consciously, willfully, I wish it

quietly the Sunday, the sun day, drifts toward,
in its natural game, set, overmatched,
the foregone conclusion, nightfall diminishment

the water songfully swishes,
as the tide departs for places unknown, this then, now
the only natural authorized aural apparition,
the power boats renounce their normal noisy conditioning,
honoring their silenced, under-sail brethren,
as well as admitting their noises disfigure
the fast approaching majesty of the end of
our summer seasoning of humanity

consciously, willfully, I wish it

once again, lush is the quietude,^
now given up, surrendered and surceased to wonder,
how come I to write of these moments so oft,
thenever-ending quest to re-inscribe it on my sensibilities,
in vainglorious hopes that this stamping will last, be the last,
see me through the turgid frigidity of my Lucifer life,
come the fall, the winter, the early dark,
the daylight's brevity, the hurricane season of the mind,
that...need I say more?

consciously, willfully, I wish it

the particular white cloud formation of the moment at hand,
shall stay in place,  be the capstone of my summer living vision,
become permanent part and parcel
of the sclera, the white of my eyes, and when
I will write, soon enough,
my vision white weeping clouded,
you will weep knowingly, sympathetically

consciously, willfully,
I wish for that as well*

8/27/17
6:35pm

I remember that spring morning all too well
As much as I wish I could forget
It was the Monday after prom
I came into math class, the teacher was eyeing me sympathetically
Then the principle came in with tears in her eyes
What was going on?

She started balling, I could barely make out her words
Then I heard her loud and clear
You were dead
No. No. No.
Surely I misheard
Surely this was all a big misunderstanding and the boy in that car wasn't you
Surely you'd stroll into class 10 minutes late as usual
But it was you in that car
And you never strolled into class again

I remember when I told my best friend, the girl you loved and who loved you
As I told her you were dead I watched the life drain from her face quicker than an avalanche falling,  and it has yet to return

And now her face is a reminder
And now your empty desk is a reminder
And now that bench where you used to sit all the time is a reminder
And that one less chair at our graduation is a reminder
And that picture of you in the hallway is a reminder
Everything is a reminder

No one really knows what happened to you that night
Do people really crash into brick buildings on accident?
Maybe you lost control of the car
Maybe you lost control of your life

All I know is seventeen is way too young to die
All I know is we should've been talking about prom that morning  
Who kissed who, who wore what, who's after party was the best
But instead we were mourning the death of a classmate
That morning we lost you, and along with you, we lost our innocence too

It's 3 am and you're restless again. Your thoughts wander briskly through the fields of memories of him and you find yourself picking each one and holding it delicately in your palm. The lights from the streetlamps outside your window peek through the blinds and illuminate synthetic stars onto your ceiling which you count like each kiss he ever placed on your cheek. Your legs are wrapped up in your sheets like the way they used to tangle around his ankles every evening. You roll onto your side and attempt to close your eyes once more, calling out to a peaceful slumber that has been evading you for weeks when suddenly, you hear a whistle in the distance. You open your eyes again to see the stars growing into spotlights that threaten to swallow you like black holes, but without the mystery. You immediately grab your wrists out of fear that you unconsciously took a blade to them but you are greeted by scars that have been forming for approximately three years (and eleven months). Your heart threatens to pound its fist through your chest as you slowly turn to see what the source of the light is. Just as your shoulders align with your mattress, a man steps from what appears to be a train engine and greets you with a nod of his head.
"Good evening, sleeping beauty," he begins sweetly, "I have come to extend an invitation to the night train."
You bring your hands to your eyes and attempt to wipe the hallucination away from your vision but when you open them again, you see the man gazing intently.
"It is my understanding that this is your first meeting with the night train," he states as he waits for you to supply an answer.
You nod your head.
"Well, my dear, the night train is here to offer a sweet elixir to cure this sleepless evening. You see, the night train's purpose is to supply the recipient ("that's you," he says behind his hand) exactly twenty minutes of time spent anywhere of their choosing. And then, once the time is up, the recipient must board the train once more, and will be met with approximately eight hours of uninterrupted slumber." He pauses as an assurance that you are following along, so you nod your head slightly. "However, the catch, you see, is that if the recipient does not board the train at the end of the twenty minutes, they will find themselves trapped in a restless oblivion with the promise of never again finding the comfort of sleep." A slight smile tugs at his lips as he tilts his head out of sympathy. "This may not seem to be much of a threat considering you are currently wrapped up tightly in your bed, but I assure you it will be tempting to remain within the place of your choosing, despite the whistle of the night train."
Unsure of what else to do, you nod your head once more.
"Alas, now we must be on our way, because the countdown begins in exactly three minutes! So I urge you to think quickly of where you would like to be taken!"
As though the train has suddenly run into your chest, the meaning of the opportunity that has been placed in front of you knocks the wind out of you. Before the conductor even finished his sentence, you knew exactly where you wanted to go, so you swing your legs to the side of the bed and push yourself upright.
"I would like to be taken to July 13th at precisely 2:32 in the morning," you say quickly as you flatten your restless hair to your head and straighten the t-shirt you are wearing.
"Very well, very well. Now board the train, my dear. And we'll be off to the morning of July 13th, but I urge you not to forget your time limit of twenty minutes!" He places his hand on your back and ushers you into the train, guiding you to a red velvet seat lined with golden stitching. Once you are comfortable, he disappears into the cabin and blows the whistle before pulling out of the station that is your bedroom.
With no warning at all, you feel a tightening in the pit of your stomach and before you even have time to clench, you are sitting on a rooftop overlooking a vibrant city.
"I just don't know anymore. It's like- It's like everything I once knew has been flipped upside-down and I'm just expected to be okay with it. But I'm not."
You blink a few times in an effort to adjust to the sudden deja-vu that causes your head to swim in the memory of an evening you have constantly waded in.
He is sitting with one leg tucked beneath him and the other dangling over the edge, as though even his limbs can't decide whether they want to take the fatal plunge or not. His hair was always absent of color, the kind of black that made you question the material of the universe because even the night sky couldn't compare to the degree of darkness; but it seemed to be doing just that as it laid haphazardly across his pale forehead. His bony fingers are clutching a nearly empty bottle of gin which he brings to his lips between sentences. He continues speaking as though you didn't just appear out of thin air beside him.
"My mum doesn't even pretend to understand anymore. I've heard her mention boarding school at least three times this week, despite my constant refusal to even speak of it. She knows the walls in the apartment are paper thin, so I know she brings it up because she knows I can hear it. But I don't want to hear it."
You notice the vacant look in his eyes as he stares into the horizon, like a hotel room that has been emptied of every belonging, including the light bulbs. He uses his free hand to adjust the collar of his leather jacket before taking another swig of the gin.
"I just can't stay there anymore, and she knows that. Deep down, she knows I can't stay there now that he's gone. I just can't."
His voice is as hollow as his chest as he uses his tongue to wet his lips before turning his head slightly to look at you.
"I wish you could come with me, I really do. It would be quite the adventure, the kind that we used to dream of having. But I can only afford one ticket out of town."
He places the bottle on the ledge, dangerously close to the edge, before resting his sweaty palm on your exposed thigh. His eyes travel from your legs to your forehead, and he leans forward to place a kiss on it, but he misses and falls into your lips. Just like before, your hands land on either side of his face, catching him before he falls completely, and you suddenly find yourself exploring the warm cavern of his vulnerability. His tongue swirls around your own and you taste the bite of the alcohol on his breath but this is the moment you have always craved so you soak up every bit of it. He pulls away just as your heart starts to tremble, and he wipes his mouth with his sleeve before picking the bottle up again and stealing a drink.
"I wish you could come with me," he says again, his eyes now focused on the street below. "But I fear I can only afford one ticket out of town."
Just then, you hear a whistle, but the timing isn't right. This is the moment you would have died to change, and now you've been given a second opportunity, but you can feel it slipping away.
You lean towards him, softly placing your hand on his arm.
"Come with me. We can go anywhere in the world that you please, and I promise it'll be better than here or there if we're together. Because I can't go where you're going, because I can't pay that price, but I want to go away with you, I do."
You search his empty expression, hoping to grab some string of familiarity that you can use to pull him back to reality, but his eyes are locked on the parallel lines beneath.
The whistle grows louder, this time stinging your eardrums, and you know that your time is running short, but you can't let him go.
"You don't have to go back to your apartment, you don't have to go back to your mum. We can runaway tonight, together. You and me, just the way it was always meant to be."
Your voice is shaking and desperate, getting louder with each word that you speak as the whistle blows from behind you, threatening to leave.
Just then, a hand falls upon your shoulder, and for a second you allow yourself to glance over, and it is in that second that the body before you tips over the rooftop's edge. Your heart falls like a weight in your stomach, just like on the evening this event first occurred, anchoring you to the cement and preventing you from going after him. The conductor who now stands behind you grabs your torso and pulls you backwards as you scream his name into the night sky. You kick against his hold as he drags you back onto the train and into the velvet seat again.
This time, you were unable to hear his body land on the pavement.
This time, you weren't able to look down and see his hands lying ten feet away from the rest of his body.
This time, you didn't get to perch on the edge and contemplate for hours joining him.
This time, you couldn't blame yourself for being speechless, for letting him be the star of his shining moment, because you attempted to be his Juliet.
You didn't realize you were still screaming until the conductor grabbed your shoulders with his hands and shook you quickly.
"Quiet my dear, I fear it is time to go. And I was unwilling to allow you to remain any longer, but I fear you will only be receiving six hours of peaceful slumber."
You look at him sternly, unsure how he can continue to speak of this ****** night train and its guidelines after you just watched the love of your life commit suicide for the second time.
You take a deep breath before speaking, "I don't understand the point of this, why bring me here if I couldn't change anything? Why allow me to relive this if it didn't make a difference?"
He smiles sympathetically before beginning, "oh but it did. You see, for three and a half years you have been tossing and turning, wondering what you would have done differently and if you would have been able to change it. But you see, the past isn't something that can be changed. It can only be relived again and again within the minds of those who continue to contain it, and the pain of the past and the memories that come along with it will feel just as real as the day they happened if you continue to dwell on them. Eventually you will see that tonight made a significant difference, because you were finally able to recreate the scenario that you always dreamed."
Your mind is running at a faster speed than the train as it makes its way back to your bedroom, and you can't seem to comprehend what the conductor is saying.
"So you're telling me that the whole reason behind this was to show me that he was going to die whether or not I tried to convince him otherwise?"
He places a gentle hand on your shaking shoulder and replies, "the reason behind this was to allow you to finally put the past behind you and grant yourself the pleasure of peaceful slumber. Because you see, my dear, there is no such thing as the night train. It is merely a figment of your imagination. Deep inside you, you realize that nothing you said could have changed that night, but you needed to dream another possibility in order to believe it. Now believe it."
"But I-" you begin to speak but in the blink of an eye, you're suddenly sitting on the side of your bed, your shoulders no longer shaking. You blink again, trying to make sense of everything. You bring your hands to your face and feel your cheeks, reassuring yourself that you still exist. You look around once more, noticing the stars upon your ceiling twinkling as though they are winking at you like the conductor of a mysterious night train. But you realize that you are in your bedroom, in your t-shirt, as though you never moved beyond that point. And you find that you're unsure whether it was all a dream, or whether you really did go for a ride on a night train, but you decide to lie back down and attempt to sleep anyways.
And six hours later, you find yourself awaking from a very peaceful slumber.

