Man life know just set eyes way like young world soul day hunger space mouth earth thoughts ignorance blind things mind knew final moment human creation kind creatures souls high forgotten dream love spoke self existence face holy deep bound think home void say surrender ear forever called held ephemeral red state end shall heed hope edge living waking fall sea wake garden need February thought past wanderer got men page colored tepid terrible **** proudly untitled features point painted faceless box forgot render wild spring splendor  handfuls looking half brain lost torn ancestral  unseen vision inner summer honor mister owned banner save today fear groans wasn't smoke  street fable strange year contrast black years  able pain body spoken word known motion  palpitate reeling nature culture disclaimers  cancer beg attentive frames ****** base profound double remember wholly finger death token  cries continue folk oh fishing form broken true  divides spread ah twas away breathe wait warning hallowed wish closer lens turn eye live  constant current author hung theory dangle  bramble chemical new force changes adderall  anymore giving beneath possess pardon commentaries eternity internal walk reason  long change does idea glimpse consciousness  wandering simply wonder physical dreams war  sleep told rest benign prior begging truth little  2012 born tale crow bowels allegory animal rule  exasperate making horse curse hands ones read  rearrange capture doing command fail awake  aperture seedlings shift steely sir nap spead ****** demons slits clever telling loud spits la-la-di-dah killing slip game reflected nameless ask  lovers rabid bear salivate plunder shameless  famously savior mint rides menthol bully fate traded melodies play misunderstand mammals gentle witless fine utterly savage silt tongue-less  dirt dilutes pure non-sensory taste briefly ravage dismember it''ll shedding ruined curtain  knots offers plot fulfills munificent two-act  relegates boxz bug altruistic wintergreen tossing  callously guise grovels one's singers treachery ashes mid-life mutter fashion parading  ambiguity separatist liars staple steeping neath  guidelines scoffing stitch moans civil wrote  Fictitious undoing fables table effigies serve  sonnets staged remark psalm swoll praise harken  beggar verse bread lines heavily electricity detection snow sack-happy preaching credit  spotted wicked best gravity gun campaign owe  barge choir revelry celebratory satiated sinking  headline pack hound persistently propaganda  gentlemen excluding diminished ******* run idles  occupied levies wolfishly honestly misinformation cuba vehemently dumb grace spectator erasing  toned sage crowded secrets inter-connectivity  loaned prayer hymns grave mistaken magnified  vandals selective jump leak escapes says minister  buckle mass honesty shut tar children's hats  monument doping long-lived electrical ladle  exaggerated cartoons address seconds cool cradle bleak yang's mind-framed hypnotic  walker caps folly treble claim streaks mixtures  swelled interstate elapse teasing spoon mobile  succulent witchcraft borderline fatal 99 temple stacks sups plastics creeps neurotic ills tossed  meek sipping old crack interlock wax alleyway  coughing blown freak clock birthdays societies  slow flashing viscous candy argument toothless  pills cerebral rapt wall bisect lives wheezing  photo kid starter foiled pair saturated self-castrating pre-packed naked uncertainly pill  used came chaos coated reprisal fells wrack  irreverent mirth sickly disinherited proudest  collate wheeze appearance palette disharmony  discontented bastardized emotive bio inhale diction beat spoiled reclamation loudest tempo  totally disembodied matte imperfect shells flat  struck sounding imparts flak origin severance remarked bone walls snared leaflets mocking  hot scripting adjective noun agape seemingly  resistant gawk calamity passage paintings wind  trashcans signings sits cheap makers poetry persist scrap slipping individual talk wonders  leaving questions fold actor fancy parchment  fates engenders flown jaws stripped longer music  sacrifice fakers book boldly frown sigh atop patient hang trade occupation blows spectacular  whispers worthy backward waving certainty danced suppose needn't ‘drawkcab’ second-guessing  boys forget marched motto heads tightly lies two-tone earthbound harp twice turns goodnight  lying ***** internally indiscriminate nickname  drunk convictions myth steep  in-consumption  fitting artist **** universal sick expressions bad  du spell melody big siphon proud learn sprawls song spastic something temperaments utter check  fissures stomp totality blend definitely thrall sing rug voice shade pestilence ties commiserate round devil steady brains emotional certain gate  suckling gates dearth decay weight bounce pound  carrier pangs glass startle contest earthen web  tug pressed air patience flush amassed guest gone apprehension staring empathize captain believe fading in-perceivable deathbed guarder makes surrounds scatter drooling ebb blink cob tome  venom near door lair derision draws host stairs scent parts curiosities spider webbing surprise wares tips stepping ascetics starkness realize picture surroundings dictations grand pillars  deaf limited comparisons greet visual residents  personal settings dismiss alien law stability common earthly shiftless places prelude  understanding mosaic keen trifling embodiments  geared inception whisper visible jowls kiss murky  puddle rank dawn dichotomy single faithful fraying pays tailor veil climb mores pence whim  breath wellspring samara god stony pear  shadows fruiting forebodes moonlit looming  shown passed bog gold wracked faint tongues  noble preachers mirror shifting layered depth  threads jungle narcissus bemused seamstress self-worshiping architect's wore slumber anomalous  opened barren seam lip caustic scene coupled brick gardener's clenches -with forms idle breed  embodied lore starving empathy design illusion  tree coat fabricate lucid mason scatter-all  narrative seeking imbued 16th shivering chemicals 17th 15thrisk improperly dare  deliberate plan purge try brought chapter speed  aide utmost spirit leading intervention felt  recall recent advent sincerity times diary  lackluster piously lasting happy holding hear  stem tasteless whimpers wet spine monstrosity  dripping causes position quite softly claws pallet  answer digging tearing beast satiating circle breaks skips redwoods beckoning rotted hushed  gray lapsing monoliths deities creborus  imbuement hand stroll paradigm rendered chorus shy whispering forest residual tension  surrenders tolerance lull anew sentenced  bearing tide birds dirge divergent rim joined  cogs wood hesitant mist emergent towering offer  awareness confinement inverted faultier stowed  plane sanctified blanketing trusting memory fossil flash twists laden self-indulgent fleeting invitation agony grip shore impetus lingering  crows promise gift union swallowing endless floor supposed ecstasy sensory intent  psychotropic cradling placement interned  jagged connectivity exchange congenial begun  summons singular spiral assumes ambient reciprocates re-entry fruition reached aggregate lifetime limbs birthed instinct  frightening tarry proper entire light  boundaries innocence pursuit ago discover left  youth's unknowing sacred time place meager  simple fact cast ceaseless wide-eyed literal  apparent coincidence create boldness morphed  crooked kempt mere stumble buried shutter fairy  pivotal definitive months worth shear ambition sound required journeyed self-reflections title  facets vague restless intimation gut wanderer's  leap motivate path account boy soon bears faith  question tripped reasons uproot awaited confronted days step heal provocations wisps crushing transcend chronicles instance  directness raw drove occurrence objective-less  real enters slightest confident nondescript  typify  foreshortened interment paradox bitter heart  devoid jeopardy angry sensation confidential guilty arrogance mercy compliance reprieve  vincent deadening factual sign emotion awe  inhibition shackled butterflies absence actual sciences acknowledgement violent stagnant  spiritual American doors roots lack matted fore  gestures society cause streams intensity hair impossible discord lonely hearts resounding  jest  what's flavored pains closed toxic contented  happenstance scientific knowledge yeah  wizardry shaking stifled withdrawn bloom  jitter dreads settle asocial hulton make  predisposed figurative reflections demeanors  wondered affect hulton's projected sense  morning industry arrays ghosts feeling  certainly endomorphic where's partially wrath  passer mornings jovial unease advertized asking  trash onward wished tempers media mentality connect pasts sharp-toothed scramble great colours trial test salvation continually lent  degree secretly subjection social waned  disconnected colors grimly intellectual civilization cash trading baffling particular  digest myths monumental ending seasons winter  repetition introducing agent everlasting  shoulders delivered honestly-- possession funny  continence history unsightly function suffering propulsion profession divulge familiar tugs era  importance capability perpetuation spite inventory words entirety leveling fray insight  date record continues writer getting evermore fellow tongue possessions identical proof accuracy education similar sack admittance  favor unravel conveyance guilt gives beginnings  predicting audacity definition bobby heady eaters frameless learned release stone grandeur sang  speak molds sleeps split built seats people folded  sheer pour evoked playhouse liquid boring  tellers frayed stark walked reality pleas doth  preformed shows beak pride squawks opinions  greatest bold stunning sightings he'd loudly slain  sunk watch legend precipice theater deeper compound commentator civility justly silly sin  reverent seen prophetic moral confounds notion  lacking explain attempt prolific viral estrange proclivity scorn hide blur pious strung eden's  horror cut skin arch cruel twig mother vile  pass lend woods peach shrunken trail man's canopy worn 434 eat warm limb familiar father delete.

