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"solicits" poems
Authors and actors and artists and such Never know nothing, and never know much. Sculptors and singers and those of their kidney Tell their affairs from Seattle to Sydney. Playwrights and poets and such horses' necks Start off from anywhere, end up at *** Diarists, critics, and similar roe Never say nothing, and never say no. People Who Do Things exceed my endurance; God, for a man that solicits insurance!
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6.7k
Bohemia
Tonight’s the night when your throat swells tight, your breath falls short, your costumes don’t fit right. Tonight’s the night friends will surely mock, your hair’s utter chaos, your knees nervously knock. Quality is demanded, perfection from each night; it’s subtly commanded; it solicits stage fright. Hiding from view behind glamour and grace, lingers that time-tried spew: “Get those nerves off your face!” From backstage, a call: “Everyone take your place!” You’re not ready at all! Just breathe, steady pace. Silently whispered lines across a tongue of cotton, but then the spotlight shines! And all these worries, forgotten. Because tonight’s the night when your smile will glow, your beauty stun and passion show. Tonight’s the night you’ll become like a star, Creator-made, perfect just as you are. Nothing else compares, not applause, not stares, when you dance for your Savior, who loves you, who cares. Tonight’s the night audiences will applaud, but you know what they don’t: it’s not you, but God.
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Dec 26, 2012
Dec 26, 2012 at 5:17 PM UTC
Opening Night
He awakes from deep slumber to find his beloved missing by his side, again. Casting off the shroud of dark, dense clouds He dons the black cloak of night and begins his frenzied search for Her - the perpetually elusive one : He scours the skies, cuts through frosty winds, roves through the infinity of stars desperately seeking Her, looks down : at the lonesome road abandoned by commuters that treaded upon her all day long at a dingy alleyway where a girl solicits her new owner for the night - to be used, abused, misused at the young woman storming her way back home distraught from a break-up with her Casanova of a lover - - all this, while She trails behind him in his quest for love, silently accompanying him as he drifts over unknown lands, hoping his agony abates, wanting to tell him she is there, he could see her. She, who lends meaning to his being, his silvery, mesmerising Moonlight.
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Feb 9, 2013
Feb 9, 2013 at 5:47 PM UTC
The Moon seeks his beloved
where? in a land far, far away suburbia about to crack every Jim, Joe and Jack solicits money for dope with no hope for a future for his kids cause he’s broke                 he hasn’t seen them in a couple of years                 there are all these mannequins they walk around like they’re people they got the houses like us they got their malls and their steeples imagine the hand that feeds them buys ammonia and they give it to the kids yeah, they put it in the pigs   before they’re porkchops and ribs they take a little arsenic and sprinkle it on carrots because they heard the brand has merit it's like a different planet once they had orange men and pink and they didn’t get along they said the colours were wrong and they fought, of course they fought because that’s in all of nature but they were given a few thousand years they never quite figured it out it was a failure and they never found a cure and they never did mature til the sky came falling down and it’s a different time a different place it’s not even the human race but citizens get robbed by banks held hostage with a gun in face so I hope that though the words I speak are really just absurd they’ll send a message that is heard                                      almost there                                                 be the change                                                               with your                                                                            words.
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Dec 5, 2011
Dec 5, 2011 at 6:52 AM UTC
a far away land
where? in a land far, far away suburbia about to crack every Jim, Joe and Jack solicits money for dope with no hope for a future for his kids cause he’s broke                 he hasn’t seen them in a couple of years                 there are all these mannequins they walk around like they’re people they got the houses like us they got their malls and their steeples imagine the hand that feeds them buys ammonia and they give it to the kids yeah, they put it in the pigs   before they’re porkchops and ribs they take a little arsenic and sprinkle it on carrots because they heard the brand has merit it's like a different planet once they had orange men and pink and they didn’t get along they said the colours were wrong and they fought, of course they fought because that’s in all of nature but they were given a few thousand years they never quite figured it out it was a failure and they never found a cure and they never did mature til the sky came falling down and it’s a different time a different place it’s not even the human race but citizens get robbed by banks held hostage with a gun in face so I hope that though the words I speak are really just absurd they’ll send a message that is heard                                      almost there                                                 be the change                                                               with your                                                                            words.