Prose is unpretentious, that's its attraction. Avoids bombast of line breaks but forgoes -- what -- perfect rest. Anyway today, a November day in February, no chance getting rest with the poor clay I'm made from.

With my mother this weekend, her dementia proceeding according to what plan. Saturday the kind of day I never have. Actually read three stories by Updike. One extraordinary -- Tomorrow and Tomorrow and So Forth -- which I chose from his Complete through 1975 for the reference to Macbeth and in it he so humanely, sympathetically explains through the high school English teacher's thoughts Shakespeare's mid-life bitterness or disappointment realizing few men achieve their potential in the face of history, society and their personal flaws. Making for tragedy. Hard to be humorous about that although Updike finds in Shakespeare's late plays, especially The Tempest, a resolution amounting to wisdom that there can be contentment with imperfection and partial achievement. Updike took some of the starch out of my contention that all Shakespeare's plays are comedies, impossible to take Hamlet, Lear, Macbeth and Othello seriously. Certainly not Romeo and Juliet. It is a consolation that Updike's and even Shakespeare's achievements are imperfect although it would be wringing blood from a rock for me to achieve as much. The other two stories by Updike assured me that prose story-telling is as hit or miss as poetry. Bulgarian Poetess and How to Love America and Leave It At the Same Time made me think how fortunate I had been to find Tomorrow on the first try.

Not so much luck. I was attracted like a bee to a blossom to Shakespeare's lines in my personal anthology. No anthology and the poetry dependency it has created and I might have passed over the story. But now there is this conversation between me and all other writers. The anthology helps me know what I like but now I am tempted to try to articulate why I like what I like. Like the calendar, time and all else man lays his mind to it is a matter of bringing order from chaos by naming things according to our observations.

First, I like to understand what's going on in the poem. Not paraphrase it but describe the action. In Yeats' Lapis Lazuli, in the first paragraph, strophe or stanza, he talks about a community, a city or country, in which people, the women especially, high-toned maybe?, are upset about a political or wartime situation and are too hysterical for art or grace. Then he talks about actors playing Hamlet and Lear holding it together even though their characters die at the end of the play. No shouting, no crying. Then a paragraph or stanza about how whole civilizations are transitory too. Finally, in a reference to one of our oldest civilizations, two old Chinamen and their retainer are in the mountains. From their perspective, calm acceptance and longevity, perhaps some sadness, they look on all of history and non-history with something like gladness.

From there we can appreciate the artistry -- in Yeats' case the interesting rhymes and variable line lengths -- recognizing, however, that the artistry is not so much a demonstration of skill or a performance as the particular vehicle or discipline by which this artist discovered the content of his mind. It little matters whether verse is free, rhymed, blank, or formed as long as it is understandable and meaningful. Understandable to anyone, meaningful to someone.

The oldest formulation I have is Pound's -- the great themes of literature can be written on the back of a postage stamp. Until recently, I thought you could do it but you'd have to write very small. Now I know you can do it in your normal handwriting. I think they are Love (how we come into the world), Death (how we leave the world) and Governance (how we live in the world together). It may be possible to group Love and Death together, coming into and going out of life being similarly unknowable mysteries. The ways of talking about this one same mystery are apparently endless and endlessly fascinating. We cannot leave it alone. Almost all the greatest poems are about this mystery. Life is but a dream.