You are what your reading lady. Now would you hold this gun?

Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

............
Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

................
SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

......................

.
IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
...............
PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

Sorry.

Not for the bruises inscribed in my knees at six years old,
or gravel-shaped cuts dotting my palms
after being kicked off my bike like a rodeo bull,
or even the sliver of a scar on my right index finger
from closing it in a van door when I was seven.

No, I have no remorse
for the innocent;
not a twinge of sympathy regarding the unfortunate results
of relatively harmless careless actions
and playful worth-it memories.

I’m sorry for the other things.

I don’t mean running
or swimming
or dancing
until the soreness embedded itself in my muscles, my
heart racing, pulse pounding
in my ears.
I don’t regret that.

I’m sorry
for the other things.

I’m sorry for hating you.
I’m sorry for all of the
preening and plucking and
shaving and waxing and
hair burning.

I’m sorry for the countless repulsed glances at the spot
where my stomach puffs out
and all of the daggers I stared into the place
where my thighs meet.

I am sorry for getting slashed at
by the perfectly intact glass
of the bathroom mirror, for feeling severed,
just by seeing its reflective surface.

I’m not sorry for taking up space,
but I’m sorry I ever was.

I am sorry for
switch off the light,
lock the door,
the scratch of fingers in my throat
and the starkness of the cold linoleum floor
routines
I practiced because I loathed
the way you curved
and the fatness of my pseudo-waist.

I’m sorry for falling into patterns of self-hate
that I aimed at you. Patterns
not unlike that of an alcoholic,
commencing with afternoon drinks or slightly restricted meals
and ending with wildly depressing stories to tell
and crying on stranger’s floors—
but there is no Lackers of Self-Esteem Anonymous,
no chips to collect
for every time I tell myself I’m beautiful
or, better yet, value more
than my appearance.

I am sorry for thin red lines that ran deep into my wrists
and I am sorry for the faint-inducing heat
that followed,
caused by the oversized and long-sleeved sweatshirts I hopelessly donned
to cover you up.

I’m sorry for discarding that one dress
(that you looked stellar in, by the way)
because I had degenerated into such an unhealthy
and addictively abhorrent relationship with you
that I feared
even the slightest tightness
in my attire.

I’m sorry for habitual body monitoring. I’m sorry
for using my fingers to count calories
and not positive attributes. I’m sorry
for all of the aforementioned repugnant routines
I’ve picked up over the past few years,
whether I’ve stopped them or not,
I’m sorry.

I am.

So, body, when I say
that this is an apology note,
I don’t mean I’m sorry for  the time
I skipped salad and went straight to pizza,
or even the countless dinners when
I put an extra brownie on my plate.

No, I have no remorse for that.
I don’t regret that.

I’m sorry for hating you.

But, like a sinner coming up after sinking
in a blessed lake of holy water,
I am ready to fill my lungs with new breath. I will repent
with the radical act of self-love

and I promise that I will treat you better.

The photographic chamber of the eye
records bare painted walls, while an electric light
lays the chromium nerves of plumbing raw;
such poverty assaults the ego; caught
naked in the merely actual room,
the stranger in the lavatory mirror
puts on a public grin, repeats our name
but scrupulously reflects the usual terror.

