The sun on my tongue tastes

like home, like childhood, like all the happy parts,

like warm syrup running down my spine

and my worn feet, on grass, thistles, bluebells, your bed,

springing up to touch the wooden ceiling

later to be found peaking out from the duvet

as I was waking up to rain early

and smoke from the chimney across the way

and looking over to see, on the night stand, steaming tea and sticky-sweet buns

that taste like the sun, and you.

Against the rubber tongues of cows and the hoeing hands of men
Thistles spike the summer air
And crackle open under a blue-black pressure.

Every one a revengeful burst
Of resurrection, a grasphed fistful
Of splintered weapons and Icelandic frost ****** up

From the underground stain of a decayed Viking.
They are like pale hair and the gutturals of dialects.
Every one manages a plume of blood.

Then they grow grey like men.
Mown down, it is a feud. Their sons appear
Stiff with weapons, fighting back over the same ground.

From my Dark Watcher Series;

Lost in a nightmare world,
tangled in a vine of despair.
Held tightly in it's thistles,
my heart has been laid bare.

Bleeding from the sharpened thorns,
tears of sorrow, run ****** down my cheeks.
Where is this merciful God?
Relief from this pain is all I seek.

Show me the door to eternity,
that lies beneath the towering elms.
For this world holds no more peace,
and bids me enter your realm.

Ripped apart by Heavens fury,
I travel the path of dark dreams.
For the light of this soul is lost,
floating amidst life's turbulent streams.

Cast out upon the crying winds,
beat into the rustic earth.
Enfold me in the safety of your arms,
and lie me in the place of my rebirth.

Kathleen M. Kohl/Levinski

Brigid was born on a flax mill farm,
Near the Cavan border, in Monaghan,
At Lough Egish on the Carrick Road,
The last child of the Sheridans.
The sluice still runs near the water wheel,
With thistles thriving on rusted steel.

Little's known of Nellie's early years;
Da died before she knew grieving tears,
They'd turn her eyes in later years.

She's eleven posing with her class,
This photo shows an Irish lass.
Her look is distant,
Her face is blurred,
But recognizable
In an instant.

She was schooled six years
To last a life,
Some math, the Irish,
To read and write.

Her Mammy grew ill,
She lost a leg,
And bit by bit,
By age sixteen,
Nellie buried her first dead.
Too young to be alone,
Sisters and brother had left the home.
The cloistered convent took her in,
She taught urchins and orphans
About God and Grace and sin.
There were no vows for Nellie then.

At nineteen she met a Creamery man,
Jim Lynch of the Cavan clan;
He delivered dairy from his lorry,
Married Nellie,
Relieved their worry.

War flared, men were few,
There was work in Coventry.
Ireland's thistles were left to bloom.

Nellie soon was Michael's Mammy,
Then Maura, Sheila and Kevin followed,
When war floundered to its end,
They shipped back to Monaghan,
And brought the mill to life again.

The thistles and weeds
That surrounded the mill,
Were scythed and scattered
By Daddy's zeal.
He built himself
A generator,
Providing power
To lights and wheel.

Sean was born,
Gerald soon followed;
Then Michael died.
A nine year old,
His Daddy's angel.
Is this what turns
A father strange?

Francie arrived,
Then Eucheria,
But ten months later
Bold death took her.
Grief knows no borders
For brothers and sisters.

We left for Canada.

Mammy brought six kids along,
Leaving her dead behind,
Buried with Ireland.

Daddy was waiting for family,
Six months before Mammy got free
From death's inhumanity.
Her tears and griefs weren't yet over,
She birthed another son and daughter;
Jimmy and Marlene left us too,
Death is sure,
Death is cruel.

Grandchildren came, she was Granny,
Bridget, Nellie, but still our Mammy.
She lived this life eduring pain
That mothers bear,
Mothers sustain.
And yet, in times of personal strain,
I'll sometimes whisper her one name,
Mammy.

Mean while the heinous and despiteful act
Of Satan, done in Paradise; and how
He, in the serpent, had perverted Eve,
Her husband she, to taste the fatal fruit,
Was known in Heaven; for what can ’scape the eye
Of God all-seeing, or deceive his heart
Omniscient? who, in all things wise and just,
Hindered not Satan to attempt the mind
Of Man, with strength entire and free will armed,
Complete to have discovered and repulsed
Whatever wiles of foe or seeming friend.
For still they knew, and ought to have still remembered,
The high injunction, not to taste that fruit,
Whoever tempted; which they not obeying,
(Incurred what could they less?) the penalty;
And, manifold in sin, deserved to fall.
Up into Heaven from Paradise in haste
The angelick guards ascended, mute, and sad,
For Man; for of his state by this they knew,
Much wondering how the subtle Fiend had stolen
Entrance unseen.  Soon as the unwelcome news
From Earth arrived at Heaven-gate, displeased
All were who heard; dim sadness did not spare
That time celestial visages, yet, mixed
With pity, violated not their bliss.
About the new-arrived, in multitudes
The ethereal people ran, to hear and know
How all befel:  They towards the throne supreme,
Accountable, made haste, to make appear,
With righteous plea, their utmost vigilance
And easily approved; when the Most High
Eternal Father, from his secret cloud,
Amidst in thunder uttered thus his voice.
Assembled Angels, and ye Powers returned
From unsuccessful charge; be not dismayed,
Nor troubled at these tidings from the earth,
Which your sincerest care could not prevent;
Foretold so lately what would come to pass,
When first this tempter crossed the gulf from Hell.
I told ye then he should prevail, and speed
On his bad errand; Man should be seduced,
And flattered out of all, believing lies
Against his Maker; no decree of mine
Concurring to necessitate his fall,
Or touch with lightest moment of impulse
His free will, to her own inclining left
In even scale.  But fallen he is; and now
What rests, but that the mortal sentence pass
On his transgression,—death denounced that day?
Which he presumes already vain and void,
Because not yet inflicted, as he feared,
By some immediate stroke; but soon shall find
Forbearance no acquittance, ere day end.
Justice shall not return as bounty scorned.
But whom send I to judge them? whom but thee,
Vicegerent Son?  To thee I have transferred
All judgement, whether in Heaven, or Earth, or Hell.
Easy it may be seen that I intend
Mercy colleague with justice, sending thee
Man’s friend, his Mediator, his designed
Both ransom and Redeemer voluntary,
And destined Man himself to judge Man fallen.
So spake the Father; and, unfolding bright
Toward the right hand his glory, on the Son
Blazed forth unclouded Deity: He full
Resplendent all his Father manifest
Expressed, and thus divinely answered mild.
Father Eternal, thine is to decree;
Mine, both in Heaven and Earth, to do thy will
Supreme; that thou in me, thy Son beloved,
Mayest ever rest well pleased.  I go to judge
On earth these thy transgressours; but thou knowest,
Whoever judged, the worst on me must light,
When time shall be; for so I undertook
Before thee; and, not repenting, this obtain
Of right, that I may mitigate their doom
On me derived; yet I shall temper so
Justice with mercy, as may illustrate most
Them fully satisfied, and thee appease.
Attendance none shall need, nor train, where none
Are to behold the judgement, but the judged,
Those two; the third best absent is condemned,
Convict by flight, and rebel to all law:
Conviction to the serpent none belongs.
Thus saying, from his radiant seat he rose
Of high collateral glory: Him Thrones, and Powers,
Princedoms, and Dominations ministrant,
Accompanied to Heaven-gate; from whence
Eden, and all the coast, in prospect lay.
Down he descended straight; the speed of Gods
Time counts not, though with swiftest minutes winged.
Now was the sun in western cadence low
From noon, and gentle airs, due at their hour,
To fan the earth now waked, and usher in
The evening cool; when he, from wrath more cool,
Came the mild Judge, and Intercessour both,
To sentence Man:  The voice of God they heard
Now walking in the garden, by soft winds
Brought to their ears, while day declined; they heard,
And from his presence hid themselves among
The thickest trees, both man and wife; till God,
Approaching, thus to Adam called aloud.
Where art thou, Adam, wont with joy to meet
My coming seen far off?  I miss thee here,
Not pleased, thus entertained with solitude,
Where obvious duty ere while appeared unsought:
Or come I less conspicuous, or what change
Absents thee, or what chance detains?—Come forth!
He came; and with him Eve, more loth, though first
To offend; discountenanced both, and discomposed;
Love was not in their looks, either to God,
Or to each other; but apparent guilt,
And shame, and perturbation, and despair,
Anger, and obstinacy, and hate, and guile.
Whence Adam, faltering long, thus answered brief.
I heard thee in the garden, and of thy voice
Afraid, being naked, hid myself.  To whom
The gracious Judge without revile replied.
My voice thou oft hast heard, and hast not feared,
But still rejoiced; how is it now become
So dreadful to thee?  That thou art naked, who
Hath told thee?  Hast thou eaten of the tree,
Whereof I gave thee charge thou shouldst not eat?
To whom thus Adam sore beset replied.
O Heaven! in evil strait this day I stand
Before my Judge; either to undergo
Myself the total crime, or to accuse
My other self, the partner of my life;
Whose failing, while her faith to me remains,
I should conceal, and not expose to blame
By my complaint: but strict necessity
Subdues me, and calamitous constraint;
Lest on my head both sin and punishment,
However insupportable, be all
Devolved; though should I hold my peace, yet thou
Wouldst easily detect what I conceal.—
This Woman, whom thou madest to be my help,
And gavest me as thy perfect gift, so good,
So fit, so acceptable, so divine,
That from her hand I could suspect no ill,
And what she did, whatever in itself,
Her doing seemed to justify the deed;
She gave me of the tree, and I did eat.
To whom the Sovran Presence thus replied.
Was she thy God, that her thou didst obey
Before his voice? or was she made thy guide,
Superiour, or but equal, that to her
Thou didst resign thy manhood, and the place
Wherein God set thee above her made of thee,
And for thee, whose perfection far excelled
Hers in all real dignity?  Adorned
She was indeed, and lovely, to attract
Thy love, not thy subjection; and her gifts
Were such, as under government well seemed;
Unseemly to bear rule; which was thy part
And person, hadst thou known thyself aright.
So having said, he thus to Eve in few.
Say, Woman, what is this which thou hast done?
To whom sad Eve, with shame nigh overwhelmed,
Confessing soon, yet not before her Judge
Bold or loquacious, thus abashed replied.
The Serpent me beguiled, and I did eat.
Which when the Lord God heard, without delay
To judgement he proceeded on the accused
Serpent, though brute; unable to transfer
The guilt on him, who made him instrument
Of mischief, and polluted from the end
Of his creation; justly then accursed,
As vitiated in nature:  More to know
Concerned not Man, (since he no further knew)
Nor altered his offence; yet God at last
To Satan first in sin his doom applied,
Though in mysterious terms, judged as then best:
And on the Serpent thus his curse let fall.
Because thou hast done this, thou art accursed
Above all cattle, each beast of the field;
Upon thy belly groveling thou shalt go,
And dust shalt eat all the days of thy life.
Between thee and the woman I will put
Enmity, and between thine and her seed;
Her seed shall bruise thy head, thou bruise his heel.
So spake this oracle, then verified
When Jesus, Son of Mary, second Eve,
Saw Satan fall, like lightning, down from Heaven,
Prince of the air; then, rising from his grave
Spoiled Principalities and Powers, triumphed
In open show; and, with ascension bright,
Captivity led captive through the air,
The realm itself of Satan, long usurped;
Whom he shall tread at last under our feet;
Even he, who now foretold his fatal bruise;
And to the Woman thus his sentence turned.
Thy sorrow I will greatly multiply
By thy conception; children thou shalt bring
In sorrow forth; and to thy husband’s will
Thine shall submit; he over thee shall rule.
On Adam last thus judgement he pronounced.
Because thou hast hearkened to the voice of thy wife,
And eaten of the tree, concerning which
I charged thee, saying, Thou shalt not eat thereof:
Cursed is the ground for thy sake; thou in sorrow
Shalt eat thereof, all the days of thy life;
Thorns also and thistles it shall bring thee forth
Unbid; and thou shalt eat the herb of the field;
In the sweat of thy face shalt thou eat bread,
Till thou return unto the ground; for thou
Out of the ground wast taken, know thy birth,
For dust thou art, and shalt to dust return.
So judged he Man, both Judge and Saviour sent;
And the instant stroke of death, denounced that day,
Removed far off; then, pitying how they stood
Before him naked to the air, that now
Must suffer change, disdained not to begin
Thenceforth the form of servant to assume;
As when he washed his servants feet; so now,
As father of his family, he clad
Their nakedness with skins of beasts, or slain,
Or as the snake with youthful coat repaid;
And thought not much to clothe his enemies;
Nor he their outward only with the skins
Of beasts, but inward nakedness, much more.
Opprobrious, with his robe of righteousness,
Arraying, covered from his Father’s sight.
To him with swift ascent he up returned,
Into his blissful ***** reassumed
In glory, as of old; to him appeased
All, though all-knowing, what had passed with Man
Recounted, mixing intercession sweet.
Mean while, ere thus was sinned and judged on Earth,
Within the gates of Hell sat Sin and Death,
In counterview within the gates, that now
Stood open wide, belching outrageous flame
Far into Chaos, since the Fiend passed through,
Sin opening; who thus now to Death began.
O Son, why sit we here each other viewing
Idly, while Satan, our great author, thrives
In other worlds, and happier seat provides
For us, his offspring dear?  It cannot be
But that success attends him; if mishap,
Ere this he had returned, with fury driven
By his avengers; since no place like this
Can fit his punishment, or their revenge.
Methinks I feel new strength within me rise,
Wings growing, and dominion given me large
Beyond this deep; whatever draws me on,
Or sympathy, or some connatural force,
Powerful at greatest distance to unite,
With secret amity, things of like kind,
By secretest conveyance.  Thou, my shade
Inseparable, must with me along;
For Death from Sin no power can separate.
But, lest the difficulty of passing back
Stay his return perhaps over this gulf
Impassable, impervious; let us try
Adventurous work, yet to thy power and mine
Not unagreeable, to found a path
Over this main from Hell to that new world,
Where Satan now prevails; a monument
Of merit high to all the infernal host,
Easing their passage hence, for *******,
Or transmigration, as their lot shall lead.
Nor can I miss the way, so strongly drawn
By this new-felt attraction and instinct.
Whom thus the meager Shadow answered soon.
Go, whither Fate, and inclination strong,
Leads thee; I shall not lag behind, nor err
The way, thou leading; such a scent I draw
Of carnage, prey innumerable, and taste
The savour of death from all things there that live:
Nor shall I to the work thou enterprisest
Be wanting, but afford thee equal aid.
So saying, with delight he snuffed the smell
Of mortal change on earth.  As when a flock
Of ravenous fowl, though many a league remote,
Against the day of battle, to a field,
Where armies lie encamped, come flying, lured
With scent of living carcasses designed
For death, the following day, in ****** fight:
So scented the grim Feature, and upturned
His nostril wide into the murky air;
Sagacious of his quarry from so far.
Then both from out Hell-gates, into the waste
Wide anarchy of Chaos, damp and dark,
Flew diverse; and with power (their power was great)
Hovering upon the waters, what they met
Solid or slimy, as in raging sea
Tost up and down, together crouded drove,
From each side shoaling towards the mouth of Hell;
As when two polar winds, blowing adverse
Upon the Cronian sea, together drive
Mountains of ice, that stop the imagined way
Beyond Petsora eastward, to the rich
Cathaian coast.  The aggregated soil
Death with his mace petrifick, cold and dry,
As with a trident, smote; and fixed as firm
As Delos, floating once; the rest his look
Bound with Gorgonian rigour not to move;
And with Asphaltick slime, broad as the gate,
Deep to the roots of Hell the gathered beach
They fastened, and the mole immense wrought on
Over the foaming deep high-arched, a bridge
Of length prodigious, joining to the wall
Immoveable of this now fenceless world,
Forfeit to Death; from hence a passage broad,
Smooth, easy, inoffensive, down to Hell.
So, if great things to small may be compared,
Xerxes, the liberty of Greece to yoke,
From Susa, his Memnonian palace high,
Came to the sea: and, over Hellespont
Bridging his way, Europe with Asia joined,
And scourged with many a stroke the indignant waves.
Now had they brought the work by wonderous art
Pontifical, a ridge of pendant rock,
Over the vexed abyss, following the track
Of Satan to the self-same place where he
First lighted from his wing, and landed safe
From out of Chaos, to the outside bare
Of this round world:  With pins of adamant
And chains they made all fast, too fast they made
And durable!  And now in little space
The confines met of empyrean Heaven,
And of this World; and, on the left hand, Hell
With long reach interposed; three several ways
In sight, to each of these three places led.
And now their way to Earth they had descried,
To Paradise first tending; when, behold!
Satan, in likeness of an Angel bright,
Betwixt the Centaur and the Scorpion steering
His zenith, while the sun in Aries rose:
Disguised he came; but those his children dear
Their parent soon discerned, though in disguise.
He, after Eve seduced, unminded slunk
Into the wood fast by; and, changing shape,
To observe the sequel, saw his guileful act
By Eve, though all unweeting, seconded
Upon her husband; saw their shame that sought
Vain covertures; but when he saw descend
The Son of God to judge them, terrified
He fled; not hoping to escape, but shun
The present; fearing, guilty, what his wrath
Might suddenly inflict; that past, returned
By night, and listening where the hapless pair
Sat in their sad discourse, and various plaint,
Thence gathered his own doom; which understood
Not instant, but of future time, with joy
And tidings fraught, to Hell he now returned;
And at the brink of Chaos, near the foot
Of this new wonderous pontifice, unhoped
Met, who to meet him came, his offspring dear.
Great joy was at their meeting, and at sight
Of that stupendious bridge his joy encreased.
Long he admiring stood, till Sin, his fair
Enchanting daughter, thus the silence broke.
O Parent, these are thy magnifick deeds,
Thy trophies! which thou viewest as not thine own;
Thou art their author, and prime architect:
For I no sooner in my heart divined,
My heart, which by a secret harmony
Still moves with thine, joined in connexion sweet,
That thou on earth hadst prospered, which thy looks
Now also evidence, but straight I felt,
Though distant from thee worlds between, yet felt,
That I must after thee, with this thy son;
Such fatal consequence unites us three!
Hell could no longer hold us in our bounds,
Nor this unvoyageable gulf obscure
Detain from following thy illustrious track.
Thou hast achieved our liberty, confined
Withi