Then there is Governance -- how we live in the world together -- about which there are far fewer great poems. And usually they are about how our failure to live together leads back into the unknowable mystery through premature and sometimes mass death. Siamanto's The Dance comes to mind. I think the best poems of this type are written by so-called oppressed people.

Many poems treat both themes. But on the question of content, Pound is where I begin. My anthology -- Whole Wide World -- has a section which I'll call Double & Triple Features: Poems to Read Together, which pairs and groups poems according to my feeling that they share something -- theme, voice, structure -- in common. Subject matter is, I think, the commonest sharing. If I tried to name each pairing or grouping I might then have a hundred or more themes. Naming them adequately would be difficult to impossible. But why? And why not try? It would be a necessary start to talking about the poems: I read these poems together because....

Prose doesn't have to be beautiful, sometimes it's best when it's flat as Hemingway conclusively proved and one of its attractions is you can run on and on as long as the mind goes on following a thought without a stop sign for a whole page of books like Proust or Faulkner or Joyce.

Auden's is the second useful formulation that comes to mind (besides his chummy reverence for Shakespeare in naming him Top Bard). He classifies poems five ways:

            1. A good poem that's meaningful to him;
            2. A good poem that's not meaningful to him;
            3. A good poem that may someday become meaningful to him;
            4. A bad poem that's meaningful to him;
            5. A bad poem that's not meaningful to him.

I find I do about the same. But I discard all poems, good and bad, that are not meaningful to me. I have little taste for artistry for art's sake. The poem must speak to me or awaken me. Dickinson's formulation -- takes the top of your head off -- is the same as We can't define ******* but we know it when we see it.

A short aside: it feels inappropriate to answer the question What do you do? by saying I'm a poet. It would be like saying I'm a leader or I'm a prophet. You cannot anoint yourself a poet, a leader or a prophet -- others must do it for you. I wonder if I would be more comfortable if I had a larger audience (following) like Billy Collins for example. I think not. It would be like being a rock star, not a composer.

It's much more acceptable to say I'm a writer. Then when you answer the question Oh, what do you write? with Poetry, you are not self-aggrandizing, merely irrelevant, effete. Being a poet is viewed as being a flasher or nudist, exposing parts of yourself others would rather not see, at least not up close and personal, providing more information than others need or want to have. Maybe that's a good definition of a bad poet. Self-revelation dressed in verbal prowess is acceptable but naked, abject confession is unpardonable, tedious.

Although content is requisite for a poem to be meaningful, a poem is not really a communication like fiction or essay. It is more like an object, like a painting or sculpture, and perhaps like a musical score, sheet music. Yet I would still instruct students of poetry to first read each poem by the sentence, not the line, to derive its meaning, understand its argument, visualize its action. Then one might ask how and why is it sculpted, structured, with line breaks and strophes. Ultimately, the form of the poem is nothing more or less than the method by which the poet discovered his meaning. Although it is arbitrary -- it could have been said another way -- it is the only way it could be said by this person in this time and place. I have always liked the idea of a sculptor carving away stone or wood to reveal the form inside the block.

The poem lives on as an object, recognized by many or few or none. Like art or furniture, most are briefly useful then are moved to the attic or shed where they gather dust and mouse turds then break, dry and decay and find their way to the dump, the dust heap of history, only not even human history, just your personal history.

The anthology has made me an antiquarian -- one who cares as much for objects made by others as if I had made them myself.

So how can one talk about poems? The argument that any attempt to discuss or describe a poem is better served by simply reading the poem, perhaps memorizing it, has merit. Except in one respect -- the process can take you to undiscovered and half-discovered country within yourself. Always, first, you must understand the action otherwise we are just re-reading ourselves in our own tried and untrue ways. We must not mistake an old dog dying for a puppy being born. Misunderstanding the words is like constructing a science experiment with a flawed methodology and then using the results to shape or live in the world. It can be dangerous. Therefore reading poetry is a mental discipline worthy as the scientific method itself. It takes you out of yourself.

The fun of criticism comes in examining why and how the poem made you feel or think as you did. You can read closely for the chosen words, rhythms, lines and stanzas. You may admire the skill or wit of the poet. And you can refer to your own experience to understand your reaction. You can even disagree with the poet's thought or perception, or reject the sentiment. You can say that's him, not me.

Then there are Bloom's formulations of which I am wary, he being a critic not a poet. Yet here they are. Three sources of healthy complexity or difficulty in poems: 1) Sustained allusiveness -- cultural references that require the reader to be educated beyond the poem's content, for which he cites Milton as an example and could have Dante; 2) Cognitive originality -- leaps of perception and depths of understanding that startle, enlighten and take off the top of your head, for which he cites Shakespeare and Dickinson as examples and to which I would add much of what is memorable in modern poetry; and 3) Personal mythmaking -- whereby the poet constructs over time a system of images and personal (more than cultural) references that with familiarity become understandable and meaningful, citing Yeats and Blake as examples. How to make this formulation useful.

A second formulation by Bloom discusses poetic figures or the indirect means by which poetry uncovers truth, dancing with and romancing language rather than wrestling and pinning it down like philosophy tries. There are four: 1) Irony or saying one thing and meaning another, usually the opposite; 2) Symbol (synecdoche) or making one thing stand for another; 3) Contiguity (metonymy) or using an aspect or quality of something to represent the whole; and 4) Metaphor or transferring the qualities or associations of one thing to another.

Meanwhile, here's my **** poetica:

1) Poetry is an acquired taste, like golf or wine, with no obligation to appreciate it.

2) Poetry is divination; prose explains what we think we know but poetry discovers what we didn't know we thought.

3) Poetry is one of many man-made systems, like baseball or the scientific method, for producing knowledge, meaning and pleasure. Or are they all natural as ***?

4) Of all the other arts, poetry is most like sculpture; the word "poem" comes from the Indo- European root meaning "to make, to build."

5) It is impossible to write exactly what you mean or be accurately understood; poetry uses this to its advantage.

6) Line length -- enjambment -- is the single most important feature of poetry.

7) Poems are made from ideas; poetry is philosophy but where philosophy wrestles language down, poetry romances language.

8) Meaning is the most important product of poetry but it's completely personal; poems almost always say one thing and mean another but the poet often doesn't know what he meant.

9) It is almost impossible not to rhyme or write rhythmically in English or any other language.

10) The forms poets use are how the poet gets to his truth and are basically arbitrary choices.

11) Poems may be difficult and complex and irrational but they must be comprehensible.

12) Just describing the action of the poem will take you where you need to go.

I'm not an artist but I've opened up galleries with your name painted all over the walls

they're a souvenir encoded in brush strokes of downward spirals and rose tinted tunnel vision

the lights are blaring and my sight is blurred by tears and the street lamp flickers, almost sympathetically

a street lamp can understand, so why can't you?

Are you a victim of your time , must you live
       With your mistakes, and suffer ?
Really it’s time we wake up n smell the coffee
Every problem has solution,so let’s start today

You need not to put it off or procrastinate .
Oh I know it’s easy said , so best get o’t a bed
Unless you ever wish to live with a mistake

And identify the faults, without delay.

Verify with me , in the best way to identify
In a poetic form an A to Z of your mistakes.
Can I start with A the abandonment
The abandonment of self-surrendering
I next target B for Bacchanalia nights
Melancholic days getting over a hangover

On to The Cacodemon of an evil spirit
Found in our home , a most malignant person

Yes and Depreciation of the value of our
        assets usually by the Bankers we trusted.
Oh to have the benefits of fiscal hindsight
Understanding E as extenuating circumstance
Reason then becomes the excuse for failure.

