Right is wrong” became my song.



What happened to the songs of yesterdays?
by Michael R. Burch

Is poetry mere turning of a phrase?
Has prose become its height and depth and sum?
What happened to the songs of yesterdays?

Does prose leave all nine Muses vexed and glum,
with fingers stuck in ears, till hearing’s numbed?
Is poetry mere turning of a phrase?

Should we cut loose, drink, guzzle jugs of ***,
write prose nonstop, till Hell or Kingdom Come?
What happened to the songs of yesterdays?

Are there no beats to which tense thumbs might thrum?
Did we outsmart ourselves and end up dumb?
Is poetry mere turning of a phrase?

How did a feast become this measly crumb,
such noble princes end up in a slum?
What happened to the songs of yesterdays?

I’m running out of rhymes! Please be a chum
and tell me if some Muse might spank my ***
for choosing rhyme above the painted phrase?
What happened to the songs of yesterdays?



Trump’s Retribution Resolution
by Michael R. Burch

My New Year’s resolution?
I require your money and votes,
for you are my retribution.

May I offer you dark-skinned scapegoats
and bigger and deeper moats
as part of my sweet resolution?

Please consider a YUGE contribution,
a mountain of lovely C-notes,
for you are my retribution.

Revenge is our only solution,
since my critics are weasels and stoats.
Come, second my sweet resolution!

The New Year’s no time for dilution
of the anger of victimized GOATs,
when you are my retribution.

Forget the ****** Constitution!
To dictators “ideals” are footnotes.
My New Year’s resolution?
You are my retribution.



Rondels, Roundels and Rondeaux are poetic forms with refrains that are related to the Villanelle.



Rondel: Merciles Beaute ("Merciless Beauty")
by Geoffrey Chaucer
loose translation/interpretation Michael R. Burch

Your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.

Unless your words heal me hastily,
my heart's wound will remain green;
for your eyes slay me suddenly;
their beauty I cannot sustain.

By all truth, I tell you faithfully
that you are of life and death my queen;
for at my death this truth shall be seen:
your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.



Rondel: Rejection
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.

I'm guiltless, yet my sentence has been cast.
I tell you truly, needless now to feign,―
Your beauty from your heart has so erased
Pity, that it’s useless to complain.

Alas, that Nature in your face compassed
Such beauty, that no man may hope attain
To mercy, though he perish from the pain;
Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.



Rondel: Escape
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.

He may question me and counter this and that;
I care not: I will answer just as I mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean.

Love strikes me from his roster, short and flat,
And he is struck from my books, just as clean,
Forevermore; there is no other mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.



Rondel: Your Smiling Mouth
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/moderniz  ation Michael R. Burch

Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains,
Your hands so smooth, each finger straight and plain,
Your little feet―please, what more can I say?

It is my fetish when you’re far away
To muse on these and thus to soothe my pain―
Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains.

So would I beg you, if I only may,
To see such sights as I before have seen,
Because my fetish pleases me. Obscene?
I’ll be obsessed until my dying day
By your sweet smiling mouth and eyes, bright gray,
Your ample ******* and slender arms’ twin chains!



Oft in My Thought
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/moderniz  ation Michael R. Burch

So often in my busy mind I sought,
Around the advent of the fledgling year,
For something pretty that I really ought
To give my lady dear;
But that sweet thought's been wrested from me, clear,
Since death, alas, has sealed her under clay
And robbed the world of all that's precious here―
God keep her soul, I can no better say.

For me to keep my manner and my thought
Acceptable, as suits my age's hour?
While proving that I never once forgot
Her worth? It tests my power!
I serve her now with masses and with prayer;
For it would be a shame for me to stray
Far from my faith, when my time's drawing near―
God keep her soul, I can no better say.

Now earthly profits fail, since all is lost
And the cost of everything became so dear;
Therefore, O Lord, who rules the higher host,
Take my good deeds, as many as there are,
And crown her, Lord, above in your bright sphere,
As heaven's truest maid! And may I say:
Most good, most fair, most likely to bring cheer―
God keep her soul, I can no better say.

When I praise her, or hear her praises raised,
I recall how recently she brought me pleasure;
Then my heart floods like an overflowing bay
And makes me wish to dress for my own bier―
God keep her soul, I can no better say.



If
by Michael R. Burch

If I regret
fire in the sunset
exploding on the horizon,
then let me regret loving you.

If I forget
even for a moment
that you are the only one,
then let me forget that the sky is blue.

If I should yearn
in a season of discontentment
for the vagabond light of a companionless moon,
let dawn remind me that you are my sun.

If I should burn―one moment less brightly,
one instant less true―
then with wild scorching kisses,
inflame me, inflame me, inflame me anew.



Recursion
by Michael R. Burch

In a dream I saw boys lying
under banners gaily flying
and I heard their mothers sighing
from some dark distant shore.

For I saw their sons essaying
into fields―gleeful, braying―
their bright armaments displaying;
such manly oaths they swore!

From their playfields, boys returning
full of honor’s white-hot burning
and desire’s restless yearning
sired new kids for the corps.

In a dream I saw boys dying
under banners gaily lying
and I heard their mothers crying
from some dark distant shore.



I AM!
by Michael R. Burch

I am not one of ten billion―I―
sunblackened Icarus, chary fly,
staring at God with a quizzical eye.

I am not one of ten billion, I.

I am not one life has left unsquashed―
scarred as Ulysses, goddess-debauched,
pale glowworm agleam with a tale of panache.

I am not one life has left unsquashed.

I am not one without spots of disease,
laugh lines and tan lines and thick-callused knees
from begging and praying and girls sighing "Please!"

I am not one without spots of disease.

I am not one of ten billion―I―
scion of Daedalus, blackwinged fly
staring at God with a sedulous eye.

I am not one of ten billion, I
AM!



This World's Joy
(anonymous Middle English lyric)
loose translation by Michael R. Burch

Winter awakens all my care
as leafless trees grow bare.
For now my sighs are fraught
whenever it enters my thought:
regarding this world's joy,
how everything comes to naught.



Elegy for a little girl, lost
by Michael R. Burch

... qui laetificat juventutem meam...
She was the joy of my youth,
and now she is gone.
... requiescat in pace...
May she rest in peace.
... amen...
Amen.



How Long the Night
anonymous Middle English lyric, circa early 13th century AD
loose translation/interpretation by Michael R. Burch

It is pleasant, indeed, while the summer lasts
with the mild pheasants' song...
but now I feel the northern wind's blast,
its severe weather strong.
Alas! Alas! This night seems so long!
And I, because of my momentous wrong
now grieve, mourn and fast.



Fowles in the Frith
anonymous Middle English lyric, circa 13th-14th century AD
loose translation/interpretation by Michael R. Burch

The fowls in the forest,
the fishes in the flood
and I must go mad:
such sorrow I've had
for beasts of bone and blood!



I am of Ireland
anonymous Medieval Irish lyric, circa 13th-14th century AD
loose translation/interpretation by Michael R. Burch

I am of Ireland,
and of the holy realm of Ireland.
Gentlefolk, I pray thee:
for the sake of saintly charity,
come dance with me
in Ireland!