Just how guilty are we when the ceiling
reveals no cracks that can be decoded? when washbowl
maintains it has no more holy calling
than physical ablution, and the towel
dryly disclaims that fierce troll faces lurk
in its explicit folds? or when the window,
blind with steam, will not admit the dark
which shrouds our prospects in ambiguous shadow?

Twenty years ago, the familiar tub
bred an ample batch of omens; but now
water faucets spawn no danger; each crab
and octopus -- scrabbling just beyond the view,
waiting for some accidental break
in ritual, to strike -- is definitely gone;
the authentic sea denies them and will pluck
fantastic flesh down to the honest bone.

We take the plunge; under water our limbs
waver, faintly green, shuddering away
from the genuine color of skin; can our dreams
ever blur the intransigent lines which draw
the shape that shuts us in? absolute fact
intrudes even when the revolted eye
is closed; the tub exists behind our back;
its glittering surfaces are blank and true.

Yet always the ridiculous **** flanks urge
the fabrication of some cloth to cover
such starkness; accuracy must not stalk at large:
each day demands we create our whole world over,
disguising the constant horror in a coat
of many-colored fictions; we mask our past
in the green of Eden, pretend future's shining fruit
can sprout from the navel of this present waste.
In this particular tub, two knees jut up
like icebergs, while minute brown hairs rise
on arms and legs in a fringe of kelp; green soap
navigates the tidal slosh of seas
breaking on legendary beaches; in faith
we shall board our imagined ship and wildly sail
among sacred islands of the mad till death
shatters the fabulous stars and makes us real.

Like lucid dreams entrapped
  within a circlet ornately adorned
   A sweetest love conceived
   but can't be borne
    Trailing feathers
     billowing light as rain
       Starkness in ink
       blot reckless in heavy stain
     Strings strung taut
   attempting to keep all in place
  Dream catcher sways
by the window, free and chaste

In her eyes the starkness of might
in her outstretched arms a call
to the ones challenging her
to surrender to her power
and the ones worshipping her
to find in her might what’s hidden,
an invitation to the worshipper and the challenger
to submit, to see, beyond her wrathful might
not a goddess
but a woman, a mortal lover,
infinitely lovable!

I climbed the dark heaven to meet myself alone..
To smell all the roses and espy the stone..
Nevertheless, the cloud was frozen and the breeze was calm..
I saw her descending and coinciding with my palm..
Her plain white vesture was contrasting my red..
She was diffusing the divinity that I could not even bled..
Our faces were same but our aces were inverse..
She owned one whole entity while I was a disperse..

The moment was priceless and so were my emotions..
It was indeed the most breathtaking phase to my notions..
My other twin was bounded with a definite time span..
She was entirely a woman with the heart of a man..
"You don't live inside me, I have never sensed you inside,
Painted with shyness, you rather live like a bride.."
I peeled up my heart and had the eagerness to know..
If the sun lives in me, then why do I fall like the snow..

She smiled and glared down on me with the rays of her starkness
and told me how sturdily I have been lidded under the darkness..
Holding the flowers, she stands in the island of my soul..
She ponders my echo and waits for  the control..
She imparts her colors when my pallet runs out..
but puts on her cloak when my demon comes out..
Surprisingly, I asked  "You are my part. Why don't you fight out..!?"
She had an answer. She works eternally from the hideout..

In the midst of the stirring stillness, she reminded that I had to leave..
Ironically, I could not crave for what I had been dying to receive..
The same ladder showed up and slanted me back to my nook..
and the wind narrating slowly what I had given while what I had took..
I returned to my place which was as murkier as ever..
I sensed the time-It was cursive and clever..
Perhaps I will reap more strength to deflect the chirping into the roar...
to mend every single lapse and bring her back someday on my door..

Is from the September equinox to the December solstice


Where you fell into the story was what mattered to me I looked on your beauty I saw you were in the
Autumn of life rustic adventure played an overture of mellow that softly blows the soul colored with
Delighted hues of gold red and orange these colors bespeak the whitened snow that lies in the offing
That tingling chill that so greatly advocates wonder of stillness but now it is the window view of a world
That is enthralling an excitement portrayed by loss that buzzes with excitement to be curtailed then to
Find the true fountain of youth a time of hardness elemental profound sterility a forest denuded in its
Own way it drags the eyes to this skyward enchanted starkness spikenard oil for the mind and emotions
It will halt and fascinate this alone would put disagreeable thoughts on hold it reverberates a quiet
Lustiness forms and ushers one into majestic simplistic appreciation of emptiness punctuated by the
Bizarre show that trees perform when they seemingly accuse the sky with bare limbs and stand in a
Gaunt stage one could read the story of doubt and faith reason and all visible means of perception says
All is lost but the unfailing grace that is locked in the heart of nature will be rewarded and with great
Proofs it never fails to succeed we to should hold fast when all evidence flees and we to are left alone
And barren this is of a truth your time and mine of new beginnings what little price to pay for the
Opportunity to unlock such rewards the same as when the trees start to bud the rich foliage comforts
And soothes the earth below and then doctors and mends the wind by photosynthesis purifying
Impurities keeping the whole environment healthy so if you are sidelined by this or that problem
Don’t be in too big of a hurry to lose hope and become frustrated look on the seasons believe and
Realize your having an autumn interlude and soon you will be a certain health and reward to your
Family and community yes at first I too was upset thinking of you in disagreeable circumstances but then
I was allowed to see your life not being affected by unruly means on the contrary you were being
Reshaped being given fuller leeway so many pluses that counter negatives that are a reality but the
Greatest Unseen hand works vigorously without fail to enrich empower by the lives of friends by this
Means the world is incorporated with values and trusts that bring rich harvests they surprise with
Wonderful Additions clouds and blue sky the vesture of the sweet earth that we as uncommon flowers
Permeate with scents that hold us all spellbound