Together with F the F word so commonly used
In emphasis to any topic or discussions
Migrating to G , not mistaking God or life alone
Ethereal spirits surround us n help us choose

Methodically H the mistake that you made
Unwittingly you ignore Holy Spirit of God
Sympathetically I now carry the spirit with me
The change to my life is now monumental.

Yes up to J for the justice that you mistake
On the times when you are it’s sad victim.
Understandably K for Karma of getting out of

Life , whatever you put in.You are punished too
In reaching L for Life. Well the mistake is plain
Virtually you spend a lifetime getting to grips
Engage with M for the mistakes you made

With each one made , don’t cry , learn from it.
In a section for N then note daily five blessings
That you have , it is a mistake not to care.
Having an Opinion is fine but it’s a big mistake

Yes to be opinionated or dogmatic with others
O is followed by P for Procrastination of time
Uselessness , putting off what’s needed today
Reaching the Q the queue that you got into

Mistakenly got into as more haste less speed
Indicative of R for recapitulation of all mistakes
Some simple and some massive and correct
To sequester an S for sententiousness
And pompous moralising must be avoided
Knowing the T of toutological mistakes
Even though it looks good in a poetry scan
So to the U. For understanding when a mistake

And a small mistake can have repercussions
Now to  Virtually every mistake has a price
Do you admit to it and face the consequences

Simplicity of the W to weather to own up
Unless you admit it and show grace n humility
Fortunately the Xanadu is not achieved now
For all the mistakes made have a huge price.
Eventually the Y n Z. Are the yardstick to
Reluctantly measure your path on to Zion.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Written by Philip.
November 28th 2018.

Rhyming Review - Sorry I'm Late, I Didn't Want to Come by Jessica Pan

Introverts unite
(separately, of course),
This book is for you,
Jessica Pan is your force

For a year she denied
Her introverted tendencies
She e-dated for friends
Gave up shy dependencies

She tried stand up comedy
She spoke at the Moth
She signed up for improv
Things that make shy ppl froth

Her anxieties could have come
Straight out of my own head
You could try extroverting
Or watch Jessica try it instead

You will learn new tricks
While you frown and cringe
Or snicker sympathetically
Through your reading binge

¨oh cinderella¨ the prince called out cinderellas name lovingly filling her heart with fear. his call used to make her feel safe and secure. ¨what a fool i was¨she thought.  ¨now im going to die hereº ¨hello my dear¨ the prince sadisticly smiled. ¨hello.¨cinderella rolled her blue eyes coldly. ¨why the aditude cinderella? you know i don't like that. we're not going to get anywhere if you keep pushing me away like this. ¨ the prince raised his eyebrows sympathetically. cinderella shook her head in aggravation ¨dont you get it? i dont want to get anywhere with you. you are everything i hate about this god forsaken world.¨
the prince chuckled ¨it's so adorable when you try to act like you're smar cinderella. do you even know what the word godforsaken means??? he laughed. ¨your lack of wit is so very comical¨ he smiled as he began to walk away. ¨where are you going¨ cinderella called out. ¨into town. now dont you go anywhere.¨ he laughed. ¨i have to find a doctor who will come to the palace re–break your arm and put it in a cast for me.¨
¨break my arm?¨ cinderella jumped. ¨yes my dear it's not going to heal correctly that way now is it? see how difficult you make things cinderella? if you would have just stayed instead of trying to leave me with a broken heart then i wouldn't have had to break your arm and we wouldnt be in this situation. why? why cant you just let me love you?¨ the prince looked at cinderella sympathetocly as he turned away and slowly dissapeared into the darkness of the dungeon. cinderella wept uncontrolably.

Scene VI – The Car Ride


Location notes: Quai Henri IV is located on the Right Bank just west of Pont d’Austerlitz.

Jesse: Glad somebody does. Now, this is better than the Metro, right?

Céline: Definitely!

(The camera cuts ahead of the car, leading it as it pulls onto the main road. The conversation continues.)

Céline: I was thinking...for me it's better I don't romanticize things as much anymore. I was suffering so much all the time. I still have lots of dreams, but they're not in regard to my love life. (Cut to interior of the car.) It doesn't make me sad, it's just the way it is.

Jesse: Is that why you're in a relationship with somebody who's never around?

Céline: Yes, obviously, I can't deal with the day to day life of a relationship. Yeah, we have, you know, this exciting time together and then he leaves, and I miss him, but at least I'm not dying inside. When someone is always around me, I'm like suffocating!

Jesse: No, wait, you just said that you need to love and be loved...

Céline: Yeah, but when I do it quickly makes me nauseous! It's a disaster... I mean I'm really happy only when I'm on my own. Even being alone...it's better than...sitting next to a lover and feeling lonely. It's not so easy for me to be all romantic. You start off that way and after you've been ******* over a few times...you...you…you forget about all your delusional ideas and you just take what comes into your life. That's not even true I haven't been...******* over, I've just had too many blah relationships. They weren't mean, they cared for me, but... there were no real...connection or excitement. At least not from my side.

Jesse: God, I'm sorry, is it...is it really that bad? It's not, right?

Céline: (Shaking her head with eyes nearly watering.) You know...it's not even that. I was...I was fine, until I read your ******* book! It stirred **** up, you know? It reminded me how genuinely romantic I was, how I had so much hope in things, and now it's like...I don't believe in anything that relates to love. I don't feel things for people anymore. In a way...I put all my romanticism into that one night, and I was never able to feel all this again. Like...somehow this night took things away from me and...I expressed them to you, and you took them with you! It made me feel cold, like if love wasn't for me!

Jesse: I... I don't believe that. I don't believe that.

Céline: You know what? Reality and love are almost contradictory for me. It's funny...every single of my ex’s...they're now married! Men go out with me, we break up, and then they get married! And later they call me to thank me for teaching them what love is, and…

Jesse: (Smiling sympathetically.) Oh God. (Rubs his face with both hands.)

Céline: …and that I taught them to care and respect women!

Jesse: (Pointing at himself.) I think I'm one of those guys.

Céline: (Yelling.) You know, I want to **** them!! Why didn't they ask ME to marry them? I would have said "No", but at least they could have asked!! But it's my fault, I know it's my fault, because...I never felt it was the right man. Never! But what does it mean the right man? The love of your life? The concept is absurd; the idea that we can only be complete with another person is...EVIL!! RIGHT??!!

Jesse: (Sheepishly.) Can I talk?

Céline: (Speaking more quietly.) You know, I guess I've been heartbroken too many times. And then I recovered. So now, you know, from the starts I make no effort…because I know it’s not going to work out, I know it’s not going to work out.

Jesse: You can't do that. You can't do that, you can't live your life trying to avoid pain, at the expense of en...

Céline: (Interrupting.) OK, you know what? (Moving her fingers to mock the movement of Jesse’s mouth as he speaks.) Those are words! I've gotta...I've gotta get away from you. (To Philippe.) Stop the car, I want to get out!

Jesse: No, no, no, don't...don't get out.

Céline: You know, it's being around you...

Jesse: Keep talking...

Céline: (Jesse grabs her arm) Don't touch me! (Slaps his hand.) You know, I wanna get on a cab...

(To Philippe.) Monsieur! Arretez-vous! Non, non, c'est bon, au feu la! Juste au feu, au coin, il y a un metro meme! Je veux prendre le metro. (Sir, please stop! No, no, it’s okay, at the next traffic light, at the corner, there is even a metro! I want to take the metro.)