Whan the turuf is thy tour
(anonymous Middle English lyric, circa the 13th century AD)
loose translation/interpretation by Michael R. Burch

1.
When the turf is your tower
and the pit is your bower,
your pale white skin and throat
shall be sullen worms’ to note.
What help to you, then,
was all your worldly hope?

2.
When the turf is your tower
and the grave is your bower,
your pale white throat and skin
worm-eaten from within...
what hope of my help then?


Ech day me comëth tydinges thre
anonymous Middle English lyric, circa the 13th to 14th century AD
loose translation/interpretation by Michael R. Burch

Each day I’m plagued by three doles,
These gargantuan weights on my soul:
First, that I must somehow exit this fen.
Second, that I cannot know when.
And yet it’s the third that torments me so,
Because I don't know where the hell I will go!



Ich have y-don al myn youth
anonymous Middle English lyric, circa the 13th to 14th century AD
loose translation/interpretation by Michael R. Burch

I have done it all my youth:
Often, often, and often!
I have loved long and yearned zealously...
And oh what grief it has brought me!



I Sing of a Maiden
anonymous Medieval English Lyric, circa early 15th century AD
loose translation/interpretation by Michael R. Burch

I sing of a maiden
That is matchless.
The King of all Kings
For her son she chose.
He came also as still
To his mother's breast
As April dew
Falling on the grass.
He came also as still
To his mother's bower
As April dew
Falling on the flower.
He came also as still
To where his mother lay
As April dew
Falling on the spray.
Mother and maiden?
Never one, but she!
Well may such a lady
God's mother be!



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear...

once starlight
languished
in your hair...

a shining there
as brief
as rare.

Regret...
a pain
I chose to bear...

unleash
the torrent
of your hair...

and show me
once again―
how rare.



Enigma
by Michael R. Burch

O, terrible angel,
bright lover and avenger,
full of whimsical light
and vile anger;
wild stranger,
seeking the solace of night,
or the danger;
pale foreigner,
alien to man, or savior...

Who are you,
seeking consolation and passion
in the same breath,
screaming for pleasure, bereft
of all articles of faith,
finding life
harsher than death?

Grieving angel,
giving more than taking,
how lucky the man
who has found in your love,
this, our reclamation;

fallen wren,
you must strive to fly
though your heart is shaken;

weary pilgrim,
you must not give up
though your feet are aching;

lonely child,
lie here still in my arms;
you must soon be waking.



The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase...

now that I have forgotten her face.



The Quickening
by Michael R. Burch

for Beth

I never meant to love you
when I held you in my arms
promising you sagely
wise, noncommittal charms.

And I never meant to need you
when I touched your tender lips
with kisses that intrigued my own:
such kisses I had never known,
nor a heartbeat in my fingertips!



Ah! Sunflower
by Michael R. Burch
after William Blake

O little yellow flower
like a star...
how beautiful,
how wonderful
we are!



Published as the collection "Villanelles"

Keywords/Tags: villanelle, refrain, repetition, chorus, rhyme, sea, tide, moon, heart, love, rondel, roundel, rondeau, poetic form, poetics, poetic expression, Chaucer, Orleans, love, art, beauty, mercy, merciless, words, heart, hearts, pity, pride, prison, mrbvill, mrbrondel

.
He had ascending eyes
                   of sapphire,
the kind in which angels sloshed in their
royal chalices,
the kind of blue Poseidon gnashed
                       his teeth for.


                                   Born in the 25th dying date,
Septembers’ autumn bleached scent flows along
his bloodstream.


A smile that belonged in the crooks of these sapphire seas,
a soul unholy as Adam
                          & Eve’s.

His love was not fierce enough
             to contain this poet's heart
my pitiful phoenix can be ripped asunder
by the wrath of
a dandelion.


He couldn't swallow the sun
                 so silver fire rained
                                     anytime it pleased.

We are the skylines
             not gallows
and yet we hang ourselves upon the night skin


                       and collect
the stars as if they were
                            our alibis.

If you love me,
                        let me go?
                         My silver eyes don't see you in color anymore.
.

How dare you!  How dare you!
Club night tequila margherita stains
and the loose thread
you yanked
when you rubbed your
sweaty body all over
some ***** stranger
on the dark dance floor.
Strobe lights pulsing
with your libido
until he sloshed beer
down your front
when a drunken brawler
stumbled into the crowd
Oh, I’m sure HE
apologized
such a considerate guy
to take home
for mom to find
you in bed with
in the morning.
Thanks for your
consideration.

I put you on my wall today
          As soon as I got home
              And I smilled at how you were crooked
                   And I tilted my head to really see you

      And that's when the water sloshed out of my ears and I was drowning

                      Your eyes became bubbles that helped me breathe
              When I sucked them in
  
       I became one with the pressure
The fluctuating force that I knew all to well
         Spilling from my ears like a cloud too heavy to hold its weight
    
             You drift off the wall and float with me, fragile, yet permanent and meaningful in my mind

restless summers swimming in lemonade
my shiny janes and your
mud sloshed loafers
swayed like the gulls of our
crayoned fence of a sky

daisies you would crown me
with rings of weeds i'd wed you
lightning bugs stain my lashes like my
fluorescent tears you brush away
dewdrops on my rose embroidered cheeks

i continue building forts armed with flashlights
with puppets of shade that guard me till morn
again i am locked within my tower feeling your
weight of shining armor as you take my locks as your stairway
but the night fades within you

i let down my hair
but you are not there

Forgiveness is a wild beast
of an exotic land.
I know it. Its shape,
color, texture and
particulars of its habitat,
yet it means nothing in my
day to day; at least nothing that
impacts the path I walk
or world I touch.

It is as distant as a polar icecap
and about as much
help as a glass shard
beneath my bare feet.
This wild beast makes noises
perhaps sour perhaps sweet
to the ear
but I do not know
nor can I name them.
Daily I set out and go
stalking after it in
my bare feet and soul ache
unable yet to find it for myself
or others, I make
my ****** way along this
un-exotic, piercing path.

It is a way I cannot abandon
but I must laugh
at the folly of my purpose
for I have long since washed
the picture of this creature
clean and thoroughly sloshed
it remains in my mind.
I am left to blame the blood
and curse its trail tracking
ever after me in the mud.

All we want to hear about is love and
               Madness, wounds left in the mind
                              Where what's taken for granted
Was ripped out and scattered, just ash.
               Maybe just madness, then. Addicts
                              Left shaking their cupped hands
Trembling out aching, quaking desire
               Where stillness arrives with a kiss,
                              Where confession pours crimson,
A ****** of claret. Spilled into a glass,
               Sloshed across a tongue, breathing
                              Bitter, barren, dry - washed down
With another glass, until the flavor stains
               Teeth and tongue and lips. We are
                              What we drink: water and blood.
We are what we love: madness, confession.
               Does a ****** see in their subjects
                              The viscid revel of their own scars?