A governor it was proclaimed this time,
When all who would come seeking in New Hampshire
Ancestral memories might come together.
And those of the name Stark gathered in Bow,
A rock-strewn town where farming has fallen off,
And sprout-lands flourish where the axe has gone.
Someone had literally run to earth
In an old cellar hole in a by-road
The origin of all the family there.
Thence they were sprung, so numerous a tribe
That now not all the houses left in town
Made shift to shelter them without the help
Of here and there a tent in grove and orchard.
They were at Bow, but that was not enough:
Nothing would do but they must fix a day
To stand together on the crater’s verge
That turned them on the world, and try to fathom
The past and get some strangeness out of it.
But rain spoiled all. The day began uncertain,
With clouds low trailing and moments of rain that misted.
The young folk held some hope out to each other
Till well toward noon when the storm settled down
With a swish in the grass. “What if the others
Are there,” they said. “It isn’t going to rain.”
Only one from a farm not far away
Strolled thither, not expecting he would find
Anyone else, but out of idleness.
One, and one other, yes, for there were two.
The second round the curving hillside road
Was a girl; and she halted some way off
To reconnoitre, and then made up her mind
At least to pass by and see who he was,
And perhaps hear some word about the weather.
This was some Stark she didn’t know. He nodded.
“No fête to-day,” he said.

“It looks that way.”
She swept the heavens, turning on her heel.
“I only idled down.”

“I idled down.”

Provision there had been for just such meeting
Of stranger cousins, in a family tree
Drawn on a sort of passport with the branch
Of the one bearing it done in detail—
Some zealous one’s laborious device.
She made a sudden movement toward her bodice,
As one who clasps her heart. They laughed together.
“Stark?” he inquired. “No matter for the proof.”

“Yes, Stark. And you?”

“I’m Stark.” He drew his passport.

“You know we might not be and still be cousins:
The town is full of Chases, Lowes, and Baileys,
All claiming some priority in Starkness.
My mother was a Lane, yet might have married
Anyone upon earth and still her children
Would have been Starks, and doubtless here to-day.”

“You riddle with your genealogy
Like a Viola. I don’t follow you.”

“I only mean my mother was a Stark
Several times over, and by marrying father
No more than brought us back into the name.”

“One ought not to be thrown into confusion
By a plain statement of relationship,
But I own what you say makes my head spin.
You take my card—you seem so good at such things—
And see if you can reckon our cousinship.
Why not take seats here on the cellar wall
And dangle feet among the raspberry vines?”

“Under the shelter of the family tree.”

“Just so—that ought to be enough protection.”

“Not from the rain. I think it’s going to rain.”

“It’s raining.”

“No, it’s misting; let’s be fair.
Does the rain seem to you to cool the eyes?”

The situation was like this: the road
Bowed outward on the mountain half-way up,
And disappeared and ended not far off.
No one went home that way. The only house
Beyond where they were was a shattered seedpod.
And below roared a brook hidden in trees,
The sound of which was silence for the place.
This he sat listening to till she gave judgment.

“On father’s side, it seems, we’re—let me see——”

“Don’t be too technical.—You have three cards.”

“Four cards, one yours, three mine, one for each branch
Of the Stark family I’m a member of.”

“D’you know a person so related to herself
Is supposed to be mad.”

“I may be mad.”

“You look so, sitting out here in the rain
Studying genealogy with me
You never saw before. What will we come to
With all this pride of ancestry, we Yankees?
I think we’re all mad. Tell me why we’re here
Drawn into town about this cellar hole
Like wild geese on a lake before a storm?
What do we see in such a hole, I wonder.”

“The Indians had a myth of Chicamoztoc,
Which means The Seven Caves that We Came out of.
This is the pit from which we Starks were digged.”

“You must be learned. That’s what you see in it?”

“And what do you see?”

“Yes, what do I see?
First let me look. I see raspberry vines——”

“Oh, if you’re going to use your eyes, just hear
What I see. It’s a little, little boy,
As pale and dim as a match flame in the sun;
He’s groping in the cellar after jam,
He thinks it’s dark and it’s flooded with daylight.”

“He’s nothing. Listen. When I lean like this
I can make out old Grandsir Stark distinctly,—
With his pipe in his mouth and his brown jug—
Bless you, it isn’t Grandsir Stark, it’s Granny,
But the pipe’s there and smoking and the jug.
She’s after cider, the old girl, she’s thirsty;
Here’s hoping she gets her drink and gets out safely.”

“Tell me about her. Does she look like me?”

“She should, shouldn’t she, you’re so many times
Over descended from her. I believe
She does look like you. Stay the way you are.
The nose is just the same, and so’s the chin—
Making allowance, making due allowance.”

“You poor, dear, great, great, great, great Granny!”

“See that you get her greatness right. Don’t stint her.”

“Yes, it’s important, though you think it isn’t.
I won’t be teased. But see how wet I am.”

“Yes, you must go; we can’t stay here for ever.
But wait until I give you a hand up.
A bead of silver water more or less
Strung on your hair won’t hurt your summer looks.
I wanted to try something with the noise
That the brook raises in the empty valley.
We have seen visions—now consult the voices.
Something I must have learned riding in trains
When I was young. I used the roar
To set the voices speaking out of it,
Speaking or singing, and the band-music playing.
Perhaps you have the art of what I mean.
I’ve never listened in among the sounds
That a brook makes in such a wild descent.
It ought to give a purer oracle.”

“It’s as you throw a picture on a screen:
The meaning of it all is out of you;
The voices give you what you wish to hear.”

“Strangely, it’s anything they wish to give.”

“Then I don’t know. It must be strange enough.
I wonder if it’s not your make-believe.
What do you think you’re like to hear to-day?”

“From the sense of our having been together—
But why take time for what I’m like to hear?
I’ll tell you what the voices really say.
You will do very well right where you are
A little longer. I mustn’t feel too hurried,
Or I can’t give myself to hear the voices.”

“Is this some trance you are withdrawing into?”

“You must be very still; you mustn’t talk.”

“I’ll hardly breathe.”

“The voices seem to say——”

“I’m waiting.”

“Don’t! The voices seem to say:
Call her Nausicaa, the unafraid
Of an acquaintance made adventurously.”

“I let you say that—on consideration.”