Jesse: (To Philippe) No, no, no, keep going... (To Céline) No, listen, I'm just so happy... (To Philippe) Thank you, just keep going...(To Céline.) Alright. Look, I am just so happy, alright...to be with you. I am. I'm so glad you didn’t forget about me. OK.

Céline: No, I didn't...and it ****** me off, OK? You come here to Paris, all romantic, and married, OK? ***** you! Don't get me wrong, I'm not trying to get you or anything. I mean, all I need is married man! There's been so much water under the bridge, it's...it's not even about you anymore, it's about that time, that moment in time that is forever gone, I don't know!

Jesse: You...you say all that, but you didn't even remember having ***. So...

Céline: (Flatly, with resignation.) Of course I remembered.

Jesse: (Confused.) You did?

Céline: Yes! Women pretend things like that. I don’t know…(Laughs.)

Jesse: (Still confused.) They do?

Céline: Yeah, what was I supposed to say? That I remember the wine in the park and...us looking up at the stars fading away as the sun came up? We had *** TWICE (claps her hands), you idiot!

Jesse: Alright, you know what? I'm just...happy to see you, even if...you've become an angry, manic depressive activist. I still like you! I still enjoy being around you!

(Reaches out to touch her face, but pulls his hand back quickly, before she notices.)

Céline: And I feel the same. (Laughing.) I'm...I'm sorry, I don't know what happened. I just...I had to let it all out. I...

Jesse: Don't worry about it.

Céline: I'm so miserable in my love life, in my relationship, I always act as... like...you know, I'm detached, but I'm... I'm dying inside. I'm dying because I'm so numb. I don't feel pain, or excitement. I'm not even bitter, I'm just...uh…

Jesse: You think you're the one dying inside? My life is twenty four-seven...BAD.

Céline: I'm sorry.

Jesse: No, no, no...I mean, the only happiness I get is when I'm out with my son. I've been to marriage counseling, I've done things I never thought I would have to do. I lit candles, bought self-help books, lingerie...

Céline: Did the candles help?

Jesse: HELL. NO. (Plaintively.) Alright, I don’t love her the way she needs to be loved, and...I don't even see a future for us. But then I look at...at my little boy, sitting at the table across from me, and I think I would suffer any torture to be with him for all the minutes of his life. You know, I don't wanna miss out on one. But then...there's no joy, or laughter, in my home. You know, and I don't want him growing up in that!

Céline: Oh, no laughter? That's terrible. My parents have been together for 35 years and even when they have a bad fight they end up laughing like crazy.

Jesse: I just...I don't wanna be one of those people who are...getting divorced at 52 and falling down into tears admitting that they never really loved their spouse, and they feel that their life has been (waves his hand, as if being pulled) ****** up into a vacuum cleaner! You know, I want a great life. I want her to have a great life. She deserves that! Alright? But we're just living in a pretense of a marriage, responsibility and all these...just...ideas of how people are supposed to live. Then I...I have these dreams...

Céline: What dreams?

Jesse: (Looks away distantly, eyes starting to water.) I have these dreams, you know, that I’m…I'm standing on a platform, and uh, you keep going by on a train, and...you go by, and you go by, and you go by, and you go by, and I wake up with the ******* sweats, you know? And then I have this other dream, oh...where you're...pregnant, in bed beside me, naked, and I want so badly to touch you, but you tell me not to and then you look away and...and I...I...I touch you anyway, right on your ankle and your skin is so soft and I wake up in sobs, alright? (Inhales deeply.) And my wife is sitting there looking at me, and I feel like I'm a million miles from her, and I know that there's something...wrong! (Céline reaches out to stroke Jesse’s face, but pulls her hand back before he sees her.) You know, that I ca...that I can't keep living like this, that there's gotta be something more to love than commitment. But then I think that...I might have given up...on the whole idea of romantic love. That I...I might have put it to bed that...that day when you weren't there. You know, I think I might have done that.

Céline: (Eyes starting to water again.) Why are you telling me all this?

Jesse: I'm sorry. I don't know, I'm...I...I should...I...I shouldn't have.

Céline: You know, it's so weird...that people think they are the only one going through tough times. I mean when I read the article I thought...your life was perfect. A wife, a kid, a published author. (Jesse laughs.) Your personal life is more of a mess than mine! I'm sorry! (Both laugh.)

Jesse: Well...I'm glad it's good for something.

Céline: (To Philippe.) Oh, monsieur, c'est la! Rentrez dans la passe la. (Sir, this is it. Pull into the alley right there.)

(Camera cuts to exterior of the car pulling into the driveway of Céline’s apartment.)

His eyes are dark and full of defeat and regret
The man says doc cheer up I'm not dead yet
How can he be so calm when he is about to die
Look at me, the man whispers to himself
As he looks in the mirror at his deteriorating health
He tears his eyes away and focuses on the wall
Watching the TV colors dance as he tries to recall
The last time he felt or looked like the faces on the screen
He sighs and he explains, that used to be me
His therapist nods and shakes her head sympathetically
He thinks how dare she act as if I am already dead
When she leaves he painfully kneels by the side of his bed
She must not know the mighty God I serve
But Jesus I give you the thanks that you deserve
Show them oh Lord and heal me right now
You are the only one who truly knows how
He says his thanks again for he believes
That his God has the power to do all things
He lies back down, exhausted from such a day
Feeling in his heart that tomorrow he will awake
When he comes to he feels like the pix-elated faces
For such miracles he has only seen on acting stages
Yet this one is his own and he swells with pride
Looking and the delight and wonder in the doctor's eyes

As I lay on my deathbed in the hospital room,
The awareness of my soon doom,
Exudes feelings of gloom,
But more so it ensues feelings of regret,
So many stupid decisions which in my heart beget
Feelings of indecision, unaware of what is next.

The disease that’s ripping me from my life is unknown,
All I know is I had to leave my son and wife at home.
Soon I’ll have to leave from the life I’ve known.
I remember my last words to my son,
Looking sympathetically I looked at him pathetically,
And said so empathetically, I loved him,
So death could see.

But it doesn’t matter, because talking doesn’t work,
So I’m patiently waiting for the coffin and the hearse,
And then all a sudden I started coughing and it hurts,
Then I pressed the button which was calling for the nurse.

The door flew open
But it couldn‘t be her,
Instead I got the black hooded death,
Known as the Grim Reaper.
He approached me, I got cold, time froze,
His hand hit mine.
He got close to me and told me, that it was my time.
Filled with frustration I couldn’t control,
Snatched my arm away from his hand so cold,
Looked him in his eyes, because it was time he was told,
He’s not taking any more lives and it was my time, I spoke.

“If you reap what you sow, why reap souls?
You’re the creator of none, but you can take them and run?
How is this so, the keeper of the souls,
Reaper who sold nothing he sowed?
He only stole, and away he stowed ,
Until he bestows them to the one below.
And we all know that he has no soul.
So your envy controls and even he knows
In heat he chose to fight those he loathes.
Despising those whose demise,
You own.
Spiting foes, despite inside he knows,
That it was he who has chose,
The life as Reaper of Souls.”

After I finished my speech,
He roared with laughter and disbelief,
Then, up I leaped and for his sickle I reached,
Chopped off his head, which fell to his feet.
Now death is dead, just grim from defeat.