Four patties of ******* he wears
Two upon each shoulder wing
Polished gleaming egocentric air
Marching like a king
His Chief of Staff
And parade of sycophants
Make me want to laugh
All aligned like **** ants
Until their buckets of *******
Are sloshed upon my desk
Right or wrong just do it
Another *******-filled day

You are
You are
a chiseled statue
a myth, animated under my gaze
tangible flesh under my hands
out of my closeted mind
you are
you are
in essence, a beautiful mirror
of a beautiful essence
For Adonis, I come to understand
my feelings are lulled under your tongue
patience
as my blind senses seek them out
you are
you are
a silent strength
owning to yourself
must I thank
you
this dance
of serpents of ether
smoothing feathery scales over the riddling bones of Lilith
I owe this response to you
For the things you stand for, the truth under which a fined tooth comb scrutinizes
grasps of tickling warm fire conjure my intentions
I am a smooth stone, burning by the illicit form and desire of this worldly hearth
under my arms you reach and you soothe
this idea from the small of my back, out of reach
I walk my thoughts further away from you
to objectify the sensations that pursue
Eros draws
his serrated arrow tip alongside my cool unassaulted skin
should I linger here, I'll find it sheared
and my sanctity tampered
use this silence to displace this feeling from outside of me
so I can take my leave
lay frozen still as I divulge and lavish upon you my disgusting intentions
to my absence
so I can leave
and rid myself of uncharacteristic traits
tempting
butterfly wings fluttering against the underside of my skull
I am not tempted
I do not regress
Eros is unwelcome here
when he speaks of this particular entity
under his outstretched upper lip
I am enraged
what can a boy-youth know of the complexities of the feminine spirit
to which the heart works in unison
my feelings are my own, in a shallow drawer where they aren’t tosseled
arent felt
I may feel the warmth of them under my desk
but I refuse to eye the key
where do you get the audacity
to touch and give advice to one as old as me
my feelings belong to me
not the wild underside of a rooting pig
hunt them mercilessly with your arsenal instead
as your mother-Aphrodite
inspires their sloshed pursuit of an obscured truth
put your maquillage on them
and clear your mind of mischievous foolishness
or vain undersanding

It is good to get lost at Edapally junction
in that sea of people in the bus bay in front of emmanaul silks
to be exact, I could get lost in any part of kerala
it is the same to me ,kozhikode, thrissur or cochin
I am a foreigner
And i have adapted.
why ?
Why ,you may ask
why this indifference to one's own mother
simply because you cannot abandon your mother though you grew up in an orphanage
So goes for these places
I did not choose my mother
nor did I choose my native land
and I cannot orphan them
can I ?
I am familiar with some places now
As new memories are made
I remember places now
I remember fort kochi for the lanes sloshed in whisky and dreams
i remember vypin for small truths
I remember vytilla for heartbreak and pain
I remember wellington for incessant talk and friends
I remember calicut for numerous crossroads and junctions and restrooms
I remember thrissur for art and molestation
i do remember places now for each memory made
it was not like this for the place I grew
I know the temple and the paddy field
and the people in each house
like the woman on Google maps announcing each turn and curve
I would say this where I smashed the neatly piled red bricks with my lady bird bicycle
or take a turn in that alley and say this where I buy coloured glass bangles
Or take a left here ,this is where I light lamps filled with ghee fasting and in obeisance to devi
It is all vivid ,perfect with no doubts
and everything is doubtful in my own land
And then ,I decided to get lost at Edapally
sorry if I am geographically wrong

I stopped my car at the highway
Amongst the water logged fields
Overgrown with white lilies
my driver looked displeased
how could one waste travel and money
until then I had counted minutes and seconds
Of anticipated moments of security boarding and baggage
and now I stopped here at angamali  a nowhere
and watched my flight overhead
What now he looked anxiously
let's take a detour
I said
and yelled at the plane
"I don't care "
I want to get lost
And switched off all accountability

He dropped me at Edapally junction
And i stood still in that movement
a flood of people
fear engulfed me
the airconditioned air filled my mind
a fake cherry tree with cotton and red  glitter paper stood staring
People moved in with money and came out with loads
sweat, dreams, monotony, laughter expectations ,new hopes and hopes  dangling in the bus bay
some comfort now ,I stood hugging my Adidas coat
I did not know where to look and was whirling around in small circles
when I felt being pulled
Your lanky arm
I was here trying to get lost
And here you were pulling me back
I walked with big steps trying to dodge you and hoping to disapper
And then it started to pour
I did not know which was louder
the rain or your anger
your knuckles white
is this why they call white with fury
even the rain seemed white
the cotton hung wet and the cherry Tree seemed drained
but language seemed fine
you drove
I walked
and it rained
it was perfect to get lost

Yesterday I walked to the end of Filey Brigg
The sea was brown to landward blue to seaward
The tide was coming in as I reached the end
The two seas sloshed at each other across the limestone slabs
 
Yesterday I walked on a long curving stretch of beach
The sand was almost dry under my walking boots
The tide had left a golden arc for kite-running children
The sea was a patchwork of shadows flecked white in the wind
 
Yesterday I sat in the sun and briefly sketched
The sky was a vast armada of clouds sailing the troposphere
The sun primed their canvas sails every shade of white
The wind rose and fell in waves of moor-scented air    
 
Yesterday I brought my lover here through time and space
The woldland was every green in Hockney's paint box
The trees stood in distant lines still waiting for their leaves
The breeze ruffled her delicate hair kissed her freckled cheek

It was a rainy November night-
it always seemed to be.
There was nothing to do
but drink through our cheap red wine
until our words sloshed together.

Sure, it was slowly killing us,
slowly drowning our livers.
But there was something about the drinking
that made us feel more alive than
anything.

We worked until we had a few bucks,
the few bucks turned into a bottle.
There was never more money,
but there was never not enough.
It wasn't paycheck to paycheck
but bottle to bottle.

Eventually we'd sing Billy Joel
or the Beatles,
happy to have each other,
but even happier to have the wine.

The rain continued on,
the wine continued on,
and our lives-
well, they continued on, too.

Moments of total nothingness,
you don't deserve it, just because you're unknown
Your greatest virtue lies within
your inner dialogue between one
Your audience smiles at your achievements,
as you look into a mirror applauding a reflection
Prolific insight woven and painted by your pen
is sadly wasted, unraveled and sloshed by bias
esoteric and snobbish, the twins of bias,
sit on high poetic mountains of celebrity,
while filing away your non-read thoughts into
deep, deep trashcans

A single drop of crimson scarred the collar of Ishmyre's freshly dry-cleaned muni-suit. He eyed it in disbelief, his brow twisted like that of a madman. He knew that if any of The Superiors found out that he had so carelessly ruined the only garment he'd been issued, he would have to go back. “I'm not going back in there,” he mumbled to himself. “I'll cut myself down where I stand before I let them put me back in that hole!”

Ishmyre began to panic, his thoughts sloshed around in his head like water in a pitched fish bowl. An intense, paralyzing, fear gripped his heart causing it to fit and start. He took a deep breath and attempted to calm himself. No luck. The terrifying thoughts continued,

'They probably already know! The wash-bots, they've inspected it; they have to know! They've sent the report and The Superiors are on their way! Any minute...' His thoughts were interrupted by the sound of the intercom's crackle,

“All Inferiors prepare for mandatory lock down! All deck doors will engage in T-minus 30, 29, 28...”