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Why would I ever venture to guess That you would be willing to meet me halfway? My empty attempts are wasted endeavors I give it my best shot In pursuit of mutual presence A hesitant undertaking that Solicits the same solidarity I strive to stifle I know I'm a hindering burden that Overloads you like a snow covered tree Still clinging on to its leaves Never letting them go until they're Weighed down and overloaded A strain crack break Brings it down in a thunderous sound To handshake the ground I am a huge hassle that hugs his hostile self Grabbing his own handful heart Holding it in the air as a sign to declare Sorry for the inconvenience I've been rocked goodbye The wind didn't blow It was snow that broke me The bow never budged It was the entire tree that plummeted A swift fall to bring my cradle and all Crashing so you no longer have to sit
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Apr 30, 2013
Apr 30, 2013 at 4:57 PM UTC
-Pacifier-
rough, flush, posthumous lips. exposed, crisp imperfections. rough, barbed fingernails. frost wisps eyelashes into splintered cords. moist lyrics in the foggy solicits of a conventional partition.
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Apr 8, 2010
Apr 8, 2010 at 7:15 AM UTC
Posthumous Lips.
Pieces of shrapnel It drifts on by, Invisible to your naked eye. It solicits no hand, No beckon to the why. It offers no reason, No mark to signify. Pieces of shrapnel Just searching for its place, Scouring the wide eyes— The hopeless, The grace. To know its name Is to give it a face. These pieces of shrapnel Have found its place.
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Sep 3, 2025
Sep 3, 2025 at 10:58 PM UTC
Pieces of shrapnel.
I. On the surface easily gliding,   are my hands. I keep on the table   an ajar carton of cigarettes. Then slowly   becoming in my pocket, taking form of a hand,   a crumpled cinema ticket when straightened,   ironed by plainsight, walks with lines, the end credits roll lasciviously like an estranged lover    whose face I can almost touch.   When let go of closure, air thins and I move   secretly with fluency. This is how objects   escape my grip. II.   In front of the eatery, a transit.   I had a dream once in a depthless sleep,   a figure in stilts studded with guilt.   The face next to me, disquieting the music    of currencies, naked in sound as the truth shaved    like a beast. The nearby tarmac resounds with    another throng of absence. As a substitute    for beings shackled to duty,    the oncoming woman assumes theirs,    borrows their faces of dreariness and ***** a thousand times like white sheets harassed by    the wind through opened windows. III.     Define space as a venue for collision.     Say when a red-haired woman straddling     a duffel bag and myself confused as a peripatetic.     She ascribes her presence to my footing     and from where she left off, I take form     of her expired movement.                      Found strangeness is that space     is what happens when remembered. But hold no     bearing and rear contrivance,      trying to be bold by definition -- space solicits      the in-betweenness and then transmutes      an occurence,              say the volatile shape of a hand when     clutching and releasing, the fugitive manner of     feet when avoiding puddles, the unsolicited     reticence of a troubling question. IV.             A man carries a take away and is now      amongst the populace, waiting under a shed,      housing a familiar language. Home.            But first, trivialized. Haggles with the cab driver,     trying to transact a being angled towards home.     They agree to a fault, money's perfume clinches  the fingers and is given to a calloused hand.              Air once stale, is now succulent with the       resonating memory of a child's excited laughter,       and is now presumably waiting behind a gated       home. Like the palm of the hand, the number          of times the vehicle trundles within      the nearby avenue is the force it enkindles         with rest. He is home,      unloosens his clothing. Like a fine specimen           freed from a vitrine.
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May 13, 2016
May 13, 2016 at 6:05 AM UTC
Textures
I. On the surface easily gliding,   are my hands. I keep on the table   an ajar carton of cigarettes. Then slowly   becoming in my pocket, taking form of a hand,   a crumpled cinema ticket when straightened,   ironed by plainsight, walks with lines, the end credits roll lasciviously like an estranged lover    whose face I can almost touch.   When let go of closure, air thins and I move   secretly with fluency. This is how objects   escape my grip. II.   In front of the eatery, a transit.   I had a dream once in a depthless sleep,   a figure in stilts studded with guilt.   The face next to me, disquieting the music    of currencies, naked in sound as the truth shaved    like a beast. The nearby tarmac resounds with    another throng of absence. As a substitute    for beings shackled to duty,    the oncoming woman assumes theirs,    borrows their faces of dreariness and ***** a thousand times like white sheets harassed by    the wind through opened windows. III.     Define space as a venue for collision.     Say when a red-haired woman straddling     a duffel bag and myself confused as a peripatetic.     She ascribes her presence to my footing     and from where she left off, I take form     of her expired movement.                      Found strangeness is that space     is what happens when remembered. But hold no     bearing and rear contrivance,      trying to be bold by definition -- space solicits      the in-betweenness and then transmutes      an occurence,              say the volatile shape of a hand when     clutching and releasing, the fugitive manner of     feet when avoiding puddles, the unsolicited     reticence of a troubling question. IV.             A man carries a take away and is now      amongst the populace, waiting under a shed,      housing a familiar language. Home.            But first, trivialized. Haggles with the cab driver,     trying to transact a being angled towards home.     They agree to a fault, money's perfume clinches  the fingers and is given to a calloused hand.              Air once stale, is now succulent with the       resonating memory of a child's excited laughter,       and is now presumably waiting behind a gated       home. Like the palm of the hand, the number          of times the vehicle trundles within      the nearby avenue is the force it enkindles         with rest. He is home,      unloosens his clothing. Like a fine specimen           freed from a vitrine.