But to my surprise, death did have a soul,
And into my body, the spirit arose.
The Grim Reaper’s hood then covered me whole,
From the inside to out my body became cold.
I was no greater than he, reaping what I did not sow.
I was just as Grim,
And now the new Reaper of souls.

EDNA: Please sit down, William. How are you today?

WILLIAM: Fine thank you, Edna. How are you? I read that you were having trouble with your piles.

EDNA: Mind your own ******* business. I'm doing the interviewing here.

WILLIAM: Sorry, Edna.

EDNA: Right, now I hear you are a wife-swapper. How did that start?

WILLIAM: Well, Edna, after I had been married a few years, I got fed up with ******* the same **** and so I started wandering a bit. And my ******* wife found out and broke my leg with a sledge hammer.

EDNA: That must have hurt.

WILLIAM: Of course it ******* well hurt. Not only that, it made ******* impossible for months.

EDNA: [laughing sympathetically] And then?

WILLIAM: Well, once the leg mended, since I still fancied a bit of spare nookie, I suggested to my lady wife, we try some wife-swapping.

EDNA: How did she react to your mentioning swinging?

WILLIAM: Swinging? You mean life my wife's fat *******?

EDNA: I'll ignore that. Get on with the story for Christ's sake. You'll bore my readers' **** off.

WILLIAM: As I was saying, she was quite keen on it. In fact she said 'As long as the geezers involved have a bigger **** than yours, I'm up for it'.

EDNA: Yes, I heard your **** was small, William.

WILLIAM: Anyway, we joined the Maidstone Wife-Swappers Club the next week and have been swapping ever since.

EDNA: Ever since? How long ago was that, then?

WILLIAM: About five years ago, Edna. The MWSC meets once a month, there's usually quite a few couples there and we go most times, especially if we've heard there's some new members, if you get my meaning.

EDNA: Members? Members? That's a good one. You should be on the stand-up circuit with material like that, William.

[Edna and William laugh gaily]

EDNA: Tell me, do you swap with only one couple at these swingers parties? Or do you mingle, so to speak? Roughly many couples have you swapped with, then?

WILLIAM: As a result of our participation in at the Maidstone Wife-Swappers meetings, I have shagged 84 women and Eileen, my dear wife, has been ****** by 245 men.

EDNA: You can go now.

WILLIAM: Pardon me?

EDNA: *******.

*[Interview terminated at this point.]

The tea cup clouds were reason enough.
Reeling, the clock hands spun on an axis wobble
noon flirted with night
and I broke into a run
as the sky opened its maw
and screamed.
Even the suits scramble for burrows.
Retrospection always has a punchline.
Hide away, slide away
Stop looking at my *******, please.
Now watch wide-eyed behind
public glass, with a
sitcom gang of affable protagonists
who are now late for their respective chapters
Staring at their phones, willing the weather
forecast to telepathically change.
The light strobes, the bricks quiver sympathetically
and I riddle a fourteen year old pantheon
as they sway, as they jaunt
ankle deep in charged water
daring each other and daring the sky
daring the noise with headphones still around necks
like defiant plastic boas
Clothes plastered, mouths open, rain-drunk
feeling ****, revealing secret intimate shapes,
feeling sheepishly exposed next
to crushes who will kiss them at the next movie.
I am aware of each nerve as I drip and shiver
I'm terrified of storms, my reasons are mine
but even this fear
can cat-stroke my skin
hyper-sensitized, electric
and make me feel
****, too.

Fidget.
The longer I sit here
as a victim of the flowers,
their moony faces
peering at me through
stupored goggles,
the more I want to
decapitate them
petal by false petal,
watching them fall to the floor.
Fidget.
The longer I am chained
to the dry ***** pipes
droning through the November air
dry paperthin hymns,
the stronger the urge to
rip them to shreds
then dipping them
one by one
into a vat of emotion.
Fidget.
I am a prisoner of the podium
and of the pew;
of the carbon-copy prayers
devoid of actuality
of love
of meaning.
The words echo endlessly
through dried-up wells
that sobs no longer seek
for solace.
Empty and stale,
they roll off your tongue
without a second thought.
Does no one mean anything anymore?
The microphone passes
from prophet to false prophet
sighing sympathetically
before returning to the leader-
even he reads his love
from an index card.
My head throbs in my hands
bursting with a burning question
and my legs sink like lead weights
under my black tights.
The ***** resonates
but I stand.
Nothing-
not the boy to my right
nor the best friend to his
not the whispers
nor the final words that
FINALLY
overflow with truth and love
not the sickening plummet of shock
from a glimpse of the honored one's face
can stop me from running
down the aisles
out the double doors
leaving petals and music notes
strewn in my wake.
What will my funeral be like?

when you speak to me
I can feel my skin prickling
reacting sympathetically
to what I can hear
that youre thinking
your words are a symphony
vocal tranquility
at once both enrapturing
and terrifyingly ******
I can hear your breathing
hear it catch when youre
contemplating
I hear your heart beating
faster and harder
in the tremble of your voice
and as youre nearing
I can hear your knees shivering
your toes curling
from your tone when you tell me
youve got to go

i haven't fallen in love with someone in such a long time
i'm pretty sure if the abercrombie and fitch of cowtown usa confessed his life long love for me right now
i'd tell him to *******.

my sister is gushing her way through a romantic comedy romance
with some hot criminal justice major
and i'm happy to proffer advice
and cluck sympathetically
and oo and aww at the right moment
but my lack of drive to have something similar for myself
is slightly disconcerting

i worry that if i ever do have someone that means something to me
i'll have to explain to to them about my family
why i don't talk to my mom
why my little brothers and sisters can't see my dad
why my body is covered in scars
why i'm such a ****** up clown girl
and to be honest
i feel as if i don't have the ******* energy
to lay everything bear
to a potentially back-stabbing ******* human being

i've learned that everyone has that potential
my own mother tore me to pieces in front of a court of law
if the woman who gave birth to you
and claimed to love you for 18 years
can turn into a monster
so quickly
so can anyone else
and that is why i don't love people
like i say i do
because somewhere i know that they'll **** me over
they're human,
it's what they do

little clown girl,
sit on your dusty shelf
until it's empty
and you have it to yourself
i don't need any other accent
i just need space
and a knife

It was not smoke getting in my eyes;
More likely the third shot of Wild Turkey
In relatively short order
Which made my eyes a bit misty.
I had come up North to that cold cow country north of the Thruway,
Ostensibly to reconnect with the prospective love of my life
To start anew, to set things aright
(She was a grad student, Electrical Engineering
But not precise at all--she was mercurial, Plath-esque,
Prone to both epochs of silent introspection
And inexplicable spontaneous combustions of rage.
I heard later she’d dropped out of the program
Without a word to advisors or anyone else.)
It had not ended up hearts and flowers,
The breakup, which left feelings bruised and china broken,
Was both unpleasant and irrevocable,
So with an evening to **** before the next day’s flight
(Out of Ottawa, **** near a two hour drive)
I was haunting a bar stool
At the prototypical North Country townie bar:
An endless series of the owner’s cousins jamming on stage,
Several dogs wandering the premises
A veritable kaleidoscope of buffalo plaid
In shades of red, green, and gray.
In such places on such occasions, somebody ends up as your buddy,
Which is how I came to be doing shots with one of the regulars
Who listened intently, sympathetically to my particular tale of woe
Until such point he blurted out (if one can blurt something sotto voce)
I used to bone a girl in the nuthouse up in Ogdensburg.