'****! They've gotten the report; they're coming now!'

The countdown droned on in the background, the monotonous robotic voice ascending and descending in perfect rhythm with Ishmyre's pounding heart. His mouth was as dry as a bone, his cracked lips stung and tasted like iron to his sticky tongue. His almond shaped, hazel eyes darted around the empty concrete room, searching for some hint of salvation. There was nothing to see; a mesh cot and a simple steel folding chair were the only items haunting Ishmyre's humble concrete bunk. His options were few and he needed to act quickly. This was no time to panic.

As he stared blankly at the items available, Ishmyre heard the sound of footsteps on the out-deck. They began as a faint rumble in the distance, growing louder and louder, closer and closer, until his heart began the short journey into his throat. His stomach churned and sunk so low it was as if he could feel it oozing out of his heels.

'Here they are, I'm finished!' His mind squeaked to itself in a frenzied, trembling voice.

The footsteps stopped. Ishmyre heard a heavy fist pounding on the door. He sat there naked, staring blankly at the blood stain on his collar. The countdown reached zero. The hiss of the air lock systems engaging snapped Ishmyre back into reality. His thoughts fell away like the dead leaves of autumns latest romance. He waited, paralyzed by fear and anticipation, until he heard an ear-splitting crash. He turned towards his door, expecting to see agents of The Superiors barreling in any second, but there were none.

"Do you remember the time when we first met? I was wearing a guns and roses t-shirt and you were playing basketball with your friends? Remember how I was walking past the court and got hit by the ball, and you came running towards me, asking me if I was okay? Do you remember how shy you were when our hands touched for the first time? Your cheeks turned into the color of beetroot.
Do you remember how we became friends? I was new to the society in which you were the head? How scared I was when I had to sing for the audition round and you decided to sing along to my favorite song?
Remember how you asked me out? Took me by my hand and intensely gazed into my eyes, as Eric Clapton sang 'wonderful tonight' in the background? Remember how I started laughing and asked you to stop joking around. And then you just kissed me, to stop me from blabbering. I was stunned and shell shocked.
Remember when we got drunk after our first big fight? We said mean words and slept in separate rooms that night. Remember how I later knocked on your door to apologise? We drank the entire bottle of Jim Beam and got sloshed as we listened to Bob Dylan till the wee hours of the morning light.
Remember how it all began?"
I see no recognition in your eyes. I guess the amnesia didn't just take away your memories but it also took away everything that was mine.

"What's wrong with this age?
I'm consuming my last days
Wondering about the yesteryear
That has swiftly passed away.
Now I see that your minds are unclear,
Your faces are emotionless.
You, the young, you've lost your direction
And happiness."


"Yep man, there must be something wrong
If we think we're cool when
We spend our nights boozing with friends,
Getting sloshed and getting smashed,
Taking drugs and getting ******.
Man, this is the key to forgetfulness.
What's wrong with this age then?
We do want to bury our sadness."

I worry you will fall
As you teeter up on top of your insecurities
Stamping them with your materialism
"PRADA"
Attempting to hide them below your feet and beneath your masks of paint
Attempting to keep them out of frame, out of the photos, out of view,
But the photographs were over-exposed
And now your nakedness is only covered by your self-doubt
Your lack of self-worth.
Don't try to hide the tears you cry out of unappreciative sadness
No need to validate happiness
With crest whitening strips
Because all they do is stain your already filthy mouth.
Bleach couldn't wash the ignorance from those gums.
Your cavities sloshed with your parents Chardonnay
and chocolate fountains drip upon your white dresses.

I try so hard to remain kind
Remain happy
Remain real
When all I can do is laugh
And hope you understand
That all I am is sad.

There is only sadness
When the best view that I have
Is of your huge fake ****.

I'm drunk
I'm very drunk
Not on beer or *****
Or wine or margaritas
But I'm drunk
But on what Nero?
What'd you get sloshed on?
I'll tell you
I'm drunk of a mixture of bitterness and lost hope
2/5ths of romanticism and no one to share that with
A shot of insecurity, and a tall glass of stress

I need to get sober
I'm tired of living through a constant hangover
So tomorrow I stop drinking my emotions
I'm throwing that bottle into the ocean

Rondels, Roundels and Rondeaux

These are poetic forms similar to villanelles, with refrains (repeated lines) and sometimes double refrains.



Rondel: Merciles Beaute ("Merciless Beauty")
by Geoffrey Chaucer
loose translation/interpretation Michael R. Burch

Your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.

Unless your words heal me hastily,
my heart's wound will remain green;
for your eyes slay me suddenly;
their beauty I cannot sustain.

By all truth, I tell you faithfully
that you are of life and death my queen;
for at my death this truth shall be seen:
your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.



Rondel: Rejection
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.

I'm guiltless, yet my sentence has been cast.
I tell you truly, needless now to feign,―
Your beauty from your heart has so erased
Pity, that it’s useless to complain.

Alas, that Nature in your face compassed
Such beauty, that no man may hope attain
To mercy, though he perish from the pain;
Your beauty from your heart has so erased
Pity, that it’s useless to complain;
For Pride now holds your mercy by a chain.



Rondel: Escape
by Geoffrey Chaucer
loose translation/interpretation by Michael R. Burch

Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.

He may question me and counter this and that;
I care not: I will answer just as I mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean.

Love strikes me from his roster, short and flat,
And he is struck from my books, just as clean,
Forevermore; there is no other mean.
Since I’m escaped from Love and yet still fat,
I never plan to be in his prison lean;
Since I am free, I count it not a bean.



Rondel: Your Smiling Mouth
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/modernization Michael R. Burch

Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains,
Your hands so smooth, each finger straight and plain,
Your little feet―please, what more can I say?

It is my fetish when you’re far away
To muse on these and thus to soothe my pain―
Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms’ twin chains.

So would I beg you, if I only may,
To see such sights as I before have seen,
Because my fetish pleases me. Obscene?
I’ll be obsessed until my dying day
By your sweet smiling mouth and eyes, bright gray,
Your ample ******* and slender arms’ twin chains!



Oft in My Thought
by Charles d'Orleans (c. 1394-1465)
loose translation/interpretation/modernization Michael R. Burch

So often in my busy mind I sought,
Around the advent of the fledgling year,
For something pretty that I really ought
To give my lady dear;
But that sweet thought's been wrested from me, clear,
Since death, alas, has sealed her under clay
And robbed the world of all that's precious here―
God keep her soul, I can no better say.

For me to keep my manner and my thought
Acceptable, as suits my age's hour?
While proving that I never once forgot
Her worth? It tests my power!
I serve her now with masses and with prayer;
For it would be a shame for me to stray
Far from my faith, when my time's drawing near―
God keep her soul, I can no better say.