Come queen of months in company
Wi all thy merry minstrelsy
The restless cuckoo absent long
And twittering swallows chimney song
And hedge row crickets notes that run
From every bank that fronts the sun
And swathy bees about the grass
That stops wi every bloom they pass
And every minute every hour
Keep teazing weeds that wear a flower
And toil and childhoods humming joys
For there is music in the noise
The village childern mad for sport
In school times leisure ever short
That crick and catch the bouncing ball
And run along the church yard wall
Capt wi rude figured slabs whose claims
In times bad memory hath no names
Oft racing round the nookey church
Or calling ecchos in the porch
And jilting oer the weather ****
Viewing wi jealous eyes the clock
Oft leaping grave stones leaning hights
Uncheckt wi mellancholy sights
The green grass swelld in many a heap
Where kin and friends and parents sleep
Unthinking in their jovial cry
That time shall come when they shall lye
As lowly and as still as they
While other boys above them play
Heedless as they do now to know
The unconcious dust that lies below
The shepherd goes wi happy stride
Wi moms long shadow by his side
Down the dryd lanes neath blooming may
That once was over shoes in clay
While martins twitter neath his eves
Which he at early morning leaves
The driving boy beside his team
Will oer the may month beauty dream
And **** his hat and turn his eye
On flower and tree and deepning skye
And oft bursts loud in fits of song
And whistles as he reels along
Cracking his whip in starts of joy
A happy ***** driving boy
The youth who leaves his corner stool
Betimes for neighbouring village school
While as a mark to urge him right
The church spires all the way in sight
Wi cheerings from his parents given
Starts neath the joyous smiles of heaven
And sawns wi many an idle stand
Wi bookbag swinging in his hand
And gazes as he passes bye
On every thing that meets his eye
Young lambs seem tempting him to play
Dancing and bleating in his way
Wi trembling tails and pointed ears
They follow him and loose their fears
He smiles upon their sunny faces
And feign woud join their happy races
The birds that sing on bush and tree
Seem chirping for his company
And all in fancys idle whim
Seem keeping holiday but him
He lolls upon each resting stile
To see the fields so sweetly smile
To see the wheat grow green and long
And list the weeders toiling song
Or short note of the changing thrush
Above him in the white thorn bush
That oer the leaning stile bends low
Loaded wi mockery of snow
Mozzld wi many a lushing thread
Of crab tree blossoms delicate red
He often bends wi many a wish
Oer the brig rail to view the fish
Go sturting by in sunny gleams
And chucks in the eye dazzld streams
Crumbs from his pocket oft to watch
The swarming struttle come to catch
Them where they to the bottom sile
Sighing in fancys joy the while
Hes cautiond not to stand so nigh
By rosey milkmaid tripping bye
Where he admires wi fond delight
And longs to be there mute till night
He often ventures thro the day
At truant now and then to play
Rambling about the field and plain
Seeking larks nests in the grain
And picking flowers and boughs of may
To hurd awhile and throw away
Lurking neath bushes from the sight
Of tell tale eyes till schools noon night
Listing each hour for church clocks hum
To know the hour to wander home
That parents may not think him long
Nor dream of his rude doing wrong
Dreading thro the night wi dreaming pain
To meet his masters wand again
Each hedge is loaded thick wi green
And where the hedger late hath been
Tender shoots begin to grow
From the mossy stumps below
While sheep and cow that teaze the grain
will nip them to the root again
They lay their bill and mittens bye
And on to other labours hie
While wood men still on spring intrudes
And thins the shadow solitudes
Wi sharpend axes felling down
The oak trees budding into brown
Where as they crash upon the ground
A crowd of labourers gather round
And mix among the shadows dark
To rip the crackling staining bark
From off the tree and lay when done
The rolls in lares to meet the sun
Depriving yearly where they come
The green wood pecker of its home
That early in the spring began
Far from the sight of troubling man
And bord their round holes in each tree
In fancys sweet security
Till startld wi the woodmans noise
It wakes from all its dreaming joys
The blue bells too that thickly bloom
Where man was never feared to come
And smell smocks that from view retires
**** rustling leaves and bowing briars
And stooping lilys of the valley
That comes wi shades and dews to dally
White beady drops on slender threads
Wi broad hood leaves above their heads
Like white robd maids in summer hours
Neath umberellas shunning showers
These neath the barkmens crushing treads
Oft perish in their blooming beds
Thus stript of boughs and bark in white
Their trunks shine in the mellow light
Beneath the green surviving trees
That wave above them in the breeze
And waking whispers slowly bends
As if they mournd their fallen friends
Each morning now the weeders meet
To cut the thistle from the wheat
And ruin in the sunny hours
Full many wild weeds of their flowers
Corn poppys that in crimson dwell
Calld ‘head achs’ from their sickly smell
And carlock yellow as the sun
That oer the may fields thickly run
And ‘iron ****’ content to share
The meanest spot that spring can spare
Een roads where danger hourly comes
Is not wi out its purple blooms
And leaves wi points like thistles round
Thickset that have no strength to wound
That shrink to childhoods eager hold
Like hair—and with its eye of gold
And scarlet starry points of flowers
Pimpernel dreading nights and showers
Oft calld ‘the shepherds weather glass’
That sleep till suns have dyd the grass
Then wakes and spreads its creeping bloom
Till clouds or threatning shadows come
Then close it shuts to sleep again
Which weeders see and talk of rain
And boys that mark them shut so soon
will call them ‘John go bed at noon
And fumitory too a name
That superstition holds to fame
Whose red and purple mottled flowers
Are cropt by maids in weeding hours
To boil in water milk and way1
For washes on an holiday
To make their beauty fair and sleak
And scour the tan from summers cheek
And simple small forget me not
Eyd wi a pinshead yellow spot
I’th’ middle of its tender blue
That gains from poets notice due
These flowers the toil by crowds destroys
And robs them of their lowly joys
That met the may wi hopes as sweet
As those her suns in gardens meet
And oft the dame will feel inclind
As childhoods memory comes to mind
To turn her hook away and spare
The blooms it lovd to gather there
My wild field catalogue of flowers
Grows in my ryhmes as thick as showers
Tedious and long as they may be
To some, they never weary me
The wood and mead and field of grain
I coud hunt oer and oer again
And talk to every blossom wild
Fond as a parent to a child
And cull them in my childish joy
By swarms and swarms and never cloy
When their lank shades oer morning pearls
Shrink from their lengths to little girls
And like the clock hand pointing one
Is turnd and tells the morning gone
They leave their toils for dinners hour
Beneath some hedges bramble bower
And season sweet their savory meals
Wi joke and tale and merry peals
Of ancient tunes from happy tongues
While linnets join their fitful songs
Perchd oer their heads in frolic play
Among the tufts of motling may
The young girls whisper things of love
And from the old dames hearing move
Oft making ‘love knotts’ in the shade
Of blue green oat or wheaten blade
And trying simple charms and spells
That rural superstition tells
They pull the little blossom threads
From out the knapweeds button heads
And put the husk wi many a smile
In their white bosoms for awhile
Who if they guess aright the swain
That loves sweet fancys trys to gain
Tis said that ere its lain an hour
Twill blossom wi a second flower
And from her white ******* hankerchief
Bloom as they ne’er had lost a leaf
When signs appear that token wet
As they are neath the bushes met
The girls are glad wi hopes of play
And harping of the holiday
A hugh blue bird will often swim
Along the wheat when skys grow dim
Wi clouds—slow as the gales of spring
In motion wi dark shadowd wing
Beneath the coming storm it sails
And lonly chirps the wheat hid quails
That came to live wi spring again
And start when summer browns the grain
They start the young girls joys afloat
Wi ‘wet my foot’ its yearly note
So fancy doth the sound explain
And proves it oft a sign of rain
About the moor ‘**** sheep and cow
The boy or old man wanders now
Hunting all day wi hopful pace
Each thick sown rushy thistly place
For plover eggs while oer them flye
The fearful birds wi teazing cry
Trying to lead their steps astray
And coying him another way
And be the weather chill or warm
Wi brown hats truckd beneath his arm
Holding each prize their search has won
They plod bare headed to the sun
Now dames oft bustle from their wheels
Wi childern scampering at their heels
To watch the bees that hang and swive
In clumps about each thronging hive
And flit and thicken in the light
While the old dame enjoys the sight
And raps the while their warming pans
A spell that superstition plans
To coax them in the garden bounds
As if they lovd the tinkling sounds
And oft one hears the dinning noise
Which dames believe each swarm decoys
Around each village day by day
Mingling in the warmth of may
Sweet scented herbs her skill contrives
To rub the bramble platted hives
Fennels thread leaves and crimpld balm
To scent the new house of the swarm
The thresher dull as winter days
And lost to all that spring displays
Still mid his barn dust forcd to stand
Swings his frail round wi weary hand
While oer his head shades thickly creep
And hides the blinking owl asleep
And bats in cobweb corners bred
Sharing till night their murky bed
The sunshine trickles on the floor
Thro every crevice of the door
And makes his barn where shadows dwell
As irksome as a prisoners cell
And as he seeks his daily meal
As schoolboys from their tasks will steal
ile often stands in fond delay
To see the daisy in his way
And wild weeds flowering on the wall
That will his childish sports recall
Of all the joys that came wi spring
The twirling top the marble ring
The gingling halfpence hussld up
At pitch and toss the eager stoop
To pick up heads, the smuggeld plays
Neath hovels upon sabbath days
When parson he is safe from view
And clerk sings amen in his pew
The sitting down when school was oer
Upon the threshold by his door
Picking from mallows sport to please
Each crumpld seed he calld a cheese
And hunting from the stackyard sod
The stinking hen banes belted pod
By youths vain fancys sweetly fed
Christning them his loaves of bread
He sees while rocking down the street
Wi weary hands and crimpling feet
Young childern at the self same games
And hears the self same simple names
Still floating on each happy tongue
Touchd wi the simple scene so strong
Tears almost start and many a sigh
Regrets the happiness gone bye
And in sweet natures holiday
His heart is sad while all is gay
How lovly now are lanes and balks
For toils and lovers sunday walks
The daisey and the buttercup
For which the laughing childern stoop
A hundred times throughout the day
In their rude ramping summer play
So thickly now the pasture crowds
In gold and silver sheeted clouds
As if the drops in april showers
Had woo’d the sun and swoond to flowers
The brook resumes its summer dresses
Purling neath grass and water cresses
And mint and flag leaf swording high
Their blooms to the unheeding eye
And taper bowbent hanging rushes
And horse tail childerns bottle brushes
And summer tracks about its brink
Is fresh again where cattle drink
And on its sunny bank the swain
Stretches his idle length again
Soon as the sun forgets the day
The moon looks down on the lovly may
And the little star his friend and guide
Travelling together side by side
And the seven stars and charleses wain
Hangs smiling oer green woods agen
The heaven rekindles all alive
Wi light the may bees round the hive
Swarm not so thick in mornings eye
As stars do in the evening skye
All all are nestling in their joys
The flowers and birds and pasture boys
The firetail, long a stranger, comes
To his last summer haunts and homes
To hollow tree and crevisd wall
And in the grass the rails odd call
That featherd spirit stops the swain
To listen to his note again
And school boy still in vain retraces
The secrets of his hiding places
In the black thorns crowded copse
Thro its varied turns and stops
The nightingale its ditty weaves
Hid in a multitude of leaves
The boy stops short to hear the strain
And ’sweet jug jug’ he mocks again
The yellow hammer builds its nest
By banks where sun beams earliest rest
That drys the dews from off the grass
Shading it from all that pass
Save the rude boy wi ferret gaze
That hunts thro evry secret maze
He finds its pencild eggs agen
All streakd wi lines as if a pen
By natures freakish hand was took
To scrawl them over like a book
And from these many mozzling marks
The school boy names them ‘writing larks’
*** barrels twit on bush and tree
Scarse bigger then a bumble bee
And in a white thorns leafy rest
It builds its curious pudding-nest
Wi hole beside as if a mouse
Had built the little barrel house
Toiling full many a lining feather
And bits of grey tree moss together
Amid the noisey rooky park
Beneath the firdales branches dark
The little golden crested wren
Hangs up his glowing nest agen
And sticks it to the furry leaves
As martins theirs beneath the eaves
The old hens leave the roost betimes
And oer the garden pailing climbs
To scrat the gardens fresh turnd soil
And if unwatchd his crops to spoil
Oft cackling from the prison yard
To peck about the houseclose sward
Catching at butterflys and things
Ere they have time to try their wings
The cattle feels the breath of may
And kick and toss their heads in play
The *** beneath his bags of sand
Oft jerks the string from leaders hand
And on the road will eager stoop
To pick the sprouting thistle up
Oft answering on his weary way
Some distant neighbours sobbing bray
Dining the ears of driving boy
As if he felt a fit of joy
Wi in its pinfold circle left
Of all its company bereft
Starvd stock no longer noising round
Lone in the nooks of foddering ground
Each skeleton of lingering stack
By winters tempests beaten black
Nodds upon props or bolt upright
Stands swarthy in the summer light
And oer the green grass seems to lower
Like stump of old time wasted tower
All that in winter lookd for hay
Spread from their batterd haunts away
To pick the grass or lye at lare
Beneath the mild hedge shadows there
Sweet month that gives a welcome call
To toil and nature and to all
Yet one day mid thy many joys
Is dead to all its sport and noise
Old may day where’s thy glorys gone
All fled and left thee every one
Thou comst to thy old haunts and homes
Unnoticd as a stranger comes
No flowers are pluckt to hail the now
Nor cotter seeks a single bough
The maids no more on thy sweet morn
Awake their thresholds to adorn
Wi dewey flowers—May locks new come
And princifeathers cluttering bloom
And blue bells from the woodland moss
And cowslip cucking ***** to toss
Above the garlands swinging hight
Hang in the soft eves sober light
These maid and child did yearly pull
By many a folded apron full
But all is past the merry song
Of maidens hurrying along
To crown at eve the earliest cow
Is gone and dead and silent now
The laugh raisd at the mocking thorn
Tyd to the cows tail last that morn
The kerchief at arms length displayd
Held up by pairs of swain and maid
While others bolted underneath
Bawling loud wi panting breath
‘Duck under water’ as they ran
Alls ended as they ne’er began
While the new thing that took thy place
Wears faded smiles upon its face
And where enclosure has its birth
It spreads a mildew oer her mirth
The herd no longer one by one
Goes plodding on her morning way
And garlands lost and sports nigh gone
Leaves her like thee a common day
Yet summer smiles upon thee still
Wi natures sweet unalterd will
And at thy births unworshipd hours
Fills her green lap wi swarms of flowers
To crown thee still as thou hast been
Of spring and summer months the queen

Red,
Like a rose,
And
Bloodied
Like thorns.

I am thistle,
I am bramble,
I am natural
And will slice you open
If you get too close.

I am no princess,
I am no fragile dainty flower.

I am indestructible,
And I am softened
Only by the light
That follows my Bluebird.

I will not be walked upon,
As those who have left
Are vividly aware of.

But I will fly,
Like the Hummingbird he has called me.

Fluttering, buzzing,
Nurturing life,

Just as the love of my life
Has nurtured my soul,
And taught it to heal,
Taught it to love and laugh.

My blush is red like a rose,
But my tongue is sharp,
Like thorns,
Thistles,
And brambles.

Bridget was born on a flax mill farm,
Near the Cavan border, in Monaghan,
At Lough Egish on the Carrick Road,
The last child of the Sheridans.
The sluice still runs near the water wheel,
With thistles thriving on rusted steel.

Little's known of Nellie's early years;
Da died before she knew grieving tears,
They'd turn her eyes in later years.

She's eleven posing with her class,
This photo shows an Irish lass.
Her look is distant,
Her face is blurred,
But recognizable
In an instant.

She was schooled six years
To last a life,
Some math, the Irish,
To read and write.

Her Mammy grew ill,
She lost a leg,
And bit by bit,
By age sixteen,
Nellie buried her first dead.
Too young to be alone,
Sisters and brother had left the home.
The cloistered convent took her in,
She taught urchins and orphans
About God and Grace and sin.
There were no vows for Nellie then.

At nineteen she met a Creamery man,
Jim Lynch of the Cavan clan;
He delivered dairy from his lorry,
Married Nellie,
Relieved their worry.

War flared, men were few,
There was work in Coventry.
Ireland's thistles were left to bloom.

Nellie soon was Michael's Mammy,
Then Maura, Sheila and Kevin followed,
When war floundered to its end,
They shipped back to Monaghan,
And brought the mill to life again.

The thistles and weeds
That surrounded the mill,
Were scythed and scattered
By Daddy's zeal.
He built himself
A generator,
Providing power
To lights and wheel.

Sean was born,
Gerald soon followed;
Then Michael died.
A nine year old,
His Daddy's angel.
Is this what turns
A father strange?

Francie arrived,
Then Eucheria,
But ten months later
Bold death took her.
Grief knows no borders
For brothers and sisters.

We left for Canada.

Mammy brought six kids along,
Leaving her dead behind,
Buried with Ireland.

Daddy was waiting for family,
Six months before Mammy got free
From death's inhumanity.
Her tears and griefs weren't yet over,
She birthed another son and daughter;
Jimmy and Marlene left us too,
Death is sure,
Death is cruel.

Grandchildren came, she was Granny,
Bridget, Nellie, but still our Mammy.
She lived this life eduring pain
That mothers bear,
Mothers sustain.
And yet, in times of personal strain,
I'll sometimes whisper her one name,
Mammy.

A little bird tried to fly through the screen door and I thought, 'if only there were more air up here'.

The view from the second story deck encompassed miles of low scrub hills, piñon, and was daily growing less hazy as the fires subsided. The little bird was dead. Was not even twitching or rolling or whatever idiot birds do to fight or hold onto life. Or maybe it was unconscious. If it was a head impact, it could just be out cold. I could take it in for a bit, see if it revives. But the brains of birds are very small... maybe not large enough to switch out of consciousness without damaging the whole system. It could wake up brain damaged: amnesic, whistling gibberish, unable to collaborate or co-worm-locate or sit on eggs or whatever other higher functions birds perform. Angry, all the time. Likely a burden and a danger to the community. Condemned to either death or a life of lonely suffering. I'd rather not be culpable for that.