The particulars of the liaison came gushing out like whitewater;
He’d been laid off from the Alcoa plant up in Massena,
And landed a temp job at the state mental hospital.
There had been, so he said, no shy romancing, no overt flirtation
(And as my drinking buddy pro tem put it,
It’s not like we could do dinner and a movie)
She’d simply followed him out to the trash compactor
And, the whining of cardboard
Going to meet its maker serving as cover,
They had simply let Nature take its course.

The girl was not like the other denizens
Of that particular soft-walled motel,
A broken factory-second of a human being;
Christ, she was beautiful, he lamented,
Red hair, skin like half-and-half,
Green eyes that ate you up and spit you back out again.
He’d never been able to figure out the attraction--
I was just a schlub guy who’d never had anything but schlub girls
But he said that she’d told him she loved him--no more than that,
He was her very salvation, the feeling mutual enough that he said
If I’d been there any longer,
I probably would have tried to bust her out myself.

He found out later that she’d been put inside for killing her old man,
Hacking him into dog-food sized bits,
Then walling up the pieces in her dining room,
But he insisted, slapping his palm on the bar,
Swear to God, even if I knew that
I would have risked sneaking her over the border anyway.  
I asked why he’d never tried to hook up with her on the outside.
He stared straight ahead for a few moments.  
I dunno.  I heard she hung herself, but I dunno.
We drank more or less in silence after that,
As there wasn’t a hell of lot more either of us could say,
And as I drove the sparseness of southern Ontario the next morning,
I said a silent thanks to whom or whatever kept me
From giving voice to the urge to express my respect and admiration
For any woman with the ability to hang drywall.

CONSCRIPTS: CHILDREN OF WAR

Conscripts, Innocent children robbed for war
From Congo, Chad, Central Africa Republic, Mali….
From Uganda to Sudan and South Sudan, Burkina Faso, Senegal…..
They are the forefronts young fatal fighters
From Boko Haram, Al Shabaab, Lord Resistance Army…..
They are these merciless Militias mouths-youths
From Biafra-Nigeria, Bujumbura, Asmara to Abidjan Civil Wars
They are their battalions’ fertile feeding grounds
They are Kony, Riek Machar and Ruthless Rebels’ mercenaries
They are Ouattara, Nkurunziza, Salva Kiir…..youthful foot soldiers  
They are Resistance Armies and Liberation army’s guerillas  

They raided a village
They foraged the villages
For innocent, forced conscripts
At dawn-at dusk, daytime-nighttime  
At noontime-at eventide-every time

And she begged
These satans that came
At the mask of dark nights
Slithering silent as serpents
For her last left and living!

She mourned and bemoaned
Helpless and hopeless
Her, grief-stricken hapless
But under those ****** shot eyes
Those coals-hot red coloured irises
That pity or its empathy knows not
It was all in vain-to no avail!

Determined, resolute, uncaring, ruthlessly  
Him tucked on her compassionate chest
Him still tagged on her hopeless breast
Its cheeks struggling to suckle any fluid
From these sagged sacks of balloons
Him they riotously robbed

And those that can’t they ripped
To those that can’t they opened
Those that can’t they roped
To those that can’t odd happened
Those that can’t they *****
To those that can’t they dampened

Those able fingerings wrapped
On frontiers as fighters they lined
With no war experience
With no ammunitions intelligence
No boots-barefoot, no shirts-bare chests
As shields shivering, roughly ripped
By advanced military and militias

Never to know home again
Never to know its warmth again
Never to know fears again
Never to know pains again
Never to know happiness ever again
Never to know the sweet tastes again
Of what Mama’s milk-nourishing colostrums contain

Somewhere in tough terrains
Somewhere in jagged plains
Somewhere in rugged mountains
Somewhere in thicketed montanes
Somewhere in brutal bushes
Somewhere in shriveling shrubs
Shallow graves of their immature bones
Their carrions lay leaked white by scavengers or time

Lucky him that deaths avoids
Lucky him that deaths mercy observes
Lucky him that deaths shyly eludes
Fortunate him it sympathetically spares
Lives in agony of pain and guilt
Lives in fears of loyalty and liberty
Lonely eyes, hollow sorrow, mourning souls,
Empty heart, mad tampered mind, tempered looks….
Him, innocent Conscripts, Children of War!

© Kìùra Kabiri. All rights reserved.

I make the effort
place my hand on the wheel
put the key in the ignition
and turn
the car
sputters
but doesn't start
the cold air seeps through
elusive cracks
and I am left
to freeze
alone
as cars pass
sympathetically mocking
the *******
I drive

I like all of them
but despise them
all
the
same

come to, limbs aching
realize you've blurred out again
walked two blistered miles
to feed a festering desire

fade back, into frenzy
behind locked doors you die
thoughts racing stop them
by eating your feelings again

bite, bite, chew, swallow, cry, repeat
over and over, filling, filling, repeat

come to, wrapper-shrouded
bed littered with your shame
count the calories, feel
that sickness and death again

fade back, into madness
pints of water until you feel
the fullness overwhelming
and race to emptying

reject, reject, gag, throw up, cry, repeat
over and over, empty, empty, repeat

come to, lying broken
on sympathetically cold tiles
once more you found comfort
in puking your feelings

fade back, unconscious
as your heart fails to beat
one day you'll **** yourself
in your fight to cope

*© Tara India.