Now earthly profits fail, since all is lost
And the cost of everything became so dear;
Therefore, O Lord, who rules the higher host,
Take my good deeds, as many as there are,
And crown her, Lord, above in your bright sphere,
As heaven's truest maid! And may I say:
Most good, most fair, most likely to bring cheer―
God keep her soul, I can no better say.

When I praise her, or hear her praises raised,
I recall how recently she brought me pleasure;
Then my heart floods like an overflowing bay
And makes me wish to dress for my own bier―
God keep her soul, I can no better say.



Villanelle: The Divide
by Michael R. Burch

The sea was not salt the first tide ...
was man born to sorrow that first day,
with the moon―a pale beacon across the Divide,
the brighter for longing, an object denied―
the tug at his heart's pink, bourgeoning clay?

The sea was not salt the first tide ...
but grew bitter, bitter―man's torrents supplied.
The bride of their longing―forever astray,
her shield a cold beacon across the Divide,
flashing pale signals: Decide. Decide.
Choose me, or His Brightness, I will not stay.

The sea was not salt the first tide ...
imploring her, ebbing: Abide, abide.
The silver fish flash there, the manatees gray.

The moon, a pale beacon across the Divide,
has taught us to seek Love's concealed side:
the dark face of longing, the poets say.
The sea was not salt the first tide ...
the moon a pale beacon across the Divide.

"The Divide" is essentially a formal villanelle despite the non-formal line breaks.



Villanelle: Ordinary Love
by Michael R. Burch

Indescribable―our love―and still we say
with eyes averted, turning out the light,
"I love you," in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white ...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
"I love you," in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that "love" has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
"I love you," in the ordinary way.

"Ordinary Love" was the winner of the 2001 Algernon Charles Swinburne poetry contest. It was originally published by Romantics Quarterly and nominated by the journal for the Pushcart Prize. It is missing a tercet but seemed complete enough without it.―MRB



Villanelle: Because Her Heart Is Tender
by Michael R. Burch

for Beth

She scrawled soft words in soap: "Never Forget,"
Dove-white on her car's window, and the wren,
because her heart is tender, might regret
it called the sun to wake her. As I slept,
she heard lost names recounted, one by one.

She wrote in sidewalk chalk: "Never Forget,"
and kept her heart's own counsel. No rain swept
away those words, no tear leaves them undone.

Because her heart is tender with regret,
bruised by razed towers' glass and steel and stone
that shatter on and on and on and on,
she stitches in wet linen: "NEVER FORGET,"
and listens to her heart's emphatic song.

The wren might tilt its head and sing along
because its heart once understood regret
when fledglings fell beyond, beyond, beyond ...
its reach, and still the boot-heeled world strode on.

She writes in adamant: "NEVER FORGET"
because her heart is tender with regret.



Double Trouble
by Michael R. Burch

The villanelle is trouble:
it’s like you’re on the bubble
of beginning to see double.

It’s like you’re on the Hubble
when the lens begins to wobble:
the villanelle is trouble.

It’s like you’re Barney Rubble
scratching itchy beer-stained stubble
because you’re seeing double.

Then your lines begin to gobble
up the good rhymes, and you hobble.
The villanelle is trouble,

just like getting sloshed in the pub’ll
begin to make you babble
because you’re seeing double.

Because the form is flubbable
and is really not that loveable,
the villanelle is trouble:
it’s like you’re seeing double.



Villanelle: Hangovers
by Michael R. Burch

We forget that, before we were born,
our parents had “lives” of their own,
ran drunk in the streets, or half-******.

Yes, our parents had lives of their own
until we were born; then, undone,
they were buying their parents gravestones

and finding gray hairs of their own
(because we were born lacking some
of their curious habits, but soon

would certainly get them). Half-******,
we watched them dig graves of their own.
Their lives would be over too soon

for their curious habits to bloom
in us (though our children were born
nine months from that night on the town

when, punch-drunk in the streets or half-******,
we first proved we had lives of our own).



Villanelle Sequence: Clandestine But Gentle
by Michael R. Burch

Variations on the villanelle. A play in four acts. The heroine wears a trench coat and her every action drips nonchalance. The “hero” is pallid, nerdish and nervous. But more than anything, he is palpably desperate with longing. Props are optional, but a streetlamp, a glowing cigarette and lots of eerie shadows should suffice.

I.

Clandestine but gentle, wrapped in night,
she eavesdropped on morose codes of my heart.
She was the secret agent of delight.

The blue spurt of her match, our signal light,
announced her presence in the shadowed court:
clandestine but gentle, cloaked in night.

Her cigarette was waved, a casual sleight,
to bid me “Come!” or tell me to depart.
She was the secret agent of delight,

like Ingrid Bergman in a trench coat, white
as death, and yet more fair and pale (but short
with me, whenever I grew wan with fright!).

II.

Clandestine but gentle, veiled in night,
she was the secret agent of delight;
she coaxed the tumblers in some cryptic rite

to make me spill my spirit.
Lovely ****!
Clandestine but gentle, veiled in night

―she waited till my tongue, untied, sang bright
but damning strange confessions in the dark . . .

III.

She was the secret agent of delight;
so I became her paramour. Tonight
I await her in my exile, worlds apart . . .

IV.

For clandestine but gentle, wrapped in night,
she is the secret agent of delight.



Villanelle: Hang Together, or Separately
by Michael R. Burch

“The first shall be last, and the last first.”

Be careful whom you don’t befriend
When hyenas mark their prey:
The odds will get even in the end.

Some “deplorables” may yet ascend
And since all dogs must have their day,
Be careful whom you don’t befriend.

When pallid elitists condescend
What does the Good Book say?
The odds will get even in the end.

Since the LORD advised us to attend
To each other along the way,
Be careful whom you don’t befriend.

But He was deserted. Friends, comprehend!
Though revilers mock and flay,
The odds will get even in the end.

Now infidels have loot to spend:
As ****** as Judas’s that day.
Be careful whom you don’t befriend:
The odds will get even in the end.

NOTE: This poem portrays a certain worldview. The poet does not share it and suspects from reading the gospels that the “real” Jesus would have sided with the infidel refugees, not Trump and his ilk.



Villanelle: The Sad Refrain
by Michael R. Burch

O, let us not repeat the sad refrain
that Christ is cruel because some innocent dies.
No, pain is good, for character comes from pain!

There’d be no growth without the hammering rain
that tests each petal’s worth. Omnipotent skies
peal, “Let us not repeat the sad refrain,

but separate burnt chaff from bountiful grain.
According to God’s plan, the weakling dies
and pain is good, for character comes from pain!

A God who’s perfect cannot bear the blame
of flawed creations, just because one dies!
So let us not repeat the sad refrain

or think to shame or stain His awesome name!
Let lightning strike the devious source of lies
that pain is bad, for character comes from pain!
Oh, let us not repeat the sad refrain!

NOTE: An eternal hell cannot be justified. Nothing can be learned from eternal suffering except that the creation of life was the ultimate act of evil. The creator of an eternal hell would be infinitely cruel and should never have created any creature that might possibly end up there. That so many Christians do not understand this suggests they lack the knowledge of good and evil and were rooked by their "god" in the Garden of Eden or have been bamboozled by heartless and mindless theologians.