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The day is sunny. The time is a little past noon. The red door casts a small shadow over the green grass. If you stand there and close your eyes, You could swear you hear a river as it dove through the forest. But the river's not important. What's important is the door, or rather, what's behind the door. The door is never locked. The **** is always loose and fits nicely in the palm of your hand. You can look around the door. There's nothing special about it. It is painted in the most ordinary of red. The molding on the frame is nothing to admire. Its importance is almost never recognized at first. Everyone will see this door in their lifetime, sometimes more than once. Some even grasp the **** and give an tiny tentative turn. But many, too many, will turn away. Fear loves to sit by this door. He will take the hand of anyone who'll embrace him. He never solicits his services. He never advertises. Yet people flock to him like flies to honey. Funny how flies also gather around garbage. But if you ignore him you will find your hand on that doorknob. Give it a turn and extend your arm. Close your eyes. Remember what it took to get here. The door gives a satisfying creak. The dour man besides the door gives a barely noticeable frown. You notice how it almost seems to glide open on its hinges. A small bead of sweat carves a path down his forehead. You gently let go and allow the door to open. Like it was made to do. He looks ill. Step on through.
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Jan 3, 2010
Jan 3, 2010 at 8:31 PM UTC
Choice
to kindle the flame of fear is a most prominent endeavor one is never ready, never willing but always doing so without regard for the    consequence what a wondrous weight an unfathomable burden a dignity never dignified at least, to the portrayer fear which plunders the familiar darkness hangs hope from the tallest tree solicits the soul until suddenly, soddenly it becomes magnificently maneuvered, a true feat leaving no time to act to question what is being done the fury of such force inescapable unable to be transcended by will, one must endure the totality until the fire has retreated, the light extinguished, smoke cleared and one can breathe easily again
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Mar 22, 2014
Mar 22, 2014 at 10:46 PM UTC
excuse me, could i please ask for your permission?
*I want to be enveloped by the silence that darkness solicits For the dimming acts as a finger upon the lips To quiet and linger in the space Between what is and what isn't*
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Jan 29, 2017
Jan 29, 2017 at 2:18 AM UTC
Comfort
Now the cuttlefish is a curious little critter, not above shenanigans because these naughty little things indulge in oral *** What? Well, yes, the male pops his hectocotylus into the female’s mouth and halleluja, does his thing right there, without shame or any ignobleness. And the female? Well, she doesn’t waste or swallow this although she goes round other males and solicits more deposits for her clutch. Eh? Such wantonness. Really. But this precociousness is just the way they like it and shows us there are many different ways to indulge in coitus. That's right, just simply liking lots of hectocotylus right down to, but properly, stopping short of her esophagus. Without any further apophasis, obviously, nature thinks that this is efficacious. Now, I'm not a marine biologist, but I think this bodacious little cuttlefish is amazing and audacious. Mike T Minehan
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Feb 25, 2022
Feb 25, 2022 at 9:07 PM UTC
Now the Cuttlefish
Here is the key for room number five. My mother died last year. I'll pay for the tickets. I would like to see the menu, please. What time does the bank open? Is this the first time this has happened? I was feeling tall because I had just swam. Elizabeth wasn't between the two buildings because Deborah's son had swam for three or four weeks. I had been laughing but I was writing. Roy wasn't at school because Cathy had jumped for more than an hour. I had been playing but I was driving. The cook solicits the mundane protest. When does the pleasant care view the talk? The fall extends the towering grip. An enigma makes people shiver. The sky would scare any linguist away. Significant understanding shot the sheriff. When will the insult warp the union continental? That memory we used to share could please even the most demanding follower of Freud. I realized that in my sleep the night prior. That memory we used to share is still not very coherent. This is who?
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Sep 26, 2015
Sep 26, 2015 at 6:30 PM UTC
Room Number Five