“I don’t see very well how you can help it.
You want the truth. I speak but by the voices.
You see they know I haven’t had your name,
Though what a name should matter between us——”

“I shall suspect——”

“Be good. The voices say:
Call her Nausicaa, and take a timber
That you shall find lies in the cellar charred
Among the raspberries, and hew and shape it
For a door-sill or other corner piece
In a new cottage on the ancient spot.
The life is not yet all gone out of it.
And come and make your summer dwelling here,
And perhaps she will come, still unafraid,
And sit before you in the open door
With flowers in her lap until they fade,
But not come in across the sacred sill——”

“I wonder where your oracle is tending.
You can see that there’s something wrong with it,
Or it would speak in dialect. Whose voice
Does it purport to speak in? Not old Grandsir’s
Nor Granny’s, surely. Call up one of them.
They have best right to be heard in this place.”

“You seem so partial to our great-grandmother
(Nine times removed. Correct me if I err.)
You will be likely to regard as sacred
Anything she may say. But let me warn you,
Folks in her day were given to plain speaking.
You think you’d best tempt her at such a time?”

“It rests with us always to cut her off.”

“Well then, it’s Granny speaking: ‘I dunnow!
Mebbe I’m wrong to take it as I do.
There ain’t no names quite like the old ones though,
Nor never will be to my way of thinking.
One mustn’t bear too ******* the new comers,
But there’s a dite too many of them for comfort.
I should feel easier if I could see
More of the salt wherewith they’re to be salted.
Son, you do as you’re told! You take the timber—
It’s as sound as the day when it was cut—
And begin over——’ There, she’d better stop.
You can see what is troubling Granny, though.
But don’t you think we sometimes make too much
Of the old stock? What counts is the ideals,
And those will bear some keeping still about.”

“I can see we are going to be good friends.”

“I like your ‘going to be.’ You said just now
It’s going to rain.”

“I know, and it was raining.
I let you say all that. But I must go now.”

“You let me say it? on consideration?
How shall we say good-bye in such a case?”

“How shall we?”

“Will you leave the way to me?”

“No, I don’t trust your eyes. You’ve said enough.
Now give me your hand up.—Pick me that flower.”

“Where shall we meet again?”

“Nowhere but here
Once more before we meet elsewhere.”

“In rain?”

“It ought to be in rain. Sometime in rain.
In rain to-morrow, shall we, if it rains?
But if we must, in sunshine.” So she went.

The winding drive along the sea
I took so many times
to steal away from anarchy
to pacify my mind

The city sirens come undone
before the ocean spray
then down the hill to U.S. 1
and thus begins the day

The Pier receding to the South
Will Rogers to the North
Topanga is the turn we seek
as we are going forth

The starkness of the hills and pines
the rivulet below
as Westward the Pacific shines
beneath the morning glow

The twists and turns I still recall
though roads are better now
no unpaved sections left at all
nor farmland for a cow

No Austin Mini Union Jack
the landmarks too have changed
and I so lost since coming back
I almost feel deranged

The Health Food Store with hitching post
the horses canter past
the countryside I love the most
and visit now at last

But on Mulholland Highway there
surprises lie in wait
there’s razor wire on the fence
and horses at the gate

As giant dishes aiming deep
into a mountain wall
so Orwell’s promise do we keep
applying it to all

But I remember still the day
the hillside turned to fire
the way to turn had burned away
the sky was black with ire

And in a wide spot in the road
in reverence did we stand
a fox, a hare, my dog and I
all watched the burning land

Can nothing make us feel as small
as fire pure and cruel?
to know it as a cunning foe -
to know we’re naught but fuel

But through the smoke a fire truck
led us down on Kanan Dume
toward the cleaner seaward air
away from certain doom

And all at once the trial was o'er
for we had reached the sea
as once Carrillo had before
and now my dog and me

We pass the house of river stone
Moonshadow’s Restaurant
and even Tidepool Gallery
for years my favorite haunt

And back to Santa Monica
on PCH we drive
admiring still the beauty
yet more thankful we’re alive

The winding drive along the sea
I took so many times
to steal away from anarchy
to pacify my mind

I fell into the arms of the night
Hugging the shadow of her silhouette
She pulled me in
And swallowed my eyes

Her fingernails
Traced my lips
As she took a bite

And I caressed her darkness
Without the need for light

Over curves and starkness
My hands were sight

Then she stood tall in the sky
Thick and wide

And as she laid over my body
She cloaked our delight

We played in sweat and Fahrenheit

And as she pitched black
She arched her back and began midnight

A few more hours
The sun came bright

       Then she disappeared
       And spit out my eyes

The maiden with the bitten heart.
The chiselled one made out of ice.
Melted by a super nova.
From the starkness.
Out of darkness.
There so appeared the peeping green of snowdrop leaves.
Little white flowers trying hard to scratch the surface.
To bridge the pain of what once was.
The river simmers.
If water were able to burn,so sure they should be burning now.

Running beneath the bridge.
The bridge that sighs under the weight of the world.
The water holds it's passion tight,
So be it, let it burn.
just before it says goodbye.
Sends it to the estuary
Running wild
frothing free.
May the sea freeze.
Amen.
(C)LIVVI

.....Not only do we grow numb, but resentful,
to the truths that we now know as lies.
Lies that glisten upon the floor  
within those shards of broken, reflective glass.
Glass and blood.
Blood which adds contrast, allowing splinters
to stand out in the starkness.

Starkness is in the clarity we yield when our thoughts
arrest our actions, before there are no "do overs."
Over the course of years, we watch in wonderment,
abject terror and denial, that which we have transformed into.

To see in the mirror the Gods honest truth of yourself,
and loathe it.
It is not anger that makes one lash out, to break the image which leers back with no
pity, no reason, no answers.

Answers we have plenty, truths, we have not.....