If
by Michael R. Burch

If I regret
fire in the sunset
exploding on the horizon,
then let me regret loving you.

If I forget
even for a moment
that you are the only one,
then let me forget that the sky is blue.

If I should yearn
in a season of discontentment
for the vagabond light of a companionless moon,
let dawn remind me that you are my sun.

If I should burn―one moment less brightly,
one instant less true―
then with wild scorching kisses,
inflame me, inflame me, inflame me anew.

Originally published by The HyperTexts



Recursion
by Michael R. Burch

In a dream I saw boys lying
under banners gaily flying
and I heard their mothers sighing
from some dark distant shore.

For I saw their sons essaying
into fields―gleeful, braying―
their bright armaments displaying;
such manly oaths they swore!

From their playfields, boys returning
full of honor’s white-hot burning
and desire’s restless yearning
sired new kids for the corps.

In a dream I saw boys dying
under banners gaily lying
and I heard their mothers crying
from some dark distant shore.



I AM!
by Michael R. Burch

I am not one of ten billion―I―
sunblackened Icarus, chary fly,
staring at God with a quizzical eye.

I am not one of ten billion, I.

I am not one life has left unsquashed―
scarred as Ulysses, goddess-debauched,
pale glowworm agleam with a tale of panache.

I am not one life has left unsquashed.

I am not one without spots of disease,
laugh lines and tan lines and thick-callused knees
from begging and praying and girls sighing "Please!"

I am not one without spots of disease.

I am not one of ten billion―I―
scion of Daedalus, blackwinged fly
staring at God with a sedulous eye.

I am not one of ten billion, I
AM!



This World's Joy
(anonymous Middle English lyric)
loose translation by Michael R. Burch

Winter awakens all my care
as leafless trees grow bare.
For now my sighs are fraught
whenever it enters my thought:
regarding this world's joy,
how everything comes to naught.



Elegy for a little girl, lost
by Michael R. Burch

. . . qui laetificat juventutem meam . . .
She was the joy of my youth,
and now she is gone.
. . . requiescat in pace . . .
May she rest in peace.
. . . amen . . .
Amen.

I was touched by this Latin prayer, which I discovered in a novel I read as a teenager. I later decided to incorporate it into a poem. From what I now understand, “ad deum qui laetificat juventutem meam” means “to the God who gives joy to my youth,” but I am sticking with my original interpretation: a lament for a little girl at her funeral. The phrase can be traced back to Saint Jerome's translation of Psalm 42 in the Vulgate Latin Bible (circa 385 AD).



How Long the Night
anonymous Middle English lyric, circa early 13th century AD
loose translation/interpretation by Michael R. Burch

It is pleasant, indeed, while the summer lasts
with the mild pheasants' song ...
but now I feel the northern wind's blast,
its severe weather strong.
Alas! Alas! This night seems so long!
And I, because of my momentous wrong
now grieve, mourn and fast.



Fowles in the Frith
anonymous Middle English lyric, circa 13th-14th century AD
loose translation/interpretation by Michael R. Burch

The fowls in the forest,
the fishes in the flood
and I must go mad:
such sorrow I've had
for beasts of bone and blood!

Sounds like an early animal rights activist! The use of "and" is intriguing ... is the poet saying that his walks in the wood drive him mad because he is also a "beast of bone and blood," facing a similar fate?



I am of Ireland
anonymous Medieval Irish lyric, circa 13th-14th century AD
loose translation/interpretation by Michael R. Burch

I am of Ireland,
and of the holy realm of Ireland.
Gentlefolk, I pray thee:
for the sake of saintly charity,
come dance with me
in Ireland!



Whan the turuf is thy tour
(anonymous Middle English lyric, circa the 13th century AD)
loose translation/interpretation by Michael R. Burch

1.
When the turf is your tower
and the pit is your bower,
your pale white skin and throat
shall be sullen worms’ to note.
What help to you, then,
was all your worldly hope?

2.
When the turf is your tower
and the grave is your bower,
your pale white throat and skin
worm-eaten from within ...
what hope of my help then?

NOTE: The second translation leans more to the "lover's complaint" and carpe diem genres, with the poet pointing out to his prospective lover that by denying him her favors she make take her virtue to the grave where worms will end her virginity in macabre fashion. This poem may be an ancient precursor of poems like Andrew Marvell's "To His Coy Mistress."



Ech day me comëth tydinges thre
anonymous Middle English lyric, circa the 13th to 14th century AD
loose translation/interpretation by Michael R. Burch

Each day I’m plagued by three doles,
These gargantuan weights on my soul:
First, that I must somehow exit this fen.
Second, that I cannot know when.
And yet it’s the third that torments me so,
Because I don't know where the hell I will go!



Ich have y-don al myn youth
anonymous Middle English lyric, circa the 13th to 14th century AD
loose translation/interpretation by Michael R. Burch

I have done it all my youth:
Often, often, and often!
I have loved long and yearned zealously ...
And oh what grief it has brought me!



I Sing of a Maiden
anonymous Medieval English Lyric, circa early 15th century AD
loose translation/interpretation by Michael R. Burch

I sing of a maiden
That is matchless.
The King of all Kings
For her son she chose.
He came also as still
To his mother's breast
As April dew
Falling on the grass.
He came also as still
To his mother's bower
As April dew
Falling on the flower.
He came also as still
To where his mother lay
As April dew
Falling on the spray.
Mother and maiden?
Never one, but she!
Well may such a lady
God's mother be!



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear . . .

once starlight
languished
in your hair . . .

a shining there
as brief
as rare.

Regret . . .
a pain
I chose to bear . . .

unleash
the torrent
of your hair . . .

and show me
once again―
how rare.

Published by The HyperTexts and The Chained Muse



Enigma
by Michael R. Burch

O, terrible angel,
bright lover and avenger,
full of whimsical light
and vile anger;
wild stranger,
seeking the solace of night,
or the danger;
pale foreigner,
alien to man, or savior ...

Who are you,
seeking consolation and passion
in the same breath,
screaming for pleasure, bereft
of all articles of faith,
finding life
harsher than death?

Grieving angel,
giving more than taking,
how lucky the man
who has found in your love,
this, our reclamation;

fallen wren,
you must strive to fly
though your heart is shaken;

weary pilgrim,
you must not give up
though your feet are aching;

lonely child,
lie here still in my arms;
you must soon be waking.



Floating
by Michael R. Burch

Memories flood the sand’s unfolding scroll;
they pour in with the long, cursive tides of night.

Memories of revenant blue eyes and wild lips
moist and frantic against my own.

Memories of ghostly white limbs ...
of soft sighs
heard once again in the surf’s strangled moans.

We meet in the scarred, fissured caves of old dreams,
green waves of algae billowing about you,
becoming your hair.

Suspended there,
where pale sunset discolors the sea,
I see all that you are
and all that you have become to me.

Your love is a sea,
and I am its trawler ...
harbored in dreams,
I ride out night’s storms.