was i expected to just stand there and take their *******?--yes, i walked away, i said that i'd stay and get that information, but they were playing me for a fool and when i figured as much out, i walked out without saying good-bye, for who would say good-bye in such a set of circumstances as this?--wasn't it already bad enough that when they'd seen the planting of fennel happening, the ladies made me pull up to the hedgerows where it was all going on so they could get out and walk around and feel like they were part of something that they actually weren't a part of, something that, in actually, they'd been apart from their entire live so?--oh, i'd wanted to tell them, believe me, that they were ******* hypocrites, but what was the point of ruining a day that, for me, had been ruined the very instant they'd asked each other if that group of cars over there, up on the hill, had been theirs, if these were the ones responsible for all the activity that they considered losing themselves in--wasn't it bad enough i'd been dragged all the way out into the country just to drive through a bunch of cemeteries because they thought it'd be romantic to see what the old gravestones were like?--and what had they done when we'd gotten there other than say that those weren't the headstones they'd imagined, that those were too modern, too ugly, too *******, and why had i even taken them there when i could've taken them to this or that other cemetery?--wasn't it bad enough that for whatever reason the biological imperative had divined, i'd wanted to **** the both of them and knew in advance, knew even before i opened my eyes that morning, that i wouldn't end this day inside either of them?--and yes, i would dare to be this honest with them if i thought they'd be able to look me in the face afterward...it's not like i didn't know they didn't want me--it's that i had had nothing to do with my days so that i found myself in their company and after not a very long while, i ended up desiring the both of them--i'm not saying this makes me a good person, or a romantic person--quite obviously, i'm not talking about holding hands with them or losing myself in the depths of their eyes--no, i said good-bye to all that nonsense when i was still a young man and now that i'm not a young man anymore, i find myself asking if could pull off the whole "lothario" scene, you know?--just sleep with women and not find myself in a relationship with them...it's something i'd feared becoming all my life and yet, i'd ended up becoming a lot of things i'd once feared becoming--just look at how i woke up every morning: alone and in silence with only my breathing out a sigh so filled with the ennui of this world that i thought eventually the ceiling might start raining its own precious tears on my behalf--this was my life now and i wasn't quite thrilled at the prospect of living the next sixty or seventy years of it, not like this anyhow...and yet there they were, consciously splitting off from where i was standing by going off on their own, and was i to presume there were merely taking in the sights of nature around them?--were these two just innocent city girls walking about and snapping pictures of the volunteers planting what they told me was fennel but might've been anything on earth?--maybe they'd separated because they were going to whisper about how they'd been having simply an awful time and wasn't i just the most awful person to imagine themselves having a ******* with?--maybe they were kissing each other and snapping pictures of each other's face of pleasure and repeated ****** as they went down on each other...this is all the paranoia that was trapped inside my head, this is why it wasn't fun to be me sometimes, why i would try to lose myself in the previous night's dreams: because who in the world would want to walk about on his own knowing that two women, possibly lesbians, were ridiculing him as they were making each other *** and keeping their experiences "for posterity"?--yes, this is why when i'm asked at times, "why the long face?" i just smile and chuckle and say, "everything's fine"--again, would anyone want to be the one to say, "well, actually, if you really what to know, i've been dying to get this off my chest fora while now," and let those monsters in my mind off the hook they're barely fettered to now?--it was just here, when i was about to fell pretty deep into the whole "woe is me" routine that the people who'd been planting all their sprigs had found me and asked if i wanted to come inside and read their literature and listen to the tales of their collective journey, so i said sure because what else did i have to do, i was just killing time till those two came back wiping their mouths and looking at each other like i was some kind of ******* idiot not to know when, in reality, they might've just been out there really and truly taking in the sights and smells of the country they rarely got to walk about in...and yet, when those fennel people, as it really had turned out to be fennel they'd been planting that day, discovered that neither of the women they'd seen me with had been my wife or my girlfriend or even a lover, but were both friends--and, yes, i even think they sensed i'd wanted to put air quotes around "friends" when i said it aloud--that's when they understood their collective or cult or whatever this whole fennel thing was a beard for wasn't going to accumulate into its ranks three more that day, that's when they told me to stand there and that someone would be with me shortly, and of course, like a polite ******* i stood there and smiled when one called over two or three more to point me out and crack a smile as they tittered to each other and walked away...i stood there and looked at the interior of that home that looked like they'd just killed someone and assumed control of it for themselves: i stared at the pristine oak floors, the pristine white banister of the steps going upward where the pristine light shone sympathetically down as though it too were laughing at me--why didn't i just ask them who i had to **** to get some acknowledgement that i existed as someone separate and apart from all others, but who was a whole human being and didn't need to be attached to any collective or cult to feel like he was "someone"?--of course, this wasn't a real question, it was just my sheer frustration at feeling like i was being dismissed by everyone in whose company i was in that day: the lesbians who might not've been lesbians, the cult-murderers who might not've been cult-murderers...it all just bespeaks of the kind of headspace i'd been forced to live in all my life, really, i understood this too...and here i sound like i'm writing from the grave of one of those nineteenth century writers with all of this grammar that makes the writer seem so far away from whoever his audience is, but it's only because this is how i've been forced to live--i've been forced to accept that i just don't get along with people and this is so because i just don't trust them and this is so because i've been betrayed too often to ever trust anyone again--yes, it all makes me sound like a child, but isn't trust what everything in a relationship is based on?--true, there must be respect, and there must be some kind of human feeling or caring for the person, but without trust you're just going to end up like me: don't you see me looking all around the room, using my eyes, swiveling my head, turning around so or three or more times when it feels like there's something happening, something about to happen behind my back?--it could go on like this forever, and yes, with me holding their stupid ******* pamphlet in my one hand looking and swiveling and turning and turning...which is why i just left, i didn't even wait for whenever was supposed to get back to me with the time and number of their first meeting to return with that information because it was probably all just their way of having fun, of taking a break from the break that was their life doing all this "conservative work," which we all know is the labor of the rich, the pastime of those with too much money in their banks accounts and too little imagination in their heads...but i know, i know, here i am with far too much imagination in my head, here i am heading out and leaving those friends of mine, who are no true friends of mine--but who i wish were "friends" of mine--to their fennel fields with with fennel sprigs and to those who might be cultists or murderers or both because they all deserve each other, and whether or not it's all true isn't my concern anymore because i've been made to feel this way, i've been made into this creature now stalking its way back to the car--yes, i am an "it" these days, i am a sort of post-post-modern and meta and very self-aware monster that should not be and yet look at me, just look at me: i'm not even looking around when i start the car, i don't even care who i back over even though i know already no one's around, and when i reverse the car and get ready to turn back onto the highway, i roll down the windows just so i can try to hear what might be taken for the strains of their cries over the engine and in the distance, but i try to hear them so i can feel some sort of satisfaction as i press the gas enough to begin a gentle roll--i don't think i'd ever stop even if i could've heard them screaming for me to come back for them, to come back and save them--for all i know, they might've been in on it the whole time...or they still might just be going down on each other back there--

I sat there, silent tears falling off my not high - not sharp- cheekbones.
I sat there while you continued shoving yourself father down my throat.
            Did you know I was crying? Would you have cared?
I got up, and he looked at me sympathetically. As though he wasn't screaming at me, "You know you want this." "Come on. No one will know. No one has to know. It'll be quick."
            Did you not get the hint when I began lying there lifeless,
            almost, close enough? Did you not think to stop when I said
            no? When I couldn't find myself to look at you while you were
            committing your act? Would you have stopped if you could've
            heard my thoughts?
At least he had the decency to drive me home, this time.

Have you ever felt your body is a cage?
And that the world is your prison?
That from the rising of your age
Your life's value has not once risen?
Fighting thought, resisting existing's cage
And ascertain your ambitions becomes moral outrage
So to keep yourself safe you keep your words from the page
And declare yourself nothing, so as to act nothing on the stage
If this is true for you, then I pity thee
Much as I solipsistically feel pity for me
buti mean this not condescendingly
I mean it sympathetically, perhaps more empathetically
For I too have felt the same, all the time somehow
But shift from it, with tenacity, and free yourself now.

We stopped at some café
just outside Paris
the coach parked
along side the road

our first meal
since getting on
the ferry across over
I still had

that Beethoven
piano piece
in my head
and Miriam

laying her head
on my shoulder
in sleep
her red hair

like an explosion
of redness
her eyes closed
her mouth ajar

small white teeth
shallow breathing
small cleavage
what are you having?

Miriam asked
I looked at the menu
in French
you speak French?

I asked
not much
apart what I learnt
at school

she said
she scanned the menu
I think that's beef burger
she said

pointing at the list
that's egg and something
and curry?
I asked

don't know French
for curry
she said
she raised her hand

Garçon!
she said
a thin guy
came across

with a droopy moustache
and looked at us
you do curry?
she asked

the guy gave
a blank gaze
she fanned her mouth
with her small hand

and lifted her eyes
towards the ceiling
and blew outward
curry

she mouthed
the guy looked at me
sympathetically
I poked a finger

at the list randomly
and the guy
looked intently
I showed 2 fingers

and pointed
to Miriam and me
he smiled
and went off

what did you order?
she said
looking at me
then the menu

God knows
but at least
we'll eat
I said

she shook her head
and stared back
towards the bar  
how about a beer?

she said sure
I said
and as we waited
I felt her hand

on my knee
making
circular motions
and giving

the occasional squeeze  
and I hoped
she'd do the same
to both knees.