I have been insulted for sharing out
my peasant songs, pataphorical poems,
on the table of the cultural patriarchy
the insults have come in a serial flow
into my dark soul a basin of condemn,
it began as my duty to take my poetry
to the bottom of African latrine,
followed by volley of insults like ;
cerebral panicking insensitive idiot,
a gifted ******* of arsolian poetry
One other contumely went aboveboard
to announce me a better dead ******,
i wondered how much one can ****
without erstwhile duty of creation,
now i have been condemned in starkness,
to be a beautiful walking ghost
of William Seward Burroughs,
Uhm! folly of eugenics, No! i am wrong,
this  accolade, i seriously decline to take,
my innateness is not wounded at all,
by anything near to genetic disorder,
i am only conscious of my luckless past,
of Slavery,colonialism,wars,re-colonialism
Then poverty spiced by open ridicule ,
And partly trenchant and half-****** tease
firmly fuelled by racial intolerance,
i have now been mistaken in awry,
to  be a looming ghost of William Burroughs,
and i am not
i am  purely my self,
without imperious wide blood
any where in my by black veins,
i may easily have chimpanzee blood,
Flowing turbulently through my vessels,
but no tincture of white blood in my zoo,
Burroughs broke his virginity with a *****,
i have remained a ****** for three decades,
As African virgins marry only virgins,
Burroughs was the king of underworlds;
chasing lessbian prostitutes and  gays,
to quench his mad ******  appetite
the turf in which i am a  better sham,
Billy was a serial criminal, ever on the run,
my soul is clean as new pin,
in fact  gorgeously dressed
in the unique royal attires
of as a Bristol pin merchant,
Billy worshiped crime and drugs
my piety is anchored on freedom of all,
Billy went to Latin America for *****
i  have been there to mourn Gabriel Garcia,
the Nobelite who was alone in deathly  solicitude
Billy never lifted a finger against tyranny,
my arsolian poetry is center-pieced on nothing,
other than African chantings for  liberty,
freedom for the white and black peasants
perhaps to unyoke themselves,
from the yoke of vicious human avarice.

lost to independence
lost to familiarity

I've lost so many
to a life that
can
      not
            be

lost to distracting influences
lost to argumentative forces

so many of my friends
have been lost to various causes

I've lost friends to love, and hate
lost friends that I can't find
wandering in a field of starkness
I've lost friends to uneven stakes
and friends that have voluntarily
embraced a hug from the darkness

but,
in the end
even when you feel
I'm not your friend
I'll be there forever
because we have
a
   bond...

I'm the anchor, to your ship
even though you drift
I can hold you, to me
because

*we belong

White cottage that sits near the thundering sea,
Was the  home of the beautiful, sweet Lauralee,
High planted like a castle, a fortress we three,
Myself and our baby and the heavenly Lauralee.

Surrounded in starkness, white sand all around,
High above was the calling, the seagulls abound,
The bluest of skies stretched like canvas so high,
Never did we have sadness or pain or we cried.

We walked on the beaches, possessed by time,
Our lives all together, so enduring and fine,
Holding hands like the wind would then blow away,
All our precious, dear moments worth having today.

Sometimes how the stars like Roman Candles burst,
Our lives were adorned by the gods and not cursed,
The angels flew swiftly to bring heaven-sent joy,
Watched years become years for our lovely, sweet boy.

Then boys become men and go marching far away,
Just the two left standing with now nothing to say,
With ages rearranging our bodies in harsh view,
No more walking the beach, what could we do?

So, the time came when she was so summoned above,
How my heart was so heavy, we once fit like a glove,
But I had to now place her where I couldn't see,
With my tears ever flowing for my sweet Lauralee.

Lost Soul, Not Searching
Looking for immediate relief
To cure you for the moment
Of your inner grief

Quick high, no time to cry
numb, false happiness takes over
Everything looks good
When you're climbing the white cliffs of Dover

Sadness hidden, mask protecting
Could be anyone inside
True identities gone for the moment
White blanket does so well to hide

Talk about the impossible
Everything seems so clear
no sign of darkness
only the light is near

Everything is achievable today
But what about tomorrow?
Start descending, blanket lifted
here comes the sorrow

The mask of reality hits
Starkness is a dampener
Mood sets in
Lost feeling returned, positivity is hampered

The possible now seems unachievable
This day now unmanageable
Light dims, darkness returns
Nothing seems obtainable

Not coping,
Once again choosing the direction of oblivion
Where all seems well
No one can tell
That internally you are struggling

The Great Alone
The greatest fear is to lose the one dearest to oneself the shadows even darken soulless darkness
The day goes without sunlight even at noon day where does the brave contend while loss bends comfort
No hiding place exist you understand the lifeless void love taken only obstruction lives in all starkness
All is gone the tumblers of the safe are dissolved you can’t lock anything in safety nothing can oppose

No desert ever formed looks and feels like this landscape baked to the point nothing recognizable
Shade is filled with inner burning always turning thoughts are only heavy weights you must bare
Where is the water once it held you with buoyancy now seek as you do none is found at all sizable
Burnished sand this wayfarer knows its captivity well it is only like a tightening rope around the heart

The still frightens because down its corridors the laughter of yesterday still quietly forcefully echo
Avoid natural reflections those images the most painful hurts dwell you feel their presence can’t touch
Embodiment longing that holds the greatest promise now a cross a twist on the crops of the god Peko
What mocking to speak of harvest when there is only devastation your heart where not one plant grows

He once walked where you walk his experiences reflect these very facts they are the human equivalent
You have lost that which can’t be replaced you know pain and sorrow he lost most of those he created
Then by love he came to rescue that which was lost he carried your pain by their action he is irrelevant
In the soon clearing mist all eyes will dry dead hearts will be made a live with joy and what a gathering

G'day from prison!*
(before I knew he lives on):

I see you there, My Maple.

Your little skirts; your peroxide hair.  Sweet, quiet Maple... I see your fishnet, maroon, little sweater. How I loved that thrift-store garment; it gave purpose to us both. For you, an excuse to see, without being seen. A voyeuristic excuse, for myself, to see without being seen.

If it weren’t for you, I wouldn’t be here. If it weren’t for you, I wouldn’t know this.

I picture your starkness. Dark, ten year old Maple. Listening with wide eyes - as I validated you.

As no one else had before.

I nurtured that Goth infatuation that no one wanted, fed you music: your Evanescence covet. Your black fingernails... Even then, I understood what no one else could.

Yummy, tasty, Maple.

How good you smelled; how fresh you smelled. Clean, and sad. Searching for reassurance. Searching eye's, searching for me.

Searching for someone. Anyone. A real person; content to SEE you, and love you anyways. Not like the rest; all of them - who'd only ever cast you aside - pick you last - call you names, spit in your face, lock you out and alienate you; who’d kick and shove you.
The *someones behind why you, at age ten, began to wish you were dead.
I was there, and I was your best friend.

Me.

I was the best friend you'll  ever have. Someone who loved an anomaly, and understood, and loved you best; over your mother - your sister - I told you I had a crush; a crush for only you.

10 years have lived and died between us.

10 years without me.

And the weight of time has yet to alleviate.

You still wish you were dead.

I still feel your warmth; the little bundle of you.

You.

You in your cozy, blue bed, with your
curious eyes and porcelain face. I would slip five dollar bills under your pillow; tell you, “I’ve hidden something secret.”  

I adorned you with money, pampered you with special trinkets, allowed rare privileges disproved by your mother... A mother who hadn’t a clue you’d worshipped angry rap since the age of eight. She didn’t know. You idolized Eminem. She’d yet to learn his name. You wanted to see 8 Mile; your mother said no – Rated R – so it was our little secret.

But you betrayed our secrets, didn't you?

We have no secrets anymore.



I see you there.

The soft, supple skin of your back . . . of your stomach . . . and of what lay below.

“What’s down there?” I’d inquired.

So enamored, exploring the secrets of your little body.

My demure, sad Maple.

I was your one and only true companion.

I was your one, and only friend.

Yet, here, in this cell, you will never see your best friend again.

You will never have a best friend again.

For in this cell, I have nothing left, but to remember.

I have nothing left but to write.

All my love, my presents, my company. All to end up here.

Here, behind bars.

And the weight of time has yet to alleviate.

You still wish you were dead.

But you and I - we've become synonymous.

Together, forever.

Just as I said, ten years ago. For, no matter what, my existence will always define you; and yours - you will define mine.

Forever.

You'll never be rid of me, and you can never leave me.

For I'll never leave you.

Our bond is solidified.

Perpetually.

Together forever.

Ten years. Eleven, twelve. The calendars change, but you and I? We’re right where we left each other.

So you'll never be anything. Anything at all. Anything else but mine.

The weight of time won't ever alleviate.

And you STILL wish you were dead.

- Thomas Gregory Brown, G'day from prison

Poets make lousy friends because  eventually they’ll  skewer you with their poison pen; their  insulting  writ of relentless invective and opprobrious apoplectic venom. The naked foist of un-allayed aggression as art-form whereby  the vitriol of familiarity slices like a knife and digs in like a dagger.  The very nature of chumminess turns adversarial.  Like  acid in the eyes the sneering contemptible retch could cobble out words with a disgustingly exquisite though execrable precision. A quirk, an idiosyncrasy, a malevolent adherence so committed to  unmitigated truth that it is as a fist to the face,  a shocking starkness of  incivility justified by a requisite expedience hastened by the anxious need to blow one  off forthwith.  He was a veritable torrent  of abject invectives.

♪♫♫♪♫

running fluid, flowing
like love, like life, like blood, like knowing
the living waters from the  throne of God –
it starts slow and it builds
equatorial storms, tropical sadness
as the guitars take you home
in reverberations of eternity
through endless repetitions of longing
through palm-branched alleys and red-dirt gullies
breeze caressing guavas and passion-fruit
past dictators’ mansions
past rusting shantytowns
over ditches running with sewage
into colors too intense to bear
colors to make you cry:
greens unseen in cold climates,
red earth, flowering jacarandas
women walking wrapped in rainbows
huge baskets on their heads
in the blare of traffic
in the madness of African cities
through the Congolese night that calls your name
and the smell of poor people’s food over cook fires
carried on the musical breeze
children smile and beggars crawl in the dust of the street
obscure wars are fought,  false peace proclaimed
while the bones are exhumed
as the Congo jazz rolls on, flows on
like silver sorrow dancing gold in the heart of darkness
past liter bottles of beer sweating cold
on the bar table by the flower’s starkness
lighting up the midday – when those horns come in
on the boat from Cuba, by way of Bruxelles and Paris
blaring triumphant and strong
like a shipment of diamonds and uranium
glittering in the drunken afternoon of a song with no end.

Some poets   make lousy friends
they'll eventually skewer you with their poison pen
their  insulting  writ of relentless nasty venom
like some  twisted performance-art-form
naked foist of un-allayed aggression
the dilettante's vitriol of familiarity slices like a knife
the very nature of chumminess segues into   adversity
a quirk, an idiosyncrasy, a malevolent adherence
so affixed are poets to the unmitigated truth that it is as a fist to the face
a  horrendous starkness of  civility
justified by a requisite needy urgency of  expedience
contemptuousness brought on  by an  anxious desire to blow you off -ASAP
they'll turn on you like a feral cat

Do you think that you’ll remember
washing your least crusty mug
in the cracked bathroom sink at four am,
blinking afterimages of Wiki articles
and Midwestern poetry out of your eyes?
(Always the Midwestern aesthetic–
what is it about starkness that drives people?)

You’ve spent too many mornings
watching dawn from the wrong side, pacing
up and down beneath the streetlights
as they go out one by one.
The earth keeps turning but
your thoughts scattered last night
and they never came home.

The percussion is
(you heart is)
pounding,
crash ratatatat thump,
ratatatat crash, time
slipping between your fingers
in fits and starts to the beat
fluttering in your chest;
no repeats or hesitations.
The topic is–
Magpie, bird brain,
you line your nest with tinfoil
to keep the world at bay.
You’d say “I want to believe”,
but instead you just play the song again,
hoping that maybe this time—

Did it take this long to realize
you’ve answered your own question?
You have to run
when there’s nowhere to stay.
Maybe you should take a vacation
to the desert yourself,
get some dust under your nails
so you’ll stop chewing them off.
Quit glancing at the clock, sweetheart;
you’re on a timer here.

Ye of fairest width, why sleep when the sky is bright?
There is a single star in the sky.
Wake up, stay alert, it is your rite.

The World is dimming, dull to the eye.
There is rules to abide.
Rules we need to abide by.

Pick a side.
There is light and there is darkness.
Whomever to ride?

The dirt thirsts for brightness.
I will not give it, without the price.
The dirt stays in starkness.

I sow it out to the dirt thrice.
But they will not grow abit.

Claimed
Unhidden
A heart laid bare
Words I read in awe
Poets
Unbidden
So want to share
They know who they are
Alone
In darkness
The words were read
A heart leapt off the page
A soul
In starkness
An empty bed
The wisdom of a sage

The night is almost gone, and the day is near.  
Therefore let us lay aside the deeds of darkness
and put on the armor of light.*

How pervasive this darkness
And how choking its black.
Very few could breath here.
I wonder at this starkness,
No, I wonder what it lacks,
Growing perhaps too accustomed to fear.

Does hope look any different though?
Or will light just show me the dark more clearly?
Neither day nor night seems relief to show,
Every hour clings me to life barely.

Every friend I tell holds my hand with weakness,
Venturing to guess at the reason I hold
Every new detail with certain bleakness,
Reviewing my case as a doctor would.
Yet none knows the depth of the wound in my soul,
Truly none knows how closely I hold this knife.
Hope they hold out as though I desired life.
I want only reprieve from this black-hearted control.
No, I desire not life but a way out, friend.
Give me pills or a pistol, that seems a sure end.

To admit this to my friend I would never,
Oh but there's One who has known it forever...

“Stand firm,” He commands,
To me quite a demand,
And I plead with Him I care no longer for life's light.
Neither for death's black, but on oblivion I have my sight,
Denying reality of both extremes.

For once, though, I consider, for once I wonder:
Is hope something different than the nightmares I dream?
Reviewing a bit, with a sense of washing over, I discover
Mustard seeds are really smaller than they seem.

You are excess of my goodness when am done with my badness
I love you Africa in excess for your excess of problems;
Poverty, wars, warlords, diseases, hunger, famine
And cataclysms evilest eating away your terra firma
Like a desperate Tiger on a capsized boat,
Your riches in history of slavery and heritage of colonialism,
In the excess of your global bleeding that makes me love you more,
Your excessive black ugly humanity in the explosive population
of useless human beings; barely illiterate and blunt in knowledge
Buried deeply in the starkness of crude and vulpine culture,
These bestow to me the synergy to love you O! My dear tarzanic Africa,
Your excessive cult of dictatorships that glitter in aura of democracy,
Sending your sons and daughters to miserable powerlessness,
Devoid of governance in abundance of power and money corruption,
Financing and cementing torture chambers for the voices of reason,
Building my pedestal on which I stand to execute
My cornucopia of love for you dear Africa, an avatar of Satan,
As you are prone and spread eagled in a defenseless stretch
Against  all the ****** condemning your self to ideological turmoil,
I still do love you in supercilious superfluity my dear Africa.

Twinkling fireworks on a warm summer night
I’m enthralled by the starkness of radiance,
The thunderous boom and magical shine.
And yet they flee
I watch them falter and fall,
Quietly acknowledging the sentiment

They banned us from building more castles in the sky,,
so we made forts in the basement instead
Clanked our glasses for freedom and self- determination
Embracing our glorious reign

Pencil drawn blueprints, methodically planned
Smudged lines of dreamlike destiny
We would have made it too.
Had we not carelessly lent them to fate

The blackness of the sky made them perish
Glittering ashes settled at my feet
Nothing but a smokey shadow marked our sweet juvenescence
The stars and the moon unscathed
It really was a fantastic show.

The freighter loomed from the darkness
Its shadow high on our port,
And Jenny screamed at the starkness
Of the fate the freighter brought,
Its bow wave flowed right over the prow
Of our tiny little yacht,
We knew that we couldn’t ride it out
So whether to swim, or not?

The sea was luckily clear and warm
It had been a perfect day,
As we had lazily sailed along
The length of Innotto Bay,
As night had fallen the breeze had too
And it left us quite becalmed,
So when the freighter came ploughing through
It had seen us both alarmed.

It rose above us, this rusty hulk
That had seen much better days,
The bridge was lit, could they see us sit
Where their bow cut through the waves?
The yacht was rocked by the turbulence
That its mighty hull displaced,
And suddenly we were swamped out there
As the sea rose to my waist.

The yacht had foundered, was going down
Crushed by the mighty bow,
And we fell into the sea where we
Clung on to each other, now.
It ****** us in as it glided past
And we heard the turgid roar,
As the giant props left a wake of froth
That would **** us in, for sure.

And Jenny panicked to stay afloat
As I clung on to her arm,
But down we went as our strength was spent
Where the props would do us harm,
We saw them thrash as we sank on down
And a dull throb filled our ears,
The blades would slice like a guillotine
Was the source of both our fears.

But the violent thrash of the water there
Sent currents beneath the stern,
And we were violently ****** on down
Where the props had ceased to churn,
And when we bobbed to the surface, we
Saw the freighter disappear,
Ploughing into the distance while
We lay in the bay, to cheer.

We were only a mile beyond the reef
And beyond that lay the land,
So struck out together in relief
And I held her by the hand,
We’ll never forget that rusty hulk
As it passed, I caught it’s name,
Riven with old corruption it
Was called, ‘The Devil’s Game!’

David Lewis Paget

Vivid red barn juxtaposed against a green pumpkin field.
Cloudless sky with bright sun hurt my eyes.
Starkness of the scene burnt into my mind.
Beautiful!
Time passes.
Sun lowers in the sky with fat orange orbs all around.
Bright reds, yellows and orange ornate the trees.
Hayride swinging through.
Artist easel in the field.
A painting just waiting to be alive.
Sun lowers still.
Winter, snow deep, cold white drifting toward the barn, glistening.
Snow Hare tracks everywhere. Black crows in the sky warning out their calls.
Mud season, sun moves higher in the sky banishing the white until next year.
Sun, still on the move.
New baby green in the field reappears.
Cycle continues year after year