Unanchored, I drift through the hours before morning,
dreaming the solace of your warm *******,
pondering your riddles, savoring the feel
of the explosions of your hot, saline breath.

And I rise sometimes
from the tropical darkness
to gaze once again out over the sea ...
You watch in the moonlight
that brushes the water;

bright waves throw back your reflection at me.

This is one of my more surreal poems, as the sea and lover become one. I believe I wrote this one at age 19. It has been published by Penny Dreadful, Romantics Quarterly, Boston Poetry Magazine and Poetry Life & Times. The poem may have had a different title when it was originally published, but it escapes me ... ah, yes, "Entanglements."



Sonnet: Water and Gold
by Michael R. Burch

You came to me as rain breaks on the desert
when every flower springs to life at once,
but joy's a wan illusion to the expert:
the Bedouin has learned how not to want.

You came to me as riches to a miser
when all is gold, or so his heart believes,
until he dies much thinner and much wiser,
his gleaming bones hauled off by chortling thieves.

You gave your heart too soon, too dear, too vastly;
I could not take it in; it was too much.
I pledged to meet your price, but promised rashly.
I died of thirst, of your bright Midas touch.

I dreamed you gave me water of your lips,
then sealed my tomb with golden hieroglyphs.

Published by The Lyric, Black Medina, The Eclectic Muse, Kritya(India), Shabestaneh (Iran), Anthology of Contemporary American Poetry, Captivating Poetry (Anthology), Strange Road, Freshet, Shot Glass Journal, Better Than Starbucks, Famous Poets and Poems, Sonnetto Poesia, Poetry Life & Times



Righteous
by Michael R. Burch

Come to me tonight
in the twilight, O, and the full moon rising,
spectral and ancient, will mutter a prayer.

Gather your hair
and pin it up, knowing
that I will release it a moment anon.

We are not one,
nor is there a scripture
to sanctify nights you might spend in my arms,

but the swarms
of bright stars revolving above us
revel tonight, the most ardent of lovers.

Published in Writer’s Gazette and Tucumcari Literary Review



R.I.P.
by Michael R. Burch

When I am lain to rest
and my soul is no longer intact,
but dissolving, like a sunset
diminishing to the west ...

and when at last
before His throne my past
is put to test
and the demons and the Beast

await to feast
on any morsel downward cast,
while the vapors of impermanence
cling, smelling of damask ...

then let me go, and do not weep
if I am left to sleep,
to sleep and never dream, or dream, perhaps,
only a little longer and more deep.

Originally published by Romantics Quarterly



Burn, Ovid
by Michael R. Burch

“Burn Ovid” - Austin Clarke

Sunday School,
Faith Free Will Baptist, 1973:
I sat imaging watery folds
of pale silk encircling her waist.

Explicit *** was the day’s “hot” topic
(how breathlessly I imagined hers)
as she taught us the perils of lust
fraught with inhibition.

I found her unaccountably beautiful,
rolling implausible nouns off the edge of her tongue:
adultery, fornication, *******, ******.
Acts made suddenly plausible by the faint blush
of her unrouged cheeks,
by her pale lips
accented only by a slight quiver,
a trepidation.

What did those lustrous folds foretell
of our uncommon desire?
Why did she cross and uncross her legs
lovely and long in their taupe sheaths?
Why did her ******* rise pointedly,
as if indicating a direction?

“Come unto me,
(unto me),”
together, we sang,

cheek to breast,
lips on lips,
devout, afire,

my hands
up her skirt,
her pants at her knees:

all night long,
all night long,
in the heavenly choir.

This poem is set at Faith Christian Academy, which I attended for a year during the ninth grade, in 1972-1973. While the poem definitely had its genesis there, I believe I revised it more than once and didn't finish it till 2001, nearly 28 years later, according to my notes on the poem. Another poem, "*** 101," was also written about my experiences at FCA that year.



*** 101
by Michael R. Burch

That day the late spring heat
steamed through the windows of a Crayola-yellow schoolbus
crawling its way up the backwards slopes
of Nowheresville, North Carolina ...

Where we sat exhausted
from the day’s skulldrudgery
and the unexpected waves of muggy,
summer-like humidity ...

Giggly first graders sat two abreast
behind senior high students
sprouting their first sparse beards,
their implausible bosoms, their stranger affections ...

The most unlikely coupling:

Lambert, 18, the only college prospect
on the varsity basketball team,
the proverbial talldarkhandsome
swashbuckling cocksman, grinning ...

Beside him, Wanda, 13,
bespectacled, in her primproper attire
and pigtails, staring up at him,
fawneyed, disbelieving ...

And as the bus filled with the improbable musk of her,
as she twitched impaled on his finger
like a dead frog jarred to life by electrodes,
I knew ...

that love is a forlorn enterprise,
that I would never understand it.

This companion poem to "Burn, Ovid" is also set at Faith Christian Academy, in 1972-1973.



The Shape of Mourning
by Michael R. Burch

The shape of mourning
is an oiled creel
shining with unuse,

the bolt of cold steel
on a locker
shielding memory,

the monthly penance
of flowers,
the annual wake,

the face in the photograph
no longer dissolving under scrutiny,
becoming a keepsake,

the useless mower
lying forgotten
in weeds,

rings and crosses and
all the paraphernalia
the soul no longer needs.



The Stake
by Michael R. Burch

Love, the heart bets,
if not without regrets,
will still prove, in the end,
worth the light we expend
mining the dark
for an exquisite heart.

Originally published by The Lyric



The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight ...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh ...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase ...

now that I have forgotten her face.



in-flight convergence
by michael r. burch

serene, almost angelic,
the lights of the city ――― extend ―――

over lumbering behemoths
shrilly screeching displeasure;
they say
that nothing is certain,
that nothing man dreams or ordains
long endures his command

here the streetlights that flicker
and those blazing steadfast
seem one: from a distance;
descend,
they abruptly
part ――― ways,

so that nothing is one
which at times does not suddenly blend
into garish insignificance
in the familiar alleyways,
in the white neon flash
and the billboards of Convenience

and man seems the afterthought of his own Brilliance
as we thunder down the enlightened runways.

Originally published by The Aurorean and subsequently nominated for the Pushcart Prize



Absence
by Michael R. Burch

Christ, how I miss you!,
though your parting kiss is still warm on my lips.

Now the floor is not strewn with your stockings and slips
and the dishes are all stacked away.

You left me today ...
and each word left unspoken now whispers regrets.



The Quickening
by Michael R. Burch

for Beth

I never meant to love you
when I held you in my arms
promising you sagely
wise, noncommittal charms.

And I never meant to need you
when I touched your tender lips
with kisses that intrigued my own:
such kisses I had never known,
nor a heartbeat in my fingertips!



Ah! Sunflower
by Michael R. Burch
after William Blake

O little yellow flower
like a star ...
how beautiful,
how wonderful
we are!



Published as the collection "Rondels"

Keywords/Tags: rondel, roundel, rondeau, villanelle, refrain, repetition, poetic form, poetics, poetic expression, Chaucer, Orleans, love, art, beauty, mercy, merciless, words, heart, hearts, pity, pride, prison

I lowered my bucket into the well of words
And raised it up, hand over fist,
While syllables and phrases sloshed about,
Some spilling over
In my eagerness to drink them deep.