Prospective buyers are arriving at four, the realtor as well, for a tour, so I grabbed a broom and swept the quiet body into the shaggy juniper that surrounded the house. Swept up with maple leaves that had settled on the porch since this time yesterday, together a mass of decomposing matter, under the railing and into the dark.

I'd spent a lot of time alone in the house on Grand. Watched nature slowly creep through the iron fence and into the faux-pond, up under the patio bricks, purple flowered and needley plants growing taller and more hostile daily. Increasing numbers of little brown birds mistaking the reflected sunset in the plate glass doors for real sky.

"If only there were more air up here." A little joke I repeat out loud while sweeping broken bodies into shrubs. The thickest places, where they wouldn’t be seen when (if) someone ever dropped by to view the house.


I don't live here, the house is soon to be foreclosed. But a friend of mine knew I needed a place to stay and offered this, his third home, empty of everything except a coffee maker, some landscaping tools, a few boxes that had yet to be moved. I have a twin sized mattress in what must have been a child's room: a strip of Denver Broncos wallpaper runs the circumference, every other surface painted complimentary blue.


The couple arrived at five. She wears a salmon coloured shawl over a white blouse. They’re performing the theatric act of young couples in love (with the idea of a larger house): she ecstatic over the seven jets in the master Jacuzzi tub, he hesitant about the people-paths in the wall-to-wall-carpet, the everpresent pastels we know were once in vogue but will take weeks and at least two layers of base to fully eradicate. It’s the realtor’s job to showcase the place but I often stand outside the plate glass windows of the living room, keeping an eye. Playing the role of groundskeeper because hitchhiker is so much less glorious.

So far it’s been the same. Always she with a genuine smile that will be gone forty minutes after she’s left the driveway. He, always in t-shirt and “trying to be casual” jacket calculating the square footage of each room, the viability of the fireplace. Opening cabinets, but not concerned with storage space. He wants to see if the brass hinges really have brass pins. Is it wood, linoleum? Look closely at his eyes and watch them dance across a virtual blackboard, adding up the gallons of primer and paint needed to cover up the colour mistakes of a before-his-decade.

  2

You can almost watch his eyes dart across the blackboard. A house is a house but the home must be shredded, burned, before making it yours.


But they all do this. A dozen or so now, this summer. And I spend a lot of time alone. Injecting my thoughts into people who think they know what they need next, before getting in a small car and checking out a properly closer to town. Making little jokes to myself as I sweep the porch. The isolation even maybe altering small parts of my self. The social parts, perhaps. I feel good, most days, but find myself repeating the same phrases: “****. Shower. Shave”, “If only there were more air up here.”, “I could learn to love a leopard”, even recently a little Old Testament, which like a ******* I’ve been taking to bed with increasing frequency and a growing selfish guilt, repeating,

“As the sun was setting, Abram fell into a deep sleep, and a thick and dreadful darkness came over him.”


They won’t be back, but for the first time now there’s a deer in the yard. Meaning there must be a hole in the fence. A doe, and fawn too, and I can sit and stare with my broom in hand because my job is to sweep the deck. Dead birds and maybe rats, leaves of course, but with all the water the bank is wasting on this waste of a lawn, come deer: come all ye deer, come and eat. Maybe you will even eat the frighteningly thistly things. Regardless, in exchange for this room I was given a broom and deer are far too large to sweep.



When my student visa expired in Canada I left the country with no identification, five Canadian dollars, a five litre backpack mostly occupied by a camera, and in my mind some distillation of the romanticism from On The Road that I’d managed to power-read in a Heathrow bookstore four years before (lacking the pounds to actually purchase the book). I crossed the border via ferry, and entered the country without identification. I thought this was impossible but it turns out that when you have no time but your whole future ahead of you, and nowhere to get to anyway, insisting “I am a U.S. citizen and you need to let me into this country” does in fact work, if you repeat it enough, and are willing to wait. In my case border patrol even gave me a twenty note and a pat on the back before sending me on my way.


How I ended up sitting on the floor watching birds die, backlit by a desert sunset, in the mountains of New Mexico, is a long story, and to be honest the details have largely escaped me. I do remember I was reading Hemingway. “The Innocents Abroad”, and trying to find myself in any character I could lay my hand on. The word “Innocent” in the title, I suppose, far moreso any actual character, struck the most.


It’s the middle of The Great Recession. Or The Great Depression. The Great Compression. I can’t remember any longer which economic period this particular episode occupied (why can’t they name them more sensibly, like hurricanes?) Call it, then, The Great Introspection, as I narrated myself through the dozen rooms of a million-dollar house: the material self still alive and thriving inside in a self-congratulatory spiral over the personal ROI that left Canada on five dollars and put me, rent free, in a home worth that multiplied 200,000 times. The home where I first had my own key. The home where I learned to drink a glass of water before my morning coffee.

(Five years and $98,000 in college expenses later that was, easily, the best advice I’ve ever received.)


Eventually the phone was disconnected, the water, the power. The jacuzzi, though dry, was still a good place to lie and read. And the piñon and snakes, cacti and juniper, then inklings of pine trees came in steadily. When you would look at them they would freeze. But every morning something new was growing, some new pink flower popped up promisingly to crack the mortar in front of the door. Sweetly at first, then growing thorns, and I walking the perimeters saying “if only there were more air out here”, saying, “can not feel her anymore”, as if the decadent madness of the lawn could be silenced by speaking out loud. Trying to walk the edge of the fence, increasingly losing it in the encroaching bush, then resigning myself to the living room, the **** carpet flattening into a forest path while I impressed miles into that offensive floor.



words. seeds. thistles. marvin morales.


Sleeping on that filthy mattress, the Denver Broncos looking down, still optimistic about their upcoming trophy, or cup. Whatever it was that a bunch of cartoon horses could win. But the sweeping gave me solace, even though the growing thistles made the bricks uneven and caught in the bristles of the broom, leaving little shards of transplanted pink flowers emedded in the yellow polyethylene. I loathed them, but looking back I can see I played straight into their plan. Transplanting little seeds to new weak places in the cement, where they could grow tall again and **** up what little good was left of the land. Bring deer to eat them. Bring little idiot birds to pick the seeds out of the faeces, recycling with pure intent, and flying off into the bright light of sunset. Then crashing broken to the floor.

And like the lawn, like the porch, like what happens when you read Twain, something in me changed. “If only there were more air”, yes, but there is never enough air. Piling up among the deer, among the doe, among my now all-consuming pacing and talking to ghosts who don’t live here anymore, among the many birds who ate their worms and went on to hatch a dozen more, flew into a plate glass sunset, and were ignored.

In gravest, gravels of untouched soil,
Spearhead of purple, beyond the pale,
One statue of siege upon a windy foil,
What mires meek airs in all you survey?

Like a frost of summers, you are lord,
To hold that seed in your spiny face,
Depressions of land your promontory,
All up with arms, iron clad as a mace,

Beneath you, the grown motley fields
Are desolate, all flowers bled, blender,
Spiders and birds know you unyielding
The lost aleatory scent of no surrender.

Like a new river forging it's first steps, or a flower first taking bud, the end result is never clear.
It cuts through you. Carving out canyons, gorges, through what is you.
This thing will start to erode you, and it will create eddies. Stagnant moments of spinning in pointless circles surrounded by all the **** emotions bring. The drift wood of the heart.
Soon you will escape and see the new petals of flowers uncurling, nurtured by the Sun and the eddies you were so sure you would drown in.
These flowers will line the shore of your river. Of the canyons chiseled into the corners of your smile. The paths of this river will twine and twirl through everything. Breaking apart and spreading like the roots of a tree. Endlessly growing and flowing. Reconnecting in days. Years. Feet or miles. Only to trickle apart once more.
As all rivers must, so will this flower lined flow have rapids. Small ones. Large ones. Waterfalls too. Tossing and turning up the water in white froth. Dropping off the edge of cliffs. Falls you never though you could survive. But you will.

And eventually your flowers will die. Your river will end. In fruit, or nectar turned to honey. In dried petals on the shore. Or maybe a pond. A lake or reservoir. You will be swirling in pointless patterns again. Stuck. Hoping to finally be washed ashore. To dry off, laying on the thistles and dandy lions and cattails surrounding your lake.
You will not though. You will keep swirling and swirling and then you will come to understand that these weeds, these thistles and dandelions and cattails may not be the pretty flowers on the banks of your river, but the have beauty all their own.

And as is the nature of water. Of lakes and ponds; of flowers and trees, as is the nature of love; a new river will break free and spill from your sullen body of water. It will begin again. Carving new canyons. Following old. And it will grow new flowers on its shores.

Among them will be thistles.

The next to empty train
Roars through the mist of dawn
As it passes the lakes and elves
The dark and mystic pines
-forests that once told of horrors
To keep the ones like me
From crossing the line-

This box, this crate
A testament of the modern man
To whom which it serves
It is somewhat of a time traveller
When it breezes the land
That years have made its own

And yet there are scenes from my window
That I know are proofs
Of exceptions to the rule that reads,
“time will take its toll”

All the brooks and oaks
And even more so
Every bolder and stone
Convinces my heart and soul
That I need not be marred and scorned
Broken and torn
By the thistles and thorns
And all the bourdons that the lions
Of this glass world
Convict me to *****

Since there is a side
To the manic and indecisive puzzle that is I
A side of realism and cynicism
Thus I am well aware of my mortality
And the scarcity of the time that is mine

My existence is an indirect unwritten vow
To never bend my back and bow
To never fall in line
And receive my share of coals
To fuel this machine down the rusty tracks
In a race against nature or God
A race to prove one or the other
Or even both wrong
A race we’ve already lost

You strayed independent across my unlaid path
impressing me with a hideaway around the thistles
where inlay thigh flints spark like butterfly wings
fused to outstretched but still flimsy present glinting
loose eyes a smoky incense close to gleam igniting
potent tinder sax on a beneficent Burns' night portent
whispering wick lit slivers of be live next to me glen scent
fluttering and roaming through saliva kissed gloaming
a light shaved window opening a misty eyed gap
opportune as a mysterious space between maps

crossed with aye formations and melted highlands
I slide into a bonnie loch when you return my glance
smooth as a swan stroking shallow into deep meeters
the swirl of bagpipes barely rippling the surface meters

a proud union betwixt us found expression
unflagging love notes ** streamed passion
red into sky blue twitchy nerves lend fingers
fondling unfurled clouds into catchy dance rings
retracing steps into tempestuous hearts I rose
so dryads can black watch temptation intertwine
painted inside as I woad your Pictish tartan

only now the pedestal wobbles a little
but you don't fall to my arms
brave destiny's turn is fickle
and straight on without being toppled
you hesitate but give no nod to lead
no quick look behind you as I hoped
shying awry to continue walking
the hot moment runs past cold
safe as before inhibitions land
like icicles on my fanciful back

upstanding Meissen men often talk
of perfection showing no cracks
and chuckled as they left their mark
in crossed swords kilned with clay ores
giving a porcelain lion soft pause
for thought about a heart out clause
and about lifting any kilt or unstuck thought
to keep established ruling embarrassment
but is that parley risking nought?
the mane's trimmed short
too correct to tip the hat
to a potential welcome
down falls harassment
south of the borderline
sad that no one can put
that man lass
yes
moment together again
but ever slow drifting apart
the dream mist
goes on

In gravest, gravels of untouched soil,
Spearhead of purple, beyond the pale,
One statue of siege upon a windy foil,
What mires meek airs in all you survey?    

Like a frost of summers, you are lord,
To hold that seed in your spiny face,
Depressions of land your promontory,
All up with arms, iron clad as a mace,

Beneath you, the grown motley fields
Are desolate, all flowers bled, blender,
Spiders and birds know you unyielding
The lost aleatory scent of no surrender.

Sonnets

For this collection I have used the original definition of "sonnet" as a "little song" rather than sticking to rigid formulas. The sonnets here include traditional sonnets, tetrameter sonnets, hexameter sonnets, curtal sonnets, 15-line sonnets, and some that probably defy categorization, which I call free verse sonnets for want of a better term. Most of these sonnets employ meter, rhyme and form and tend to be Romantic in the spirit of the Romanticism of Blake, Keats, Shelley, Wordsworth and Dylan Thomas.




Auschwitz Rose
by Michael R. Burch

There is a Rose at Auschwitz, in the briar,
a rose like Sharon's, lovely as her name.
The world forgot her, and is not the same.
I still love her and enlist this sacred fire
to keep her memory exalted flame
unmolested by the thistles and the nettles.

On Auschwitz now the reddening sunset settles;
they sleep alike―diminutive and tall,
the innocent, the "surgeons." Sleeping, all.

Red oxides of her blood, bright crimson petals,
if accidents of coloration, gall my heart no less.
Amid thick weeds and muck
there lies a rose man's crackling lightning struck:
the only Rose I ever longed to pluck.
Soon I'll bed there and bid the world "Good Luck."

Originally published by The Neovictorian/Cochlea



In Praise of Meter
by Michael R. Burch

The earth is full of rhythms so precise
the octave of the crystal can produce
a trillion oscillations, yet not lose
a second's beat. The ear needs no device
to hear the unsprung rhythms of the couch
drown out the mouth's; the lips can be debauched
by kisses, should the heart put back its watch
and find the pulse of love, and sing, devout.

If moons and tides in interlocking dance
obey their numbers, what's been left to chance?
Should poets be more lax―their circumstance
as humble as it is?―or readers wince
to see their ragged numbers thin, to hear
the moans of drones drown out the Chanticleer?

Originally published by The Eclectic Muse and in The Best of the Eclectic Muse 1989-2003



Discrimination
by Michael R. Burch

The meter I had sought to find, perplexed,
was ripped from books of "verse" that read like prose.
I found it in sheet music, in long rows
of hologramic CDs, in sad wrecks
of long-forgotten volumes undisturbed
half-centuries by archivists, unscanned.
I read their fading numbers, frowned, perturbed―
why should such tattered artistry be banned?

I heard the sleigh bells’ jingles, vampish ads,
the supermodels’ babble, Seuss’s books
extolled in major movies, blurbs for abs ...
A few poor thinnish journals crammed in nooks
are all I’ve found this late to sell to those
who’d classify free verse "expensive prose."

Originally published by The Chariton Review



The Forge
by Michael R. Burch

To at last be indestructible, a poem
must first glow, almost flammable, upon
a thing inert, as gray, as dull as stone,

then bend this way and that, and slowly cool
at arms-length, something irreducible
drawn out with caution, toughened in a pool

of water so contrary just a hiss
escapes it―water instantly a mist.
It writhes, a thing of senseless shapelessness ...

And then the driven hammer falls and falls.
The horses ***** their ears in nearby stalls.
A soldier on his cot leans back and smiles.

A sound of ancient import, with the ring
of honest labor, sings of fashioning.

Originally published by The Chariton Review



For All That I Remembered
by Michael R. Burch

For all that I remembered, I forgot
her name, her face, the reason that we loved ...
and yet I hold her close within my thought.
I feel the burnished weight of auburn hair
that fell across her face, the apricot
clean scent of her shampoo, the way she glowed
so palely in the moonlight, angel-wan.

The memory of her gathers like a flood
and bears me to that night, that only night,
when she and I were one, and if I could ...
I'd reach to her this time and, smiling, brush
the hair out of her eyes, and hold intact
each feature, each impression. Love is such
a threadbare sort of magic, it is gone
before we recognize it. I would crush
my lips to hers to hold their memory,
if not more tightly, less elusively.

Originally published by The Raintown Review



Leaf Fall
by Michael R. Burch

Whatever winds encountered soon resolved
to swirling fragments, till chaotic heaps
of leaves lay pulsing by the backyard wall.
In lieu of rakes, our fingers sorted each
dry leaf into its place and built a high,
soft bastion against earth's gravitron―
a patchwork quilt, a trampoline, a bright
impediment to fling ourselves upon.

And nothing in our laughter as we fell
into those leaves was like the autumn's cry
of also falling. Nothing meant to die
could be so bright as we, so colorful―
clad in our plaids, oblivious to pain
we'd feel today, should we leaf-fall again.

Originally published by The Neovictorian/Cochlea



Isolde's Song
by Michael R. Burch

Through our long years of dreaming to be one
we grew toward an enigmatic light
that gently warmed our tendrils. Was it sun?
We had no eyes to tell; we loved despite
the lack of all sensation―all but one:
we felt the night's deep chill, the air so bright
at dawn we quivered limply, overcome.

To touch was all we knew, and how to bask.
We knew to touch; we grew to touch; we felt
spring's urgency, midsummer's heat, fall's lash,
wild winter's ice and thaw and fervent melt.
We felt returning light and could not ask
its meaning, or if something was withheld
more glorious. To touch seemed life's great task.

At last the petal of me learned: unfold.
And you were there, surrounding me. We touched.
The curious golden pollens! Ah, we touched,
and learned to cling and, finally, to hold.

Originally published by The Raintown Review



See
by Michael R. Burch

See how her hair has thinned: it doesn't seem
like hair at all, but like the airy moult
of emus who outraced the wind and left
soft plumage in their wake. See how her eyes
are gentler now; see how each wrinkle laughs,
and deepens on itself, as though mirth took
some comfort there and burrowed deeply in,
outlasting winter. See how very thin
her features are―that time has made more spare,
so that each bone shows, elegant and rare.

For loveliness remains in her grave eyes,
and courage in her still-delighted looks:
each face presented like a picture book's.
Bemused, she blows us undismayed goodbyes.

Originally published by Writer's Digest's: The Year's Best Writing 2003



In the Whispering Night
by Michael R. Burch

for George King

In the whispering night, when the stars bend low
till the hills ignite to a shining flame,
when a shower of meteors streaks the sky,
and the lilies sigh in their beds, for shame,
we must steal our souls, as they once were stolen,
and gather our vigor, and all our intent.
We must heave our bodies to some violent ocean
and laugh as they shatter, and never repent.
We must dance in the darkness as stars dance before us,
soar, Soar! through the night on a butterfly's breeze:
blown high, upward-yearning, twin spirits returning
to the world of resplendence from which we were seized.

Published in Songs of Innocence, Romantics Quarterly and Poetry Life & Times. This is a sonnet I wrote for my favorite college English teacher, George King, about poetic kinship, brotherhood and romantic flights of fancy.



The Toast
by Michael R. Burch

For longings warmed by tepid suns
(brief lusts that animated clay),
for passions wilted at the bud
and skies grown desolate and gray,
for stars that fell from tinseled heights
and mountains bleak and scarred and lone,
for seas reflecting distant suns
and weeds that thrive where seeds were sown,
for waltzes ending in a hush,
for rhymes that fade as pages close,
for flames' exhausted, drifting ash,
and petals falling from the rose, ...
I raise my cup before I drink,
saluting ghosts of loves long dead,
and silently propose a toast―
to joys set free, and those I fled.



Second Sight (II)
by Michael R. Burch

(Newborns see best at a distance of 8 to 14 inches.)

Wiser than we know, the newborn screams,
red-faced from breath, and wonders what life means
this close to death, amid the arctic glare
of warmthless lights above.
Beware! Beware!―
encrypted signals, codes? Or ciphers, noughts?

Interpretless, almost, as his own thoughts―
the brilliant lights, the brilliant lights exist.
Intruding faces ogle, gape, insist―
this madness, this soft-hissing breath, makes sense.
Why can he not float on, in dark suspense,
and dream of life? Why did they rip him out?

He frowns at them―small gnomish frowns, all doubt―
and with an ancient mien, O sorrowful!,
re-closes eyes that saw in darkness null
ecstatic sights, exceeding beautiful.



Archaischer Torso Apollos (“Archaic Torso of Apollo”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

We cannot know the beheaded god
nor his eyes' forfeited visions. But still
the figure's trunk glows with the strange vitality
of a lamp lit from within, while his composed will
emanates dynamism. Otherwise
the firmly muscled abdomen could not beguile us,
nor the centering ***** make us smile
at the thought of their generative animus.
Otherwise the stone might seem deficient,
unworthy of the broad shoulders, of the groin
projecting procreation's triangular spearhead upwards,
unworthy of the living impulse blazing wildly within
like an inchoate star―demanding our belief.
You must change your life.

TRANSLATOR'S NOTE: This is a Rilke sonnet about a major resolution: changing the very nature of one's life. While it is only my personal interpretation of the poem above, I believe Rilke was saying to himself: "I must change my life." Why? Perhaps because he wanted to be a real artist, and when confronted with real, dynamic, living and breathing art of Rodin, he realized that he had to inject similar vitality, energy and muscularity into his poetry. Michelangelo said that he saw the angel in a block of marble, then freed it. Perhaps Rilke had to find the dynamic image of Apollo, the God of Poetry, in his materials, which were paper, ink and his imagination.―Michael R. Burch



Komm, Du (“Come, You”)
by Ranier Maria Rilke
loose translation/interpretation by Michael R. Burch

This was Rilke’s last poem, written ten days before his death. He died open-eyed in the arms of his doctor on December 29, 1926, in the Valmont Sanatorium, of leukemia and its complications. I had a friend who died of leukemia and he was burning up with fever in the end. I believe that is what Rilke was describing here: he was literally burning alive.

Come, you―the last one I acknowledge; return―
incurable pain searing this physical mesh.
As I burned in the spirit once, so now I burn
with you; meanwhile, you consume my flesh.

This wood that long resisted your embrace
now nourishes you; I surrender to your fury
as my gentleness mutates to hellish rage―
uncaged, wild, primal, mindless, outré.

Completely free, no longer future’s pawn,
I clambered up this crazy pyre of pain,
certain I’d never return―my heart’s reserves gone―
to become death’s nameless victim, purged by flame.

Now all I ever was must be denied.
I left my memories of my past elsewhere.
That life―my former life―remains outside.
Inside, I’m lost. Nobody knows me here.



Der Panther ("The Panther")
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

His weary vision's so overwhelmed by iron bars,
his exhausted eyes see only blank Oblivion.
His world is not our world. It has no stars.
No light. Ten thousand bars. Nothing beyond.
Lithe, swinging with a rhythmic easy stride,
he circles, his small orbit tightening,
an electron losing power. Paralyzed,
soon regal Will stands stunned, an abject thing.
Only at times the pupils' curtains rise
silently, and then an image enters,
descends through arrested shoulders, plunges, centers
somewhere within his empty heart, and dies.



Liebes-Lied (“Love Song”)
by Rainer Maria Rilke
loose translation/interpretation by Michael R. Burch

How can I withhold my soul so that it doesn’t touch yours?
How can I lift mine gently to higher things, alone?
Oh, I would gladly find something lost in the dark
in that inert space that fails to resonate until you vibrate.
There everything that moves us, draws us together like a bow
enticing two taut strings to sing together with a simultaneous voice.
Whose instrument are we becoming together?
Whose, the hands that excite us?
Ah, sweet song!



Sweet Rose of Virtue
by William Dunbar [1460-1525]
loose translation by Michael R. Burch

Sweet rose of virtue and of gentleness,
delightful lily of youthful wantonness,
richest in bounty and in beauty clear
and in every virtue that is held most dear―
except only that you are merciless.

Into your garden, today, I followed you;
there I saw flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently―
yet everywhere, no odor but bitter rue.

I fear that March with his last arctic blast
has slain my fair rose of pallid and gentle cast,
whose piteous death does my heart such pain
that, if I could, I would compose her roots again―
so comforting her bowering leaves have been.



Ebb Tide
by Michael R. Burch

Massive, gray, these leaden waves
bear their unchanging burden―
the sameness of each day to day

while the wind seems to struggle to say
something half-submerged planks at the mouth of the bay
might nuzzle limp seaweed to understand.

Now collapsing dull waves drain away
from the unenticing land;
shrieking gulls shadow fish through salt spray―
whitish streaks on a fogged silver mirror.

Sizzling lightning impresses its brand.
Unseen fingers scribble something in the wet sand.

This is a free verse sonnet originally published by Southwest Review.



Water and Gold
by Michael R. Burch

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

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

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

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

Originally published by The Lyric



The City Is a Garment
by Michael R. Burch

A rhinestone skein, a jeweled brocade of light,―
the city is a garment stretched so thin
her festive colors bleed into the night,
and everywhere bright seams, unraveling,

cascade their brilliant contents out like coins
on motorways and esplanades; bead cars
come tumbling down long highways; at her groin
a railtrack like a zipper flashes sparks;

her hills are haired with brush like cashmere wool
and from their cleavage winking lights enlarge
and travel, slender fingers ... softly pull
themselves into the semblance of a barge.

When night becomes too chill, she softly dons
great overcoats of warmest-colored dawn.

Originally published by The Lyric



The Folly of Wisdom
by Michael R. Burch

She is wise in the way that children are wise,
looking at me with such knowing, grave eyes
I must bend down to her to understand.
But she only smiles, and takes my hand.

We are walking somewhere that her feet know to go,
so I smile, and I follow ...

And the years are dark creatures concealed in bright leaves
that flutter above us, and what she believes―
I can almost remember―goes something like this:
the prince is a horned toad, awaiting her kiss.

She wiggles and giggles, and all will be well
if only we find him! The woodpecker’s knell
as he hammers the coffin of some dying tree
that once was a fortress to someone like me

rings wildly above us. Some things that we know
we are meant to forget. Life is a bloodletting, maple-syrup-slow.

This is a free verse sonnet originally published by Romantics Quarterly.



The Communion of Sighs
by Michael R. Burch

There was a moment
without the sound of trumpets or a shining light,
but with only silence and darkness and a cool mist
felt more than seen.
I was eighteen,
my heart pounding wildly within me like a fist.
Expectation hung like a cry in the night,
and your eyes shone like the corona of a comet.

There was an instant . . .
without words, but with a deeper communion,
as clothing first, then inhibitions fell;
liquidly our lips met
―feverish, wet―
forgotten, the tales of heaven and hell,
in the immediacy of our fumbling union . . .
when the rest of the world became distant.

Then the only light was the moon on the rise,
and the only sound, the communion of sighs.

This is one of my early free verse sonnets but I can’t remember exactly when I wrote it. Due to the romantic style, I believe it was probably written during my first two years in college, making me 18 or 19 at the time.



Abide
by Michael R. Burch

after Philip Larkin's "Aubade"

It is hard to understand or accept mortality―
such an alien concept: not to be.
Perhaps unsettling enough to spawn religion,
or to scare mutant fish out of a primordial sea

boiling like goopy green tea in a kettle.
Perhaps a man should exhibit more mettle
than to admit such fear, denying Nirvana exists
simply because we are stuck here in such a fine fettle.

And so we abide . . .
even in life, staring out across that dark brink.
And if the thought of death makes your questioning heart sink,
it is best not to drink
(or, drinking, certainly not to think).

This is a free verse sonnet originally published by Light Quarterly.



Free Fall
by Michael R. Burch

These cloudless nights, the sky becomes a wheel
where suns revolve around an axle star ...
Look there, and choose. Decide which moon is yours.
Sink Lethe-ward, held only by a heel.

Advantage. Disadvantage. Who can tell?
To see is not to know, but you can feel
the tug sometimes―the gravity, the shell
as lustrous as damp pearl. You sink, you reel

toward some draining revelation. Air―
too thin to grasp, to breath. Such pressure. Gasp.
The stars invert, electric, everywhere.
And so we fall, down-tumbling through night’s fissure ...

two beings pale, intent to fall forever
around each other―fumbling at love’s tether ...
now separate, now distant, now together.

This is a 15-line free verse sonnet originally published by Sonnet Scroll.



Once
by Michael R. Burch

for Beth

Once when her kisses were fire incarnate
and left in their imprint bright lipstick, and flame,
when her breath rose and fell over smoldering dunes,
leaving me listlessly sighing her name . . .

Once when her ******* were as pale, as beguiling,
as wan rivers of sand shedding heat like a mist,
when her words would at times softly, mildly rebuke me
all the while as her lips did more wildly insist . . .

Once when the thought of her echoed and whispered
through vast wastelands of need like a Bedouin chant,
I ached for the touch of her lips with such longing
that I vowed all my former vows to recant . . .

Once, only once, something bloomed, of a desiccate seed―
this implausible blossom her wild rains of kisses decreed.

Originally published by The Lyric



At Once
by Michael R. Burch

for Beth

Though she was fair,
though she sent me the epistle of her love at once
and inscribed therein love’s antique prayer,
I did not love her at once.

Though she would dare
pain’s pale, clinging shadows, to approach me at once,
the dark, haggard keeper of the lair,
I did not love her at once.

Though she would share
the all of her being, to heal me at once,
yet more than her touch I was unable bear.
I did not love her at once.

And yet she would care,
and pour out her essence ...
and yet―there was more!

I awoke from long darkness,
and yet―she was there.

I loved her the longer;
I loved her the more
because I did not love her at once.

Originally published by The Lyric



Twice
by Michael R. Burch

Now twice she has left me
and twice I have listened
and taken her back, remembering days

when love lay upon us
and sparkled and glistened
with the brightness of dew through a gathering haze.

But twice she has left me
to start my life over,
and twice I have gathered up embers, to learn:

rekindle a fire
from ash, soot and cinder
and softly it sputters, refusing to burn.

Originally published by The Lyric



Moments
by Michael R. Burch

There were moments full of promise,
like the petal-scented rainfall of early spring,
when to hold you in my arms and to kiss your willing lips
seemed everything.

There are moments strangely empty
full of pale unearthly twilight―how the cold stars stare!―
when to be without you is a dark enchantment
the night and I share.



The Harvest of Roses
by Michael R. Burch

I have not come for the harvest of roses―
the poets' mad visions,
their railing at rhyme ...
for I have discerned what their writing discloses:
weak words wanting meaning,
beat torsioning time.

Nor have I come for the reaping of gossamer―
images weak,
too forced not to fail;
gathered by poets who worship their luster,
they shimmer, impendent,
resplendently pale.

Originally published by The Raintown Review



Distances
by Michael R. Burch

Moonbeams on water―
the reflected light
of a halcyon star
now drowning in night ...
So your memories are.

Footprints on beaches
now flooding with water;
the small, broken ribcage
of some primitive slaughter ...
So near, yet so far.

NOTE: In the first stanza the "halcyon star" is the sun, which has dropped below the horizon and is thus "drowning in night." But its light strikes the moon, creating moonbeams which are reflected by the water. Sometimes memories seem that distant, that faint, that elusive. Footprints are being washed away, a heart is missing from its ribcage, and even things close at hand can seem infinitely beyond our reach.



A Surfeit of Light
by Michael R. Burch

There was always a surfeit of light in your presence.
You stood distinctly apart, not of the humdrum world―
a chariot of gold in a procession of plywood.

We were all pioneers of the modern expedient race,
raising the ante: Home Depot to Lowe’s.
Yours was an antique grace―Thrace’s or Mesopotamia’s.

We were never quite sure of your silver allure,
of your trillium-and-platinum diadem,
of your utter lack of flatware-like utility.

You told us that night―your wound would not scar.

The black moment passed, then you were no more.
The darker the sky, how much brighter the Star!

The day of your funeral, I ripped out the crown mold.
You were this fool’s gold.



Songstress
by Michael R. Burch

for Nadia Anjuman

Within its starkwhite ribcage, how the heart
must flutter wildly, O, and always sing
against the pressing darkness: all it knows
until at last it feels the numbing sting
of death. Then life's brief vision swiftly passes,
imposing night on one who clearly saw.
Death held your bright heart tightly, till its maw―
envenomed, fanged―could swallow, whole, your Awe.

And yet it was not death so much as you
who sealed your doom; you could not help but sing
and not be silenced. Here, behold your tomb's
white alabaster cage: pale, wretched thing!
But you'll not be imprisoned here, wise wren!
Your words soar free; rise, sing, fly, live again.

A poet like Nadia Anjuman can be likened to a caged bird, deprived of flight, who somehow finds it within herself to sing of love and beauty. But when the world finally robs her of both flight and song, what is left for her but to leave the world, thus bereaving the world of herself and her song?



Come Down
by Michael R. Burch

for Harold Bloom

Come down, O, come down
from your high mountain tower.
How coldly the wind blows,
how late this chill hour ...

and I cannot wait
for a meteor shower
to show you the time
must be now, or not ever.

Come down, O, come down
from the high mountain heather
now brittle and brown
as fierce northern gales sever.

Come down, or your heart
will grow cold as the weather
when winter devours
and spring returns never.

NOTE: I dedicated this poem to Harold Bloom after reading his introduction to the Best American Poetry anthology he edited. Bloom seemed intent on claiming poetry as the province of the uber-reader (i.e., himself), but I remember reading poems by Blake, Burns, cummings, Dickinson, Frost, Housman, Eliot, Pound, Shakespeare, Whitman, Yeats, et al, and grokking them as a boy, without any “advanced” instruction from anyone.



Such Tenderness
by Michael R. Burch

for the mothers of Gaza and loving, compassionate mothers everywhere

There was, in your touch, such tenderness―as
only the dove on her mildest day has,
when she shelters downed fledglings beneath a warm wing
and coos to them softly, unable to sing.

What songs long forgotten occur to you now―
a babe at each breast? What terrible vow
ripped from your throat like the thunder that day
can never hold severing lightnings at bay?

Time taught you tenderness―time, oh, and love.
But love in the end is seldom enough ...
and time?―insufficient to life’s brief task.
I can only admire, unable to ask―

what is the source, whence comes the desire
of a woman to love as no God may require?



In this Ordinary Swoon
by Michael R. Burch

In this ordinary swoon
as I pass from life to death,
I feel no heat from the cold, pale moon;
I feel no sympathy for breath.

Who I am and why I came,
I do not know; nor does it matter.
The end of every man’s the same
and every god’s as mad as a hatter.

I do not fear the letting go;
I only fear the clinging on
to hope when there’s no hope, although
I lift my face to the blazing sun

and feel the greater intensity
of the wilder inferno within me.

This is a mostly tetrameter sonnet with shorter and longer lines.



Mare Clausum
by Michael R. Burch

These are the narrows of my soul―
dark waters pierced by eerie, haunting screams.
And these uncharted islands bleakly home
wild nightmares and deep, strange, forbidding dreams.

Please don’t think to find pearls’ pale, unearthly glow
within its shoals, nor corals in its reefs.
For, though you seek to salvage Love, I know
that vessel lists, and night brings no relief.

Pause here, and look, and know that all is lost;
then turn, and go; let salt consume, and rust.
This sea is not for sailors, but the ******
who lingered long past morning, till they learned

why it is named:
Mare Clausum.

This is a free verse sonnet with shorter and longer lines, originally published by Penny Dreadful. Mare Clausum is Latin for "Closed Sea." I wrote the first version of this poem as a teenager.



Redolence
by Michael R. Burch

Now darkness ponds upon the violet hills;
cicadas sing; the tall elms gently sway;
and night bends near, a deepening shade of gray;
the bass concerto of a bullfrog fills
what silence there once was; globed searchlights play.

Green hanging ferns adorn dark window sills,
all drooping fronds, awaiting morning’s flares;
mosquitoes whine; the lissome moth again
flits like a veiled oud-dancer, and endures
the fumblings of night’s enervate gray rain.

And now the pact of night is made complete;
the air is fresh and cool, washed of the grime
of the city’s ashen breath; and, for a time,
the fragrance of her clings, obscure and sweet.

Published by The Eclectic Muse and The Best of the Eclectic Muse 1989-2003



Fountainhead
by Michael R. Burch

I did not delight in love so much
as in a kiss like linnets' wings,
the flutterings of a pulse so soft
the heart remembers, as it sings:
to bathe there was its transport, brushed
by marble lips, or porcelain,―
one liquid kiss, one cool outburst
from pale rosettes. What did it mean ...

to float awhirl on minute tides
within the compass of your eyes,
to feel your alabaster bust
grow cold within? Ecstatic sighs
seem hisses now; your eyes, serene,
reflect the sun's pale tourmaline.

Originally published by Romantics Quarterly



Pan
by Michael R. Burch

... Among the shadows of the groaning elms,
amid the darkening oaks, we fled ourselves ...

... Once there were paths that led to coracles
that clung to piers like loosening barnacles ...

... where we cannot return, because we lost
the pebbles and the playthings, and the moss ...

... hangs weeping gently downward, maidens’ hair
who never were enchanted, and the stairs ...

... that led up to the Fortress in the trees
will not support our weight, but on our knees ...

... we still might fit inside those splendid hours
of damsels in distress, of rustic towers ...

... of voices of the wolves’ tormented howls
that died, and live in dreams’ soft, windy vowels ...

Originally published by Sonnet Scroll



The Endeavors of Lips
by Michael R. Burch

How sweet the endeavors of lips: to speak
of the heights of those pleasures which left us weak
in love’s strangely lit beds, where the cold springs creak:
for there is no illusion like love ...

Grown childlike, we wish for those storied days,
for those bright sprays of flowers, those primrosed ways
that curled to the towers of Yesterdays
where She braided illusions of love ...

"O, let down your hair!"―we might call and call,
to the dark-slatted window, the moonlit wall ...
but our love is a shadow; we watch it crawl
like a spidery illusion. For love ...

was never as real as that first kiss seemed
when we read by the flashlight and dreamed.

Originally published by Romantics Quarterly (USA) and The Eclectic Muse (Canada)



Loose Knit
by Michael R. Burch

She blesses the needle,
fetches fine red stitches,
criss-crossing, embroidering dreams
in the delicate fabric.

And if her hand jerks and twitches in puppet-like fits,
she tells herself
reality is not as threadbare as it seems ...

that a little more darning may gather loose seams.

She weaves an unraveling tapestry
of fatigue and remorse and pain; ...
only the nervously pecking needle
****** her to motion, again and again.

This is a free verse sonnet published by The Chariton Review as “The Knitter,” then by Penumbra, Black Bear Review and Triplopia.



If You Come to San Miguel
by Michael R. Burch

If you come to San Miguel
before the orchids fall,
we might stroll through lengthening shadows
those deserted streets
where love first bloomed ...

You might buy the same cheap musk
from that mud-spattered stall
where with furtive eyes the vendor
watched his fragrant wares
perfume your ******* ...

Where lean men mend tattered nets,
disgruntled sea gulls chide;
we might find that cafetucho
where through grimy panes
sunset implodes ...

Where tall cranes spin canvassed loads,
the strange anhingas glide.
Green brine laps splintered moorings,
rusted iron chains grind,
weighed and anchored in the past,

held fast by luminescent tides ...
Should you come to San Miguel?
Let love decide.



A Vain Word
by Michael R. Burch

Oleanders at dawn preen extravagant whorls
as I read in leaves’ Sanskrit brief moments remaining
till sunset implodes, till the moon strands grey pearls
under moss-stubbled oaks, full of whispers, complaining
to the minions of autumn, how swiftly life goes
as I fled before love ... Now, through leaves trodden black,
shivering, I wander as winter’s first throes
of cool listless snow drench my cheeks, back and neck.

I discerned in one season all eternities of grief,
the specter of death sprawled out under the rose,
the last consequence of faith in the flight of one leaf,
the incontinence of age, as life’s bright torrent slows.

O, where are you now?―I was timid, absurd.
I would find comfort again in a vain word.

Published by Chrysanthemum and Tucumcari Literary Review



Chloe
by Michael R. Burch

There were skies onyx at night ... moons by day ...
lakes pale as her eyes ... breathless winds
******* tall elms; ... she would say
that we loved, but I figured we’d sinned.

Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray ...
all the light of that world softly dimmed.

Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.

What I found, I found lost in her face
while yielding all my virtue to her grace.

Originally published by Romantics Quarterly as “A Dying Fall”



Aflutter
by Michael R. Burch

This rainbow is the token of the covenant, which I have established between me and all flesh.―Yahweh

You are gentle now, and in your failing hour
how like the child you were, you seem again,
and smile as sadly as the girl (age ten?)
who held the sparrow with the mangled wing
close to her heart. It marveled at your power
but would not mend. And so the world renews
old vows it seemed to make: false promises
spring whispers, as if nothing perishes
that does not resurrect to wilder hues
like rainbows’ eerie pacts we apprehend
but cannot fail to keep. Now in your eyes
I see the end of life that only dies
and does not care for bright, translucent lies.
Are tears so precious? These few, let us spend
together, as before, then lay to rest
these sparrows’ hearts aflutter at each breast.

This is a poem about a couple committing suicide together. The “eerie pact” refers to a Bible verse about the rainbow being a “covenant,” when the only covenant human beings can depend on is the original one that condemned us to suffer and die. That covenant is always kept perfectly.



To Flower
by Michael R. Burch

When Pentheus ["grief'] went into the mountains in the garb of the baccae, his mother [Agave] and the other maenads, possessed by Dionysus, tore him apart (Euripides, Bacchae; Apollodorus 3.5.2; Ovid, Metamorphoses 3.511-733; Hyginus, Fabulae 184). The agave dies as soon as it blooms; the moonflower, or night-blooming cereus, is a desert plant of similar fate.

We are not long for this earth, I know―
you and I, all our petals incurled,
till a night of pale brilliance, moonflower aglow.
Is there love anywhere in this strange world?
The Agave knows best when it's time to die
and rages to life with such rapturous leaves
her name means Illustrious. Each hour more high,
she claws toward heaven, for, if she believes
in love at all, she has left it behind
to flower, to flower. When darkness falls
she wilts down to meet it, where something crawls:
beheaded, bewildered. And since love is blind,
she never adored it, nor watches it go.
Can we be as she is, moonflower aglow?

Originally published by The Neovictorian/Cochlea



Flight 93
by Michael R. Burch

I held the switch in trembling fingers, asked
why existence felt so small, so purposeless,
like a minnow wriggling feebly in my grasp ...

vibrations of huge engines thrummed my arms
as, glistening with sweat, I nudged the switch
to OFF ... I heard the klaxon-shrill alarms

like vultures’ shriekings ... earthward, in a stall ...
we floated ... earthward ... wings outstretched, aghast
like Icarus ... as through the void we fell ...

till nothing was so beautiful, so blue ...
so vivid as that moment ... and I held
an image of your face, and dreamed I flew

into your arms. The earth rushed up. I knew
such comfort, in that moment, loving you.

This is a free verse sonnet originally published by The Lyric.



Oasis
by Michael R. Burch

I want tears to form again
in the shriveled glands of these eyes
dried all these long years
by too much heated knowing.

I want tears to course down
these parched cheeks,
to star these cracked lips
like an improbable dew

in the heart of a desert.

I want words to burble up
like happiness, like the thought of love,
like the overwhelming, shimmering thought of you

to a nomad who
has only known drought.

This is a mostly hexameter sonnet with shorter and longer lines.



Melting
by Michael R. Burch

Entirely, as spring consumes the snow,
the thought of you consumes me: I am found
in rivulets, dissolved to what I know
of former winters’ passions. Underground,
perhaps one slender icicle remains
of what I was before, in some dark cave―
a stalactite, long calcified, now drains
to sodden pools, whose milky liquid laves
the colder rock, thus washing something clean
that never saw the light, that never knew
the crust could break above, that light could stream:
so luminous, so bright, so beautiful ...
I lie revealed, and so I stand transformed,
and all because you smiled on me, and warmed.



Afterglow
by Michael R. Burch

The night is full of stars. Which still exist?
Before time ends, perhaps one day we’ll know.
For now I hold your fingers to my lips
and feel their pulse ... warm, palpable and slow ...

once slow to match this reckless spark in me,
this moon in ceaseless orbit I became,
compelled by wilder gravity to flee
night’s universe of suns, for one pale flame ...

for one pale flame that seemed to signify
the Zodiac of all, the meaning of
love’s wandering flight past Neptune. Now to lie
in dawning recognition is enough ...

enough each night to bask in you, to know
the face of love ... eyes closed ... its afterglow.



All Afterglow
by Michael R. Burch

Something remarkable, perhaps ...
the color of her eyes ... though I forget
the color of her eyes ... perhaps her hair
the way it blew about ... I do not know
just what it was about her that has kept
her thought lodged deep in mine ... unmelted snow
that lasted till July would be less rare,
clasped in some frozen cavern where the wind
sculpts bright grotesqueries, ignoring springs’
and summers’ higher laws ... there thawing slow
and strange by strange degrees, one tick beyond
the freezing point which keeps all things the same
... till what remains is fragile and unlike
the world above, where melted snows and rains
form rivulets that, inundate with sun,
evaporate, and in life’s cyclic stream
remake the world again ... I do not know
that we can be remade―all afterglow.



These Hallowed Halls
by Michael R. Burch

a young Romantic Poet mourns the passing of an age . . .

A final stereo fades into silence
and now there is seldom a murmur
to trouble the slumber of these ancient halls.
I stand by a window where others have watched
the passage of time alone, not untouched,
and I am as they were―unsure, for the days
stretch out ahead, a bewildering maze.
Ah, faithless lover―that I had never touched your breast,
nor felt the stirrings of my heart,
which until that moment had peacefully slept.
For now I have known the exhilaration
of a heart that has leapt every pinnacle of Love,
and the result of all such infatuations―
the long freefall to earth, as the moon glides above.



Come!
by Michael R. Burch

Will you come to visit my grave, I wonder,
in the season of lightning, the season of thunder,
when I have lain so long in the indifferent earth
that I have no girth?

When my womb has conformed to the chastity
your anemic Messiah envisioned for me,
will you finally be pleased that my *** was thus rendered
unpalatable, disengendered?

And when those strange loathsome organs that troubled you so
have been eaten by worms, will the heavens still glow
with the approval of God that I ended a maid―
thanks to a *****?

And will you come to visit my grave, I wonder,
in the season of lightning, the season of thunder?



Erin
by Michael R. Burch

All that’s left of Ireland is her hair―
bright carrot―and her milkmaid-pallid skin,

her brilliant air of cavalier despair,
her train of children―some conceived in sin,

the others to avoid it. For nowhere
is evidence of thought. Devout, pale, thin,
gay, nonchalant, all radiance. So fair!

How can men look upon her and not spin
like wobbly buoys churned by her skirt’s brisk air?
They buy. They ***** to pat her nyloned shin,
to share her elevated, pale Despair ...
to find at last two spirits ease no one’s.

All that’s left of Ireland is the Care,
her impish grin, green eyes like leprechauns’.



The Composition of Shadows
by Michael R. Burch

“I made it out of a mouthful of air.”―W. B. Yeats

We breathe and so we write; the night
hums softly its accompaniment.
Pale phosphors burn; the page we turn
leads onward, and we smile, content.

And what we mean we write to learn:
the vowels of love, the consonants’
strange golden weight, each plosive’s shape―
curved like the heart. Here, resonant,

sounds’ shadows mass beneath bright glass
like singing voles curled in a maze
of blank white space. We touch a face―
long-frozen words trapped in a glaze

that insulates our hearts. Nowhere
can love be found. Just shrieking air.



The Composition of Shadows (II)
by Michael R. Burch

We breathe and so we write;
the night
hums softly its accompaniment.

Pale phosphors burn;
the page we turn
leads onward, and we smile, content.

And what we mean
we write to learn:
the vowels of love, the consonants’

strange golden weight,
the blood’s debate
within the heart. Here, resonant,

sounds’ shadows mass
against bright glass,
within the white Labyrinthian maze.

Through simple grace,
I touch your face,
ah words! And I would gaze

the night’s dark length
in waning strength
to find the words to feel

such light again.
O, for a pen
to spell love so ethereal.



To Please The Poet
by Michael R. Burch

To please the poet, words must dance―
staccato, brisk, a two-step:
so!
Or waltz in elegance to time
of music mild,
adagio.

To please the poet, words must chance
emotion in catharsis―
flame.
Or splash into salt seas, descend
in sheets of silver-shining
rain.

To please the poet, words must prance
and gallop, gambol, revel,
rail.
Or muse upon a moment, mute,
obscure, unsure, imperfect,
pale.

To please the poet, words must sing,
or croak, wart-tongued, imagining.



The First Christmas
by Michael R. Burch

’Twas in a land so long ago . . .
the lambs lay blanketed in snow
and little children everywhere
sat and watched warm embers glow
and dreamed (of what, we do not know).

And THEN―a star appeared on high,
The brightest man had ever seen!
It made the children whisper low
in puzzled awe (what did it mean?).
It made the wooly lambkins cry.

For far away a new-born lay,
warm-blanketed in straw and hay,
a lowly manger for his crib.
The cattle mooed, distraught and low,
to see the child. They did not know

it now was Christmas day!

This is a poem in which I tried to capture the mystery and magic of the first Christmas day. If you like my poem, you are welcome to share it, but please cite me as the author, which you can do by including the title and subheading.



The Lingering and the Unconsoled Heart
by Michael R. Burch

There is a silence―
the last unspoken moment
before death,

when the moon,
cratered and broken,
is all madness and light,

when the breath comes low and complaining,
and the heart is a ruin
of emptiness and night.

There is a grief―
the grief of a lover's embrace
while faith still shimmers in a mother’s tears ...

There is no emptier time, nor place,
while the faint glimmer of life is ours
that the lingering and the unconsoled heart fears

beyond this: seeing its own stricken face
in eyes that drift toward some incomprehensible place.



Lozenge
by Michael R. Burch

When I was closest to love, it did not seem
real at all, but a thing of such tenuous sweetness
it might dissolve in my mouth
like a lozenge of sugar.

When I held you in my arms, I did not feel
our lack of completeness,
knowing how easy it was
for us to cling to each other.

And there were nights when the clouds
sped across the moon’s face,
exposing such rarified brightness
we did not witness

so much as embrace
love’s human appearance.

This is a free verse sonnet originally published by The HyperTexts.



The Princess and the Pauper
by Michael R. Burch

for Norman Kraeft in memory of his beloved wife June Kysilko Kraeft

Here was a woman bright, intent on life,
who did not flinch from Death, but caught his eye
and drew him, powerless, into her spell
of wanting her himself, so much the lie
that she was meant for him―obscene illusion!―

made him seem a monarch throned like God on high,
when he was less than nothing; when to die
meant many stultifying, pained embraces.

She shed her gown, undid the tangled laces
that tied her to the earth: then she was his.
Now all her erstwhile beauty he defaces
and yet she grows in hallowed loveliness―
her ghost beyond perfection―for to die
was to ascend. Now he begs, penniless.



Album
by Michael R. Burch

I caress them―trapped in brittle cellophane―
and I see how young they were, and how unwise;
and I remember their first flight―an old prop plane,
their blissful arc through alien blue skies ...

And I touch them here through leaves which―tattered, frayed―
are also wings, but wings that never flew:
like insects’ wings―pinned, held. Here, time delayed,
their features never changed, remaining two ...

And Grief, which lurked unseen beyond the lens
or in shadows where It crept on feral claws
as It scratched Its way into their hearts, depends
on sorrows such as theirs, and works Its jaws ...

and slavers for Its meat―those young, unwise,
who naively dare to dream, yet fail to see
how, lumbering sunward, Hope, ungainly, flies,
clutching to Her ruffled breast what must not be.



Because You Came to Me
by Michael R. Burch

Because you came to me with sweet compassion
and kissed my furrowed brow and smoothed my hair,
I do not love you after any fashion,
but wildly, in despair.

Because you came to me in my black torment
and kissed me fiercely, blazing like the sun
upon parched desert dunes, till in dawn’s foment
they melt, I am undone.

Because I am undone, you have remade me
as suns bring life, as brilliant rains endow
the earth below with leaves, where you now shade me
and bower me, somehow.



Break Time
by Michael R. Burch

for those who lost loved ones on 9-11

Intrude upon my grief; sit; take a spot
of milk to cloud the blackness that you feel;
add artificial sweeteners to conceal
the bitter aftertaste of loss. You’ll heal
if I do not. The coffee’s hot. You speak:
of bundt cakes, polls, the price of eggs. You glance
twice at your watch, cough, look at me askance.
The TV drones oeuvres of high romance
in syncopated lip-synch. Should I feel
the underbelly of Love’s warm Ideal,
its fuzzy-wuzzy tummy, and not reel
toward some dark conclusion? Disappear
to pale, dissolving atoms. Were you here?
I brush you off: like saccharine, like a tear.



911 Carousel
by Michael R. Burch

“And what rough beast ... slouches towards Bethlehem to be born?”―W. B. Yeats

They laugh and do not comprehend, nor ask
which way the wind is blowing, no, nor why
the reeling azure fixture of the sky
grows pale with ash, and whispers “Holocaust.”

They think to seize the ring, life’s tinfoil prize,
and, breathless with endeavor, shriek aloud.
The voice of terror thunders from a cloud
that darkens over children adult-wise,

far less inclined to error, when a step
in any wrong direction is to fall
a JDAM short of heaven. Decoys call,
their voices plangent, honking to be shot . . .

Here, childish dreams and nightmares whirl, collide,
as East and West, on slouching beasts, they ride.



At Cædmon’s Grave
by Michael R. Burch

“Cædmon’s Hymn,” composed at the Monastery of Whitby (a North Yorkshire fishing village), is one of the oldest known poems written in the English language, dating back to around 680 A.D. According to legend, Cædmon, an illiterate Anglo-Saxon cowherd, received the gift of poetic composition from an angel; he subsequently founded a school of Christian poets. Unfortunately, only nine lines of Cædmon’s verse survive, in the writings of the Venerable Bede. Whitby, tiny as it is, reappears later in the history of English literature, having been visited, in diametric contrast, by Lewis Carroll and Bram Stoker’s ghoulish yet evocative Dracula.


At the monastery of Whitby,
on a day when the sun sank through the sea,
and the gulls shrieked wildly, jubilant, free,

while the wind and time blew all around,
I paced those dusk-enamored grounds
and thought I heard the steps resound

of Carroll, Stoker and good Bede
who walked there, too, their spirits freed
―perhaps by God, perhaps by need―

to write, and with each line, remember
the glorious light of Cædmon’s ember,
scorched tongues of flame words still engender.

Here, as darkness falls, at last we meet.
I lay this pale garland of words at his feet.

Originally published by The Lyric



Radiance
by Michael R. Burch

for Dylan Thomas

The poet delves earth’s detritus―hard toil―
for raw-edged nouns, barbed verbs, vowels’ lush bouquet;
each syllable his pen excretes―dense soil,
dark images impacted, rooted clay.

The poet sees the sea but feels its meaning―
the teeming brine, the mirrored oval flame
that leashes and excites its turgid surface ...
then squanders years imagining love’s the same.

Belatedly he turns to what lies broken―
the scarred and furrowed plot he fiercely sifts,
among death’s sicksweet dungs and composts seeking
one element that scorches and uplifts.



Downdraft
by Michael R. Burch

for Dylan Thomas

We feel rather than understand what he meant
as he reveals a shattered firmament
which before him never existed.

Here, there are no images gnarled and twisted
out of too many words,
but only flocks of white birds

wheeling and flying.

Here, as Time spins, reeling and dying,
the voice of a last gull
or perhaps some spirit no longer whole,

echoes its lonely madrigal
and we feel its strange pull
on the astonished soul.

O My Prodigal!

The vents of the sky, ripped asunder,
echo this wild, primal thunder—
now dying into undulations of vanishing wings . . .

and this voice which in haggard bleak rapture still somehow downward sings.



Huntress
by Michael R. Burch

after Baudelaire

Lynx-eyed, cat-like and cruel, you creep
across a crevice dropping deep
into a dark and doomed domain.
Your claws are sheathed. You smile, insane.
Rain falls upon your path, and pain
pours down. Your paws are pierced. You pause
and heed the oft-lamented laws
which bid you not begin again
till night returns. You wail like wind,
the sighing of a soul for sin,
and give up hunting for a heart.
Till sunset falls again, depart,
though hate and hunger urge you―"On!"

Heed, hearts, your hope―the break of dawn.

Published by The HyperTexts, Dracula and His Kin and Sonnetto Poesia (Canada)



Happily Never After (the Second Curse of the ***** Toad)
by Michael R. Burch

He did not think of love of Her at all
frog-plangent nights, as moons engoldened roads
through crumbling stonewalled provinces, where toads
(nee princes) ruled in chinks and grew so small
at last to be invisible. He smiled
(the fables erred so curiously), and thought
bemusedly of being reconciled
to human flesh, because his heart was not
incapable of love, but, being cursed
a second time, could only love a toad’s . . .
and listened as inflated frogs rehearsed
cheekbulging tales of anguish from green moats . . .
and thought of her soft croak, her skin fine-warted,
his anemic flesh, and how true love was thwarted.



Because She Craved the Very Best
by Michael R. Burch

Because she craved the very best,
he took her East, he took her West;
he took her where there were no wars
and brought her bright bouquets of stars,
the blush and fragrances of roses,
the hush an evening sky imposes,
moonbeams pale and garlands rare,
and golden combs to match her hair,
a nightingale to sing all night,
white wings, to let her soul take flight ...

She stabbed him with a poisoned sting
and as he lay there dying,
she screamed, "I wanted everything!"
and started crying.



Caveat
by Michael R. Burch

If only we were not so eloquent,
we might sing, and only sing, not to impress,
but only to enjoy, to be enjoyed.

We might inundate the earth with thankfulness
for light, although it dies, and make a song
of night descending on the earth like bliss,

with other lights beyond―not to be known―
but only to be welcomed and enjoyed,
before all worlds and stars are overthrown ...

as a lover’s hands embrace a sleeping face
and find it beautiful for emptiness
of all but joy. There is no thought to love

but love itself. How senseless to redress,
in darkness, such becoming nakedness . . .

Originally published by Clementine Unbound



To the Post-Modern Muse, Floundering
by Michael R. Burch


The anachronism in your poetry
is that it lacks a future history.
The line that rings, the forward-sounding bell,
tolls death for you, for drowning victims tell
of insignificance, of eerie shoals,
of voices underwater. Lichen grows
to mute the lips of those men paid no heed,
and though you cling by fingertips, and bleed,
there is no lifeline now, for what has slipped
lies far beyond your grasp. Iron fittings, stripped,
have left the hull unsound, bright cargo lost.
The argosy of all your toil is rust.

The anchor that you flung did not take hold
in any harbor where repair is sold.

Originally published by Ironwood



Wonderland
by Michael R. Burch

We stood, kids of the Lamb, to put to test
the beatific anthems of the blessed,
the sentence of the martyr, and the pen’s
sincere religion. Magnified, the lens
shot back absurd reflections of each face―
a carnival-like mirror. In the space
between the silver backing and the glass,
we caught a glimpse of Joan, a frumpy lass
who never brushed her hair or teeth, and failed
to pass on GO, and frequently was jailed
for awe’s beliefs. Like Alice, she grew wee
to fit the door, then couldn’t lift the key.
We failed the test, and so the jury’s hung.
In Oz, “The Witch is Dead” ranks number one.



Day, and Night
by Michael R. Burch

The moon exposes pockmarked scars of craters;
her visage, veiled by willows, palely looms.
And we who rise each day to grind a living,
dream each scented night of such perfumes
as drew us to the window, to the moonlight,
when all the earth was steeped in cobalt blue―
an eerie vase of achromatic flowers
bled silver by pale starlight, losing hue.

The night begins her waltz to waiting sunrise―
adagio, the music she now hears;
and we who in the sunlight slave for succor,
dreaming, seek communion with the spheres.
And all around the night is in crescendo,
and everywhere the stars’ bright legions form,
and here we hear the sweet incriminations
of lovers we had once to keep us warm.

And also here we find, like bled carnations,
red lips that whitened, kisses drawn to lies,
that touched us once with fierce incantations
and taught us love was prettier than wise.



130 Refuted
by Michael R. Burch

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
―Shakespeare, Sonnet 130

Seas that sparkle in the sun
without its light would have no beauty;
but the light within your eyes
is theirs alone; it owes no duty.
And their kindled flame, not half as bright,
is meant for me, and brings delight.

Coral formed beneath the sea,
though scarlet-tendriled, cannot warm me;
while your lips, not half so red,
just touching mine, at once inflame me.
And the searing flames your lips arouse
fathomless oceans fail to douse.

Bright roses’ brief affairs, declared
when winter comes, will wither quickly.
Your cheeks, though paler when compared
with them?―more lasting, never prickly.

And your cheeks, though wan, so dear and warm,
far vaster treasures, need no thorns.

Originally published by Romantics Quarterly



Love Sonnet LXVI
by Pablo Neruda
loose translation/interpretation by Michael R. Burch

I love you only because I love you;
I am torn between loving and not loving you,
between apathy and desire.
My heart vacillates between ice and fire.

I love you only because you’re the one I love;
I hate you deeply, but hatred makes me implore you all the more
so that in my inconstancy
I do not see you, but love you blindly.

Perhaps January’s frigid light
will consume my heart with its cruel rays,
robbing me of the key to contentment.

In this tragic plot, I ****** myself
and I will die loveless because I love you,
because I love you, my Love, in fire and in blood.



Love Sonnet XI
by Pablo Neruda
loose translation/interpretation by Michael R. Burch

I crave your mouth, your voice, your hair.
I stalk the streets, silent and starving.
Bread does not satisfy me; dawn does not divert me
from my relentless pursuit of your fluid spoor.

I long for your liquid laughter,
for your sunburned hands like savage harvests.
I lust for your fingernails' pale marbles.
I want to devour your ******* like almonds, whole.

I want to ingest the sunbeams singed by your beauty,
to eat the aquiline nose from your aloof face,
to lick your eyelashes' flickering shade.

I pursue you, snuffing the shadows,
seeking your heart's scorching heat
like a puma prowling the heights of Quitratue.



Love Sonnet XVII
by Pablo Neruda
loose translation/interpretation by Michael R. Burch

I do not love you like coral or topaz,
or the blazing hearth’s incandescent white flame;
I love you as obscure things are embraced in the dark ...
secretly, in shadows, unguessed & unnamed.

I love you like shrubs that refuse to blossom
while pregnant with the radiance of mysterious flowers;
now, thanks to your love, an earthy fragrance
lives dimly in my body’s odors.

I love you without knowing―how, when, why or where;
I love you forthrightly, without complications or care;
I love you this way because I know no other.

Here, where “I” no longer exists ... so it seems ...
so close that your hand on my chest is my own,
so close that your eyes close gently on my dreams.



Sonnet XLV
by Pablo Neruda
loose translation/interpretation by Michael R. Burch

Don't wander far away, not even for a day, because―
how can I explain? A day is too long ...
and I’ll be waiting for you, like a man in an empty station
where the trains all stand motionless.

Don't leave me, my dear, not even for an hour, because―
then despair’s raindrops will all run blurrily together,
and the smoke that drifts lazily in search of a home
will descend hazily on me, suffocating my heart.

Darling, may your lovely silhouette never dissolve in the surf;
may your lashes never flutter at an indecipherable distance.
Please don't leave me for a second, my dearest,

because then you'll have gone far too far
and I'll wander aimlessly, amazed, asking all the earth:
Will she ever return? Will she spurn me, dying?



Imperfect Sonnet
by Michael R. Burch

A word before the light is doused: the night
is something wriggling through an unclean mind,
as rats creep through a tenement. And loss
is written cheaply with the moon’s cracked gloss
like lipstick through the infinite, to show
love’s pale yet sordid imprint on us. Go.

We have not learned love yet, except to cleave.
I saw the moon rise once ... but to believe ...
was of another century ... and now ...
I have the urge to love, but not the strength.

Despair, once stretched out to its utmost length,
lies couched in squalor, watching as the screen
reveals "love's" damaged images: its dreams ...
and ******* limply, screams and screams.

Originally published by Sonnet Scroll



Mayflies
by Michael R. Burch

These standing stones have stood the test of time
but who are you
and what are you
and why?

As brief as mist, as transient, as pale ...
Inconsequential mayfly!

Perhaps the thought of love inspired hope?
Do midges love? Do stars bend down to see?
Do gods commend the kindnesses of ants
to aphids? Does one eel impress the sea?

Are mayflies missed by mountains? Do the stars
regret the glowworm’s stellar mimicry
the day it dies? Does not the world grind on
as if it’s no great matter, not to be?

Life, to be sure, is nothing much to lose.
And yet somehow you’re everything to me.

Originally published by Clementine Unbound



Artificial Smile
by Michael R. Burch

I’m waiting for my artificial teeth
to stretch belief, to hollow out the cob
of zealous righteousness, to grasp life’s stub
between clenched molars, and yank out the grief.

Mine must be art-official―zenlike Art―
a disembodied, white-enameled grin
of Cheshire manufacture. Part by part,
the human smile becomes mock porcelain.

Till in the end, the smile alone remains:
titanium-based alloys undestroyed
with graves’ worm-eaten contents, all the pains
of bridgework unrecalled, and what annoyed

us most about the corpses rectified
to quaintest dust. The Smile winks, deified.



Modern Appetite
by Michael R. Burch

It grumbled low, insisting it would feast
on blood and flesh, etcetera, at least
three times a day. With soft lubricious grease

and pale salacious oils, it would ease
its way through life. Each day―an aperitif.
Each night―a frothy bromide, for relief.

It lived on TV fare, wore pinafores,
slurped sugar-coated gumballs, gobbled S’mores.
When gas ensued, it burped and farted. ’Course,

it thought aloud, my wife will leave me. ******
are not so **** particular. Divorce
is certainly a settlement, toujours!

A Tums a day will keep the shrink away,
recalcify old bones, keep gas at bay.
If Simon says, etcetera, Mother, may
I have my hit of calcium today?


Mother of Cowards
by Michael R. Burch aka "The Loyal Opposition"

So unlike the brazen giant of Greek fame
With conquering limbs astride from land to land,
Spread-eagled, showering gold, a strumpet stands:
A much-used trollop with a torch, whose flame
Has long since been extinguished. And her name?
"Mother of Cowards!" From her enervate hand
Soft ash descends. Her furtive eyes demand
Allegiance to her ****'s repulsive game.

"Keep, ancient lands, your wretched poor!" cries she
With scarlet lips. "Give me your hale, your whole,
Your huddled tycoons, yearning to be pleased!
The wretched refuse of your toilet hole?
Oh, never send one unwashed child to me!
I await Trump's pleasure by the gilded bowl!"

Originally published by Light



Premonition
by Michael R. Burch

Now the evening has come to a close and the party is over ...
we stand in the doorway and watch as they go―
each stranger, each acquaintance, each unembraceable lover.

They walk to their cars and they laugh as they go,
though we know their warm laughter’s the wine ...
then they pause at the road where the dark asphalt flows
endlessly on toward Zion ...

and they kiss one another as though they were friends,
and they promise to meet again “soon” ...
but the rivers of Jordan roll on without end,
and the mockingbird calls to the moon ...

and the katydids climb up the cropped hanging vines,
and the crickets chirp on out of tune ...
and their shadows, defined by the cryptic starlight,
seem spirits torn loose from their tombs.

And I know their brief lives are just eddies in time,
that their hearts are unreadable runes
to be wiped clean, like slate, by the dark hand of fate
when their corpses lie ravaged and ruined ...

You take my clenched fist and you give it a kiss
as though it were something you loved,
and the tears fill your eyes, brimming with the soft light
of the stars winking gently above ...

Then you whisper, "It's time that we went back inside;
if you'd like, we can sit and just talk for a while."
And the hope in your eyes burns too deep, so I lie
and I say, "Yes, I would," to your small, troubled smile.

I rather vividly remember writing this poem after an office party the year I co-oped with AT&T (at that time the largest company in the world, with presumably a lot of office parties). This would have been after my sophomore year in college, making me around 20 years old. The poem is “true” except that I was not the host because the party was at the house of one of the upper-level managers. Nor was I dating anyone seriously at the time.



Your e-Verse
by Michael R. Burch

for the posters and posers on www.fillintheblank.com

I cannot understand a word you’ve said
(and this despite an adequate I.Q.);
it must be some exotic new haiku
combined with Latin suddenly undead.

It must be hieroglyphics mixed with Greek.
Have Pound and T. S. Eliot been cloned?
Perhaps you wrote it on the ***, so ******
you spelled it backwards, just to be oblique.

I think you’re very funny, so, “Yuk! Yuk!”
I know you must be kidding; didn’t we
write crap like this and call it “poetry,”
a form of verbal exercise, P.E.,
in kindergarten, when we ran “amuck?”

Oh, sorry, I forgot to “make it new.”
Perhaps I still can learn a thing or two
from someone tres original, like you.



http://www.firesermon.com
by Michael R. Burch

your gods have become e-vegetation;
your saints―pale thumbnail icons; to enlarge
their images, right-click; it isn’t hard
to populate your web-site; not to mention
cool sound effects are nice; Sound Blaster cards
can liven up dull sermons, [zing some fire];
your drives need added Zip; you must discard
your balky paternosters: ***!!! Desire!!!
these are the watchwords, catholic; you must
as Yahoo! did, employ a little lust :)
if you want great e-commerce; hire a bard
to spruce up ancient language, shed the dust
of centuries of sameness; lameness *****;
your gods grew blurred; go 3D; scale; adjust.

Published by: Ironwood, Triplopia and Nisqually Delta Review

This poem pokes fun at various stages of religion, all tied however elliptically to T. S. Eliot's "Fire Sermon: (1) The Celts believed that the health of the land was tied to the health of its king. The Fisher King's land was in peril because he had a physical infirmity. One bad harvest and it was the king's fault for displeasing the gods. A religious icon (the Grail) could somehow rescue him. Strange logic! (2) The next stage brings us the saints, the Catholic church, etc. Millions are slaughtered, tortured and enslaved in the name of religion. Strange logic! (3) The next stage brings us to Darwin, modernism and "The Waste Land.” Religion is dead. God is dead. Man is a glorified fungus! We'll evolve into something better adapted to life on Earth, someday, if we don’t destroy it. But billions continue to believe in and worship ancient “gods.” Strange logic! (4) The current stage of religion is summed up by this e-mail: the only way religion can compete today is as a form of flashy entertainment. ***** a website before it's too late. Hire some **** supermodels and put the evangelists on the Internet!



The State of the Art (?)
by Michael R. Burch

Has rhyme lost all its reason
and rhythm, renascence?
Are sonnets out of season
and poems but poor pretense?

Are poets lacking fire,
their words too trite and forced?
What happened to desire?
Has passion been coerced?

Shall poetry fade slowly,
like Latin, to past tense?
Are the bards too high and holy,
or their readers merely dense?



Plastic Art or Night Stand
by Michael R. Burch

Disclaimer: This is a poem about artificial poetry, not love dolls! The victim is the Muse.

We never questioned why “love” seemed less real
the more we touched her, and forgot her face.
Absorbed in molestation’s sticky feel,
we failed to see her staring into space,
her doll-like features frozen in a smile.
She held us in her marionette’s embrace,
her plastic flesh grown wet and slick and vile.
We groaned to feel our urgent fingers trace
her undemanding body. All the while,
she lay and gaily bore her brief disgrace.
We loved her echoed passion’s squeaky air,
her tongueless kisses’ artificial taste,
the way she matched, then raised our reckless pace,
the heart that seemed to pound, but was not there.



“Whoso List to Hunt” is a famous early English sonnet written by Sir Thomas Wyatt (1503-1542) in the mid-16th century.

Whoever Longs to Hunt
by Sir Thomas Wyatt
loose translation/interpretation/modernization by Michael R. Burch

Whoever longs to hunt, I know the deer;
but as for me, alas!, I may no more.
This vain pursuit has left me so bone-sore
I'm one of those who falters, at the rear.
Yet friend, how can I draw my anguished mind
away from the doe?
                                   Thus, as she flees before
me, fainting I follow.
                                     I must leave off, therefore,
since in a net I seek to hold the wind.

Whoever seeks her out,
                                         I relieve of any doubt,
that he, like me, must spend his time in vain.
For graven with diamonds, set in letters plain,
these words appear, her fair neck ringed about:
Touch me not, for Caesar's I am,
And wild to hold, though I seem tame.



Alien Nation
by Michael R. Burch

for J. S. S., a "Christian" poet who believes in “hell”

On a lonely outpost on Mars
the astronaut practices “speech”
as alien to primates below
as mute stars winking high, out of reach.

And his words fall as bright and as chill
as ice crystals on Kilimanjaro―
far colder than Jesus’s words
over the “fortunate” sparrow.

And I understand how gentle Emily
felt, when all comfort had flown,
gazing into those inhuman eyes,
feeling zero at the bone.

Oh, how can I grok his arctic thought?
For if he is human, I am not.



Keywords/Tags: sonnet, sonnets, meter, rhythm, music, musical, rhyme, form, formal verse, formalist, tradition, traditional, romantic, romanticism, rose, fire, passion, desire, love, heart, number, numbers, mrbson

to person #1:
I will never forget how quiet it was
as the darkness of the room
and the warmth of your breath
pressed themselves against my neck.
you whispered that when you shot a gun,
you didn't squeeze the trigger
like you were supposed to,
but pulling works just fine, too,
and I could feel your thumb against my cheek
and I wanted to be the only gun
cocked back and aimed at your temple
and I thought about oranges
and your heartbeat was really fast
and I cried a lot
when you said your heart was failing.

Cicadas whine metallically
In trees along the sweltered streets;
Wasps and hornets arc angrily
Enough to cause me fear.
Late summer’s not my favorite time of year.

Flowers nearly done;
The tulips, irises, and poppies
Long since seeded out;
They’ve had their fun.
Bedraggled day lilies remain,
This is the beginning of the mums.
Bees seek latent nectars
Or tap into their golden stores
To supplement their bumbling runs.

Lawns foist a burnt but stubborn edge
While only thistles still refuse
To bow to August's incessant heat;
Their spikes sprout poisonous defiance.
The dog’s left yellowed pools of dying grass;
I admit the neighbors’ lawns surpass.  
I suppose the time to gather
Drying excrement’s returned, alas....

Keeping up appearances is hard at summer's end.
Ennui of season full and just past ripe  
Leaves tired old men like me
A chiding cause to gripe.

Thistles and Roses
     Intertwine in my heart
Maddening thirst
     For your touch

Waves of desire
     Searing me sweetly
Wanting you
     Madly and deeply

Lying silently here
     With only these dreams

Tonight

Ignorances innate wove curtain of veils
Cut usunder heretofore obscuring
Bodhicittas valedictory wintry gloom torn
Of enlightenments will factioning the
Silenced mammonish city kingdom truced
As the wings of Azrael clinch
Earthly thistles; monolithic raiments
Deposed Hull, Hell and Halifax parcae
The willowing of light unfettering Fenrirs
Durance, howling aconite psalms suspiring
Suffrage relict paving with mewed stars
Redemptions tithed talents bequeathed
Of Heavens sinister prayer burning
Acinta dusts thine ashes threading
The wilful sword of Gods destruction.


ELEETE J MUIR.

A Rock there is whose homely front
    The passing traveller slights;
Yet there the glow-worms hang their lamps,
    Like stars, at various heights;
And one coy Primrose to that Rock
    The vernal breeze invites.

What hideous warfare hath been waged,
    What kingdoms overthrown,
Since first I spied that Primrose-tuft
    And marked it for my own;
A lasting link in Nature’s chain
    From highest heaven let down!

The flowers, still faithful to the stems,
    Their fellowship renew;
The stems are faithful to the root,
    That worketh out of view;
And to the rock the root adheres
    In every fibre true.

Close clings to earth the living rock,
    Though threatening still to fall:
The earth is constant to her sphere;
    And God upholds them all:
So blooms this lonely Plant, nor dreads
    Her annual funeral.

                * * * * * *

Here closed the meditative strain;
    But air breathed soft that day,
The hoary mountain-heights were cheered,
    The sunny vale looked gay;
And to the Primrose of the Rock
    I gave this after-lay.

I sang-Let myriads of bright flowers,
    Like Thee, in field and grove
Revive unenvied;—mightier far,
    Than tremblings that reprove
Our vernal tendencies to hope,
    Is God’s redeeming love;

That love which changed-for wan disease,
    For sorrow that had bent
O’er hopeless dust, for withered age—
    Their moral element,
And turned the thistles of a curse
    To types beneficent.

Sin-blighted though we are, we too,
    The reasoning Sons of Men,
From one oblivious winter called
    Shall rise, and breathe again;
And in eternal summer lose
    Our threescore years and ten.

To humbleness of heart descends
    This prescience from on high,
The faith that elevates the just,
    Before and when they die;
And makes each soul a separate heaven
    A court for Deity.

In gravest, gravels of untouched soil,
Spearhead of purple, beyond the pale,
One statue of siege upon a windy foil,
What mires meek airs in all you survey?    

Like a frost of summers, you are lord,
To hold that seed in your spiny face,
Depressions of land your promontory,
All up with arms, iron clad as a mace,

Beneath you, the grown motley fields
Are desolate, all flowers bled, blender,
Spiders and birds know you unyielding
The lost aleatory scent of no surrender.

Promise of Beauty Untold

The walk through desolation to find beauty untold is forever puzzling.

They walked through the thistles and the obstacles on the dried cracked ground to find the highest peaks of the tallest mountains only to climb to the highest point and hang themselves from it.

Cherishing things that only thorns and thistles can produce.  Never knowing the promise of the other side.  The promise of beauty untold.

With one hand open and reaching and the other hand covering their face in shame, they run towards the steep mountains.  All the time missing the gateway because their eyes are on the highest peaks where doom is the only promise.

The bird of another world is the keeper of the path to the gateway, and he  knows all things but gives no information.  The bird of another world is not evil.  His only mission in life is to count those who walk through the gateway.  The mountains keep track of the losses.

.
In gravest, gravels of untouched soil,
Spearhead of purple, beyond the pale,
One statue of siege upon a windy foil,
What mires meek airs in all you survey?

Like a frost of summers, you are lord,
To hold that seed in your spiny face,
Depressions of land your promontory,
All up with arms, iron clad as a mace,

Beneath you, the grown motley fields
Are desolate, all flowers bled, blender,
Spiders and birds know you unyielding
The lost aleatory scent of no surrender.

For seasons the walled meadow
south of the house built of its stone
grows up in shepherd's purse and thistles
the weeds share April as a secret
finches disguised as summer earth
click the drying seeds
mice run over rags of parchment in August
the hare keeps looking up remembering
a hidden joy fills the songs of the cicadas

two days' rain wakes the green in the pastures
crows agree and hawks shriek with naked voices
on all sides the dark oak woods leap up and shine
the long stony meadow is plowed at last and lies
all day bare
I consider life after life as treasures
oh it is the autumn light

that brings everything back in one hand
the light again of beginnings
the amber appearing as amber

You had not joined me
My totem-journey to the wellspring of the Colorado
to seek the source of things uncontained

the stars washed over me with asphyxiation
the breathless gasp of space



--In the deserts;
Rocklands--
the emerald barrel cactus
is watered as the earth
and the passerby
Cheyenne
cut into the crust
to sip the wine-flesh
to be drunk
and exhume the inhibitions of living

Forbidden berries
in the garden of quills, spear thistles
trust upon the air to protect her children

a good, silent mother
does not refuse
the gift of deflowering
as she is stripped
of her sharpness
and laundered
bestowed in salted bison skin of a war-chief's pouch.

A crown of thistles and thorns,
Worn as I walk through the Wasteland
Carrying my burdens and hope on my shoulders
The noon light and the twilight.

Step and another forward forever
Into my now broken journey ahead
Footing the edge of the final ledge
Final steps filled with regret —
Or could it be hope?

My Passion is dark from my view;
Somehow, I shine as a Beacon
To the hopeless and the desperate,
The hearts that are broken by fate.

String me up now before I destroy them all,
All along with myself, in my pain.
I was meant to be this way,
To die while I’m still pure.

My bitter victory makes you ever sweet.

Tail turned to red sunset on a juniper crown a lone magpie cawks.

Mad at Oryoki in the shrine-room -- Thistles blossomed late afternoon.

Put on my shirt and took it off in the sun walking the path to lunch.

A dandelion seed floats above the marsh grass with the mosquitos.

At 4 A.M. the two middleaged men sleeping together holding hands.

In the half-light of dawn a few birds warble under the Pleiades.

Sky reddens behind fir trees, larks twitter, sparrows cheep cheep cheep
       cheep cheep.
      
                                        July 1983

Caught shoplifting ran out the department store at sunrise and woke up.

                                        August 1983

Your always playing the victim or guilt tripping me.
With eyes wide open, tell me what you see.......
The dark green forest falls quiet in the blackest night.
With a fresh, bleak snow hiding a monster out of my sight.

Down the path and out through the thistles
Escaping "it's" lungs pierce the night sky like a whistle.
Suffocating with fear, now I know that I'm done
Before the battle begins, "it" thinks the battle won.

I'm in shock on the ground and can't move not one little bit.
My head in my hands, falling down, not wanting to quit.
"It's" eyes are my death and "It's" thoughts are of pain
The storm clouds approaching, but it's not going to rain.

The distance between us nearly closes right in
Now, the true test is here, terror right under the skin.
"It's" voice is demonic and sounds of my demise.
Just the sight of "it" and I start praying for a painless goodbye.

I run and I run, but no chance, I will make it
So stygian now that I'm bleeding, falling into a steep pit.
Pitch-black of all hollows, reaching for the next mental wall.
My legs are all bruised up and wrist broken from the fall.

My screams are like razors that cut through the air
As I jump like a rabbit and out where it is clear.
The insects are buzzing to warn me to stop soon.
A symphony of the night just humming it's' tune.

And here is where I left you, as I stand toe to toe.
I told you before I just want you to go.
You have no goodness inside, just a monster, you've made.
The battle within your own mind will, again, be replayed.

As you turn and walk away, I wipe away a fresh teardrop
You've hurt me all that I can allow and now you must stop.
Master manipulator and thief, you've stolen my heart.
You showed me I was strong that day , now I can have a fresh start.

Evening was in the wood, louring with storm.
A time of drought had ****** the weedy pool
And baked the channels; birds had done with song.
Thirst was a dream of fountains in the moon,
Or willow-music blown across the water
Leisurely sliding on by weir and mill.

Uneasy was the man who wandered, brooding,
His face a little whiter than the dusk.
A drone of sultry wings flicker'd in his head.
The end of sunset burning thro' the boughs
Died in a smear of red; exhausted hours
Cumber'd, and ugly sorrows hemmed him in.

He thought: 'Somewhere there's thunder,' as he strove
To shake off dread; he dared not look behind him,
But stood, the sweat of horror on his face.
He blunder'd down a path, trampling on thistles,
In sudden race to leave the ghostly trees.
And: 'Soon I'll be in open fields,' he thought,
And half remembered starlight on the meadows,
Scent of mown grass and voices of tired men,
Fading along the field-paths; home and sleep
And cool-swept upland spaces, whispering leaves,
And far off the long churring night-jar's note.

But something in the wood, trying to daunt him,
Led him confused in circles through the thicket.
He was forgetting his old wretched folly,
And freedom was his need; his throat was choking.
Barbed brambles gripped and clawed him round his legs,
And he floundered over snags and hidden stumps.
Mumbling: 'I will get out! I must get out!'
Butting and thrusting up the baffling gloom,
Pausing to listen in a space 'twixt thorns,
He peers around with peering, frantic eyes.
An evil creature in the twilight looping,
Flapped blindly in his face. Beating it off,
He screeched in terror, and straightway something clambered
Heavily from an oak, and dropped, bent double,
To shamble at him zigzag, squat and *******.
Headlong he charges down the wood, and falls
With roaring brain--agony--the snap't spark--
And blots of green and purple in his eyes.
Then the slow fingers groping on his neck,
And at his heart the strangling clasp of death.

plants do not require papers that state from where they came

they are caught and pulled by the bite of birds,
        seduced by the between-legs of bees,
            seized on the legs of the wind and animals by thistles and burrs

and the blessed are pollinated by the hummingbird

I do not know where I came from (really?) (really.)

or where nature and nurture intertwine within me, precarious balance from discipline and my genes

I twist bunches of grass between my fingers, feeling the good in a strain

racked on top of white bones, pushing sheets of freckled skin
out, spreading cancerous aluminums under my arms because
an artificial flower smells better during *** than human sweat,

what a pity, we are unable to reveal with the bursts of Walt Whitman (!) in
our own organic mechanism's ability to produce salt. The ultimate flavor.

I grin. Inhaling deeply while alone and unwashed, Whitman would've been into it.
Maybe I can find someone into it too. Someone who'll read me Henry Miller.

But instead I'll wear expensive perfume. I grin, again. Sardonically.

And I've been told I have a beautiful smile.
I should,
that smile cost blood and five grand for something cosmetic and quirky,
train-tracks over teeth, I now stain yellow with obsolete cigarettes.

I wait in the tropical heat, languishing while I bake, a freckle factory
and tan--adrift--awash with memories recalled by the smell of green
and the fearful hum of bees.

Why did I start smoking again?

I look at the red hummingbird feeder, and wish I could trade
          
             standing still as a hummingbird, I lie and say I cannot wait.

the loneliness of a pair of eyes
deep and serene as a vast field of wildflowers
nestled between great mountains

they see your beauty and feel your allure
your bight colors make them feel alive
your novelty makes them feel worthy

the lonely people come and pick of your abundance
they take you home and display your essence in a vase
a memory of vitality

until the flowers choke and fade away from their Source
so the lonely people return
day after day they pick a small bouquet

because the field is endless
so it seems
what’s a few flowers to a whole field?

they picked the field to scraps of color barely vibrant
the field has grown thistles and thorns around its edge
with a riddle guarding a single entrance

“What are You that I Am?“
(to know you must
become the field)

My most popular poems on the Internet

A number of my poems and translations have gone viral, according to Google, and some have been copied onto hundreds to thousands of web pages. That’s a lot of cutting and pasting! The results below are the results returned by Google at the time I did the searches.



This original epigram returns more than 37,000 results:

Epitaph for a Palestinian Child
by Michael R. Burch

I lived as best I could, and then I died.
Be careful where you step: the grave is wide.



This Sappho translation has more than 3,500 results:

Sappho, fragment 42
loose translation/interpretation by Michael R. Burch

Eros harrows my heart:
wild winds whipping desolate mountains
uprooting oaks.



This Sappho translation has more than 1,700 results:

Sappho, fragment 155
loose translation/interpretation by Michael R. Burch

A short revealing frock?
It's just my luck
your lips were made to mock!



This Bertolt Brecht translation has more than 1,500 results:

The Burning of the Books
by Bertolt Brecht
loose translation/interpretation by Michael R. Burch

When the Regime
commanded the unlawful books to be burned,
teams of dull oxen hauled huge cartloads to the bonfires.

Then a banished writer, one of the best,
scanning the list of excommunicated texts,
became enraged: he’d been excluded!

He rushed to his desk, full of contemptuous wrath,
to write fiery letters to the incompetents in power―
Burn me! he wrote with his blazing pen―
Haven’t I always reported the truth?
Now here you are, treating me like a liar!
Burn me!



This poem returns nearly 1,500 results for the first line:

Something
―for the children of the Holocaust and the Nakba
by Michael R. Burch

Something inescapable is lost―
lost like a pale vapor curling up into shafts of moonlight,
vanishing in a gust of wind toward an expanse of stars
immeasurable and void.

Something uncapturable is gone―
gone with the spent leaves and illuminations of autumn,
scattered into a haze with the faint rustle of parched grass
and remembrance.

Something unforgettable is past―
blown from a glimmer into nothingness, or less,
which finality swept into a corner, where it lies
in dust and cobwebs and silence.

NOTE: This is, I think, the first poem I wrote which didn’t rhyme, and the only one for quite some time. I consider one of the best of my early poems; it was written in my late teens.



This original poem has over 1,300 results:

Bible Libel
by Michael R. Burch

If God
is good,
half the Bible
is libel.

This may be the first poem I wrote. I read the Bible from cover to cover at age 11, and it was a traumatic experience. But I can’t remember if I wrote the epigram then, or came up with it later. In any case, it was probably written between age 11 and 13, or thereabouts.



My translation of Robert Burns’ “To a Mouse” returns over 1,300 results. It’s a bit long for this page but can be found online with a Google search like: Michael R. Burch Robert Burns translations.



This Glaucus translation returns more than 1,000 results:

Does my soul abide in heaven, or hell?
Only the sea gulls in their high, lonely circuits may tell.
―Michael R. Burch, after Glaucus



This Yamaguchi Seishi translation returns over 1,000 results:

Grasses wilt:
the braking locomotive
grinds to a halt
―Yamaguchi Seishi, loose translation by Michael R. Burch



This original poem has more than 1,000 results:

Frail Envelope of Flesh
by Michael R. Burch

for the mothers and children of Gaza

Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable...

Frail crucible of dust,
brief flower come to this―
your tiny hand
in your mother’s hand
for a last bewildered kiss...

Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her Tears...

Note: The phrase "frail envelope of flesh" was one of my first encounters with the power of poetry, although I read it in a superhero comic book as a young boy (I forget which one). More than thirty years later, the line kept popping into my head, so I wrote this poem. I have dedicated it to the mothers and children of Gaza and the Nakba. The word Nakba is Arabic for "Catastrophe."



This poem won a big Penguin Books (UK) Valentine poetry contest and returns over 800 results for the first line:

Mother’s Smile
by Michael R. Burch

for my mother, Christine Ena Burch

There never was a fonder smile
than mother’s smile, no softer touch
than mother’s touch. So sleep awhile
and know she loves you more than “much.”

So more than “much,” much more than “all.”
Though tender words, these do not speak
of love at all, nor how we fall
and mother’s there, nor how we reach
from nightmares in the ticking night
and she is there to hold us tight.

There never was a stronger back
than father’s back, that held our weight
and lifted us, when we were small,
and bore us till we reached the gate,
then held our hands that first bright mile
till we could run, and did, and flew.
But, oh, a mother’s tender smile
will leap and follow after you!



This original epigram returns over 750 results:

Autumn Conundrum
by Michael R. Burch

It’s not that every leaf must finally fall,
it’s just that we can never catch them all.



This William Dunbar translation has more than 700 results:

Sweet Rose of Virtue
by William Dunbar (1460-1525)
loose translation by Michael R. Burch

Sweet rose of virtue and of gentleness,
delightful lily of youthful wantonness,
richest in bounty and in beauty clear
and in every virtue that is held most dear―
except only that you are merciless.

Into your garden, today, I followed you;
there I saw flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently―
yet everywhere, no odor but rue.

I fear that March with his last arctic blast
has slain my fair rose of pallid and gentle cast,
whose piteous death does my heart such pain
that, if I could, I would compose her roots again―
so comforting her bowering leaves have been.



This Sappho translation has over 700 results:

Sappho, fragment 22
loose translation/interpretation by Michael R. Burch

That enticing girl's clinging dresses
leave me trembling, overcome by happiness,
as once, when I saw the Goddess in my prayers
eclipsing Cyprus.



This original poem has over 700 results for the first line:

Child of 9-11
by Michael R. Burch

a poem for Christina-Taylor Green, who
was born on September 11, 2001 and who
died at age nine, shot to death...

Child of 9-11, beloved,
I bring this lily, lay it down
here at your feet, and eiderdown,
and all soft things, for your gentle spirit.
I bring this psalm―I hope you hear it.

Much love I bring―I lay it down
here by your form, which is not you,
but what you left this shell-shocked world
to help us learn what we must do
to save another child like you.

Child of 9-11, I know
you are not here, but watch, afar
from distant stars, where angels rue
the evil things some mortals do.
I also watch; I also rue.

And so I make this pledge and vow:
though I may weep, I will not rest
nor will my pen fail heaven's test
till guns and wars and hate are banned
from every shore, from every land.

Child of 9-11, I grieve
your tender life, cut short... bereaved,
what can I do, but pledge my life
to saving lives like yours? Belief
in your sweet worth has led me here...

I give my all: my pen, this tear,
this lily and this eiderdown,
and all soft things my heart can bear;
I bring them to your final bier,
and leave them with my promise, here.



My Plato translation (or “take” on Plato) has over 650 results:

Mariner, do not ask whose tomb this may be,
but go with good fortune: I wish you a kinder sea.
―Michael R. Burch, after Plato



This translation of a Middle English poem has more than 500 results:

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

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



This original epigram returns over 500 results for the first line:

Here and Hereafter aka Saving Graces
by Michael R. Burch

Life’s saving graces are love, pleasure, laughter...
wisdom, it seems, is for the Hereafter.

I have dedicated the epigram above to the so-called Religious Right and Moral Majority.



These Einstein limericks have over 500 results:

The Cosmological Constant
by Michael R. Burch

Einstein, the frizzy-haired,
said E equals MC squared.
Thus all mass decreases
as activity ceases?
Not my mass, my *** declared!

Asstronomical
by Michael R. Burch

Relativity, the theorists’ creed,
says mass increases with speed.
My (m)*** grows when I sit it.
Mr. Einstein, get with it;
equate its deflation, I plead!

Relative to Whom?
by Michael R. Burch

Einstein’s theory, incredibly silly,
says a relative grows *****-nilly
at speeds close to light.
Well, his relatives might,
but mine grow their (m)***** more stilly!



This poem has over 500 results:

Neglect
by Michael R. Burch

What good are tears?
Will they spare the dying their anguish?

What use, our concern
to a child sick of living, waiting to perish?

What good, the warm benevolence of tears
without action?

What help, the eloquence of prayers,
or a pleasant benediction?

Before this day is over,
how many more will die
with bellies swollen, emaciate limbs,
and eyes too parched to cry?

I fear for our souls
as I hear the faint lament
of theirs departing...
mournful, and distant.

How pitiful our "effort,"
yet how fatal its effect.
If they died, then surely we killed them,
if only with neglect.



This Matsuo Basho haiku translation has nearly 500 results:

The first soft snow:
leaves of the awed jonquil
bow low
―Matsuo Basho, loose translation/interpretation by Michael R. Burch



This Matsuo Basho haiku translation has more than 400 results:

Come, investigate loneliness!
a solitary leaf
clings to the Kiri tree
―Matsuo Basho, loose translation/interpretation by Michael R. Burch



This original Holocaust poem returns over 400 results:

Auschwitz Rose
by Michael R. Burch

There is a Rose at Auschwitz, in the briar,
a rose like Sharon's, lovely as her name.
The world forgot her, and is not the same.
I still love her and extend this sacred fire
to keep her memory exalted flame
unmolested by the thistles and the nettles.

On Auschwitz now the reddening sunset settles!
They sleep alike―diminutive and tall,
the innocent, the "surgeons." Sleeping, all.

Red oxides of her blood, bright crimson petals,
if accidents of coloration, gall
my heart no less. Amid thick weeds and muck
there lies a rose man's crackling lightning struck:
the only Rose I ever longed to pluck.
Soon I'll bed there and bid the world "Good Luck."



This translation of a Holocaust poem has nearly 300 results:

Speechless
by Ko Un
translation by Michael R. Burch

At Auschwitz
piles of glasses,
mountains of shoes...
returning, we stared out different windows.






Keywords/Tags: Michael Burch, popular, most popular, poems, epigrams, translations, quotes, Google, Internet, journals, literary journals, blogs, social media, Facebook, Twitter, Instagram, Yahoo


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This original poem, which has become popular at Halloween, has nearly 3,000 results for the fifth line:

White in the Shadows
by Michael R. Burch

White in the shadows
I see your face,
unbidden. Go, tell
Love it is commonplace;
tell Regret it is not so rare.

Our love is not here
though you smile,
full of sedulous grace.
Lost in darkness, I fear
the past is our resting place.

Published by Carnelian, The Chained Muse, Poetry Life & Times, A-Poem-A-Day and in a YouTube video by Aurora G. with the titles “Ghost,” “White Goddess” and “White in the Shadows”



This original poem returns nearly 1,500 results:

Safe Harbor
by Michael R. Burch

for Kevin N. Roberts
The sea at night seems
an alembic of dreams—
the moans of the gulls,
the foghorns’ bawlings.

A century late
to be melancholy,
I watch the last shrimp boat as it steams
to safe harbor again.

In the twilight she gleams
with a festive light,
done with her trawlings,
ready to sleep . . .

Deep, deep, in delight
glide the creatures of night,
elusive and bright
as the poet’s dreams.

Published by The Lyric, Grassroots Poetry, Romantics Quarterly, Angle, Poetry Life & Times




This translation of the oldest extant English poem has over 1,250 results:

Cædmon's Hymn (circa 658-680 AD)
loose translation/interpretation by Michael R. Burch

Humbly now we honour heaven-kingdom's Guardian,
the Measurer's might and his mind-plans,
the goals of the Glory-Father. First he, the Everlasting Lord,
established earth's fearful foundations.
Then he, the First Scop, hoisted heaven as a roof
for the sons of men: Holy Creator,
mankind's great Maker! Then he, the Ever-Living Lord,
afterwards made men middle-earth: Master Almighty!



This Faiz Ahmed Faiz translation has over 1,000 results:

Last Night
by Faiz Ahmed Faiz
loose translation by Michael R. Burch

Last night, your memory stole into my heart—
as spring sweeps uninvited into barren gardens,
as morning breezes reinvigorate dormant deserts,
as a patient suddenly feels better, for no apparent reason ...


This light verse response to Philip Larkin’s “Aubade” has nearly 1,000 results:

Abide
by Michael R. Burch

after Philip Larkin's "Aubade"

It is hard to understand or accept mortality—
such an alien concept: not to be.
Perhaps unsettling enough to spawn religion,
or to scare mutant fish out of a primordial sea
boiling like goopy green tea in a kettle.
Perhaps a man should exhibit more mettle
than to admit such fear, denying Nirvana exists
simply because we are stuck here in such a fine fettle.
And so we abide . . .
even in life, staring out across that dark brink.
And if the thought of death makes your questioning heart sink,
it is best not to drink
(or, drinking, certainly not to think).

Originally published by Light Quarterly



This love poem has nearly 1,000 results:

don’t forget ...
by Michael R. Burch

for Beth

don’t forget to remember
that Space is curved
(like your Heart)
and that even Light is bent
by your Gravity.



This original Hiroshima poem has nearly 800 results:

Lucifer, to the Enola Gay
by Michael R. Burch

Go then,
and give them my meaning
so that their teeming
streets
become my city.
Bring back a pretty
flower—
a chrysanthemum,
perhaps, to bloom
if but an hour,
within a certain room
of mine
where
the sun does not rise or fall,
and the moon,
although it is content to shine,
helps nothing at all.
There,
if I hear the wistful call
of their voices
regretting choices
made
or perhaps not made
in time,
I can look back upon it and recall,
in all
its pale forms sublime,
still
Death will never be holy again.

Published by Romantics Quarterly, Penny Dreadful and Poetry Life & Times



This epigram has over 600 results for the first line:
Piercing the Shell
by Michael R. Burch

If we strip away all the accouterments of war,
perhaps we’ll discover what the heart is for.



This prayer poem has over 600 results and has been set to music and performed at a charity benefit for hurricane victims:

I Pray Tonight
by Michael R. Burch

I pray tonight
the starry Light
might
surround you.

I pray
by day
that, come what may,
no dark thing confound you.

I pray ere the morrow
an end to your sorrow.
May angels' white chorales
sing, and astound you.



This original poem has nearly 600 results:

Like Angels, Winged
by Michael R. Burch

Like angels—winged,
shimmering, misunderstood—
they flit beyond our understanding
being neither evil, nor good.

They are as they are ...
and we are their lovers, their prey;
they seek us out when the moon is full;
they dream of us by day.

Their eyes—hypnotic, alluring—
trap ours with their strange appeal
till like flame-drawn moths, we gather ...
to see, to touch, to feel.

And in their arms, enchanted,
we feel their lips, grown old,
till with their gorging kisses
we warm them, growing cold.



This original poem has over 500 results:

Distances
by Michael R. Burch

Moonbeams on water —
the reflected light
of a halcyon star
now drowning in night ...
So your memories are.

Footprints on beaches
now flooding with water;
the small, broken ribcage
of some primitive slaughter ...
So near, yet so far.



This original poem has over 500 results:

***** Nilly
by Michael R. Burch

for the Demiurge, aka Yahweh/Jehovah

Isn’t it silly, ***** Nilly?
You made the stallion,
you made the filly,
and now they sleep
in the dark earth, stilly.
Isn’t it silly, ***** Nilly?

Isn’t it silly, ***** Nilly?
You forced them to run
all their days uphilly.
They ran till they dropped—
life’s a pickle, dilly.
Isn’t it silly, ***** Nilly?

Isn’t it silly, ***** Nilly?
They say I should worship you!
Oh, really!
They say I should pray
so you’ll not act illy.
Isn’t it silly, ***** Nilly?



This epigram/joke has over 400 results:

Teddy Roosevelt spoke softly and carried a big stick; Donald Trump speaks loudly and carries a big shtick.―Michael R. Burch



This **** Baudelaire translation has become popular with **** stars, escort sites and dating services, and has more than 400 results:

Le Balcon (The Balcony)
by Charles Baudelaire
loose translation/interpretation by Michael R. Burch

Paramour of memory, ultimate mistress,
source of all pleasure, my only desire;
how can I forget your ecstatic caresses,
the warmth of your ******* by the roaring fire,
paramour of memory, ultimate mistress?

Each night illumined by the burning coals
we lay together where the rose-fragrance clings—
how soft your *******, how tender your soul!
Ah, and we said imperishable things,
each night illumined by the burning coals.

How beautiful the sunsets these sultry days,
deep space so profound, beyond life’s brief floods ...
then, when I kissed you, my queen, in a daze,
I thought I breathed the bouquet of your blood
as beautiful as sunsets these sultry days.

Night thickens around us like a wall;
in the deepening darkness our irises meet.
I drink your breath, ah! poisonous yet sweet!,
as with fraternal hands I massage your feet
while night thickens around us like a wall.

I have mastered the sweet but difficult art
of happiness here, with my head in your lap,
finding pure joy in your body, your heart;
because you’re the queen of my present and past
I have mastered love’s sweet but difficult art.

O vows! O perfumes! O infinite kisses!
Can these be reborn from a gulf we can’t sound
as suns reappear, as if heaven misses
their light when they sink into seas dark, profound?
O vows! O perfumes! O infinite kisses!



This original poem has over 400 results:

What the Poet Sees
by Michael R. Burch

What the poet sees,
he sees as a swimmer
~~~underwater~~~
watching the shoreline blur
sees through his breath’s weightless bubbles ...
Both worlds grow obscure.



This original poem I wrote as a teenager has almost 400 results:

The Communion of Sighs
by Michael R. Burch

There was a moment
without the sound of trumpets or a shining light,
but with only silence and darkness and a cool mist
felt more than seen.
I was eighteen,
my heart pounding wildly within me like a fist.
Expectation hung like a cry in the night,
and your eyes shone like the corona of a comet.

There was an instant . . .
without words, but with a deeper communion,
as clothing first, then inhibitions fell;
liquidly our lips met
—feverish, wet—
forgotten, the tales of heaven and hell,
in the immediacy of our fumbling union . . .
when the rest of the world became distant.
Then the only light was the moon on the rise,
and the only sound, the communion of sighs.

This is one of my early poems ; I believe it was probably written during my first two years in college, making me 18 or 19 at the time.



This original poem has more than 300 results:

Kin
by Michael R. Burch

O pale, austere moon,
haughty beauty ...
what do we know of love,
or duty?



This original poem has more than 300 results:

escape!
by michael r. burch

for anaïs vionet

to live among the daffodil folk . . .
slip down the rainslickened drainpipe . . .
suddenly pop out
the GARGANTUAN SPOUT . . .
minuscule as alice, shout
yippee-yi-yee!
in wee exultant glee
to be leaving behind the
LARGE
THREE-DENALI GARAGE.



This Matsuo Basho haiku translation has more than 300 results:

An ancient pond,
the frog leaps:
the silver plop and gurgle of water
― Matsuo Basho, loose translation by Michael R. Burch



This haiku translation has more than 300 results:

Oh, fallen camellias,
if I were you,
I'd leap into the torrent!
― Takaha Shugyo, loose translation/interpretation by Michael R. Burch



This translation of an Anacreon epigram has over 300 results:

Here he lies in state tonight: great is his Monument!
Yet Ares cares not, neither does War relent.
—Anacreon, loose translation/interpretation by Michael R. Burch



This 9–11 poem has over 300 results:

Charon 2001
by Michael R. Burch

I, too, have stood—paralyzed at the helm
watching onrushing, inevitable disaster.
I too have felt sweat (or ecstatic tears) plaster
damp hair to my eyes, as a slug’s dense film
becomes mucous-insulate. Always, thereafter
living in darkness, bright things overwhelm.

Originally published by The Neovictorian/Cochlea



This “almost” limerick has over 300 results:

Caveat Spender
by Michael R. Burch

It’s better not to speculate
"continually" on who is great.
Though relentless awe’s
a Célèbre Cause,
please reserve some time for the contemplation
of the perils of EXAGGERATION.



This little poetic snapshot has over 300 results:
Warming Her Pearls
by Michael R. Burch

for Beth

Warming her pearls, her *******
gleam like constellations.
Her belly is a bit rotund...
she might have stepped out of a Rubens.



This vampire poem, popular at Halloween, has nearly 300 results:

Pale Though Her Eyes
by Michael R. Burch

Pale though her eyes,
her lips are scarlet
from drinking of blood,
this child, this harlot

born of the night
and her heart, of darkness,
evil incarnate
to dance so reckless,

dreaming of blood,
her fangs―white―baring,
revealing her lust,
and her eyes, pale, staring...



This Fukuda Chiyo-ni haiku translation has nearly 300 results:

Ah butterfly!
what dreams do you ply
with your beautiful wings?
― Fukuda Chiyo-ni, loose translation/interpretation by Michael R. Burch



This translation of the Palestinian poet Fadwa Tuqan has over 300 results:

Enough for Me
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Enough for me to lie in the earth,
to be buried in her,
to sink meltingly into her fecund soil, to vanish ...
only to spring forth like a flower
brightening the play of my countrymen's children.
Enough for me to remain
in my native soil's embrace,
to be as close as a handful of dirt,
a sprig of grass,
a wildflower.



This translation of a poem by the Kurdish poet Kajal Ahmad has over 300 results:

Mirror
by Kajal Ahmad, a Kurdish poet
loose translation by Michael R. Burch

My era's obscuring mirror
shattered
because it magnified the small
and made the great seem insignificant.
Dictators and monsters filled its contours.
Now when I breathe
its jagged shards pierce my heart
and instead of sweat
I exude glass.



This original poem has over 300 results:

Regret
by Michael R. Burch

Regret,
a bitter
ache to bear . . .
once starlight
languished
in your hair . . .
a shining there
as brief
as rare.

Regret . . .
a pain
I chose to bear . . .
unleash
the torrent
of your hair . . .
and show me
once again—
how rare.



This original poem, popular at Valentine’s Day, has nearly 300 results:

Let Me Give Her Diamonds
by Michael R. Burch

Let me give her diamonds
for my heart's
sharp edges.

Let me give her roses
for my soul's
thorn.

Let me give her solace
for my words
of treason.

Let the flowering of love
outlast a winter
season.

Let me give her books
for all my lack
of reason.

Let me give her candles
for my lack
of fire.

Let me kindle incense,
for our hearts
require

the breath-fanned
flaming perfume
of desire.



This original poem has nearly 300 results:

Fascination with Light
by Michael R. Burch

for Anaïs Vionet

Desire glides in on calico wings,
a breath of a moth
seeking a companionable light,
where it hovers, unsure,
sullen, shy or demure,
in the margins of night,
a soft blur.

With a frantic dry rattle
of alien wings,
it rises and thrums one long breathless staccato
and flutters and drifts on in dark aimless flight.

And yet it returns
to the flame, its delight,
as long as it burns.

This Vera Pavlova translation has over 250 results:

Shattered
by Vera Pavlova
loose translation/interpretation by Michael R. Burch

I shattered your heart;
now I limp through the shards
barefoot.



These Holocaust poem translations of Miklos Radnoti have over 200 results each:

Postcard 1
by Miklós Radnóti
loose translation by Michael R. Burch

Out of Bulgaria, the great wild roar of the artillery thunders,
resounds on the mountain ridges, rebounds, then ebbs into silence
while here men, beasts, wagons and imagination all steadily increase;
the road whinnies and bucks, neighing; the maned sky gallops;
and you are eternally with me, love, constant amid all the chaos,
glowing within my conscience―incandescent, intense.
Somewhere within me, dear, you abide forever―
still, motionless, mute, like an angel stunned to silence by death
or a beetle hiding in the heart of a rotting tree.



Postcard 2