Oh, how I wanted to be filled up.


The words poured out,
And they emptied into the clay jar of my disconnected soul,
Rubra terra terra firma incognita
Plant me deep and water these roots.
(Am I real? Will I always be?)

And oh, how they filled me up.

I spoke the words aloud,
And they slithered between the cracks of my shattered glass self,
Amber crackled sunlight streaming right on through,
It looked like I would go on forever (and ever, ever)

And oh, the words broke me open.

There was water near, her horse could smell it, and so could she after journeying so far. Seemingly small things regained their importance in an empty land such as this, for what use is wealth without water, or power without others to wield it upon? A strange thought, not like her at all. People changed in this desert though; she knew from the way she watched her horse’s stride, and how she could remember all the names of the constellations, something she had not been able to do since times long past. She would not allow her mount to make directly for the water source, a well most likely, and she was wary. Around the foot of this dune, and there it was, the expected well, and a single palm standing sentry beside it. She drew water, relished the sound as it sloshed around in the hide bag, relished the act of letting her horse drink first, the joy of uncomplicated companionship. She drank, refilled her own water skins, ate a few dates, and let her gaze wander. She had maybe an hour left of daylight and was in no hurry to arrive, wherever it was that she was going. A hawk cried as it stooped upon a hare two hundred yards to her right, a beautiful thing to her. And on the heels of that, a fear. A quarter mile away, outlined against the distant plateau, walked another rider.

She had been drifting, sailing almost into a sleep, and now she was awake. What was that sound? Guitar. Her guitar, played with unsure hands, hesitant and sad. Bodiless chords making their way through the open window. God it was hot, oppressive almost, and she could still see the sweat beading on Clara’s forehead. She would not get back to sleep now, not so uncomfortable. She wriggled out of bed, carefully moving out of Clara’s arms. Needlessly though, Clara never woke without a good shaking or a loud noise. She pulled her green sweater off of the chair where it had been thrown an hour before and paused before putting it on. Something she had forgotten to do maybe, something at the back of her mind. Nothing. Closing the door behind her, she padded through the small living room to the open balcony and stood behind the man sitting on an old barstool, rescued he said, from a bar in Alfama. She watched him try and play her guitar, watched him bent in concentration. There was a bottle of wine and two glasses, one empty, standing on the wicker table next to him. Picking up the empty one, he held it out to her without turning around. “I hope I didn’t bother you Ta’ra, I was in a mood and couldn’t help it.” “No,” she said, taking the offered glass, “It’s too hot to sleep.” It annoyed her that he always knew when someone was around him, and in she and Clara’s case, which one of them. Curling up on the loveseat opposite him, she gazed out at Lisboa in all of its late afternoon beauty. “Give that back, you’re butchering whatever the hell it is you’re trying to play,” holding her hand out for her guitar. He handed it back to her, shrugged and said something about it being a long time since he’d picked up an instrument. She smiled, drained her glass, and began to play an old song, barely remembered. “Çevrem, etrafım şen mutlu iken. Ben yine hüzünlüyüm” She had never heard the melody played with a guitar, but she knew it well enough to play it without any hesitation. A haunting thing, this song, in a dialect she only knew by proximity, but no less powerful for people who cared for such things. She cradled her guitar, intent only on the music, on where her fingers must go. He watched and listened. “Why talk. If you do not listen to me? Running away…”

Well, you're in a good mood.
Those friends left and right
could learn a few things,
how not to whine as a kettle
until I notice the gold body,
black pearls for eyes.

To me it's a forest,
first breath of March,
winter locked up
and now leaves bleed green,
snow switched to slush.

Who wants to be raucous,
get sloshed, go hoarse,
slur every word?
With you each syllable
twirls through the air,
hopscotches from note to note.

We may cough/choke/sneeze,
as the curtain rises
but when you choose to speak
spring skips to my ears
regardless what month.

when critique is about, the unsuspecting walk like peacocks, showing off the wooden dutch slacks of fear prior to criticism, forging a proof of god so debased that it would require the holocaust to have taken place.*

- yes, this call is immediate, what's the severity?
- immediacy in all circumstances.
- sounds terrible.
- yep, blood in my **** too.
- ooh, dialectical diarrhoea?
- skidding at one hundred miles per hour with a popsicle swerve on the slurp.
- trafalgar sq. fountains?
- lions roaring in alabaster to the breaking of bony hinges.
- triage.
- can i see him face to face.
- no, you need to speak to him first via the triage telephone system.
- so he's the now receptionist and knows the daybreak slots with chemical compounds.
- no, thingy thingy, dum dum **** a toe, crackle fun pull a twig: we're
   the receptionists, he prioritises the eventuality of a cancer advert.
- three quid down the drain?
- yes, we, the receptionists of the world will stand against the robotic onslaught!
- ****** on winter sledges.
- exactly.
- not exactly, you, receptionist, you jane, me tarzan, you book face to face, now.
- you tarzan, you straighten bananas.
- you jane, you book, appointment.
- you tarzan, you straighten bananas.
- you jane, you book, appointment, now.
- me jane, me receptionist, me on the conveyor belt of corn crop patched harvestable.
- me i.q.
- me one hundred and fifteen.
- face to face to farce.
- farce to bloke to pole.
- pole leaning on a pole.
- englishman eating a napkin.
- blackjack and ingredients for the pride of britain: vindaloo child.
- sloshed on a cricketeer's return.
- puns and cardamon cardigans of colour without scent.
- pushy apple sours coloured acid green without the mojo juice.
- spank that gimp ***** into a piglet.
- leathered up, boots on parole.
(who the hell is talking now?)
- i need to see the doctor face to face, i need my sick note to live on:
   on brink of day in ultraviolet twilights, and drink.
- are you a banker?
- i'm a sick man, a beggar.
- we only provide sickness to the rich and famous.
- so what do i get?
- premature death.
- oh, can i have a bank account with that?
- oh sure, as long as you can accept debt.
- 5% like standard a.e.r.?
- no, 2000%
- so my debt interest will be crazy dizzy above my savings interest rate?
- yes.
- do you sell h.i.v. positive syringes?
- we're accommodating.
- thank you very much.
- thank you.
- goodbye morrow and marrow tight.
- bones ashore.
- **** all ahoy.

They say I could be like sand near the seaside
And you the push and pull of the ocean
So you build and break me like the tide
Move sand away from my hands in motion
While I'm left to wait for the moment we collide.

They say I will cause your waves to break
Then how come you slither and never uncurl
With every squishing move forward I create?
Then how come even when caught, you whirl?
Even when in possession your storms culminate?

If I could only see into your whirlpools so deep
Be mesmerized by your blue, like being asleep
To fish for pearls of knowledge about you to keep

For though you gobble up any nautic attempt,
Though you defend with sloshed foam and current,
They say I am the shore and you are my ocean
And after all there is one true notion:
Your currents kiss my sandcastles every day
And willingly, my sand grains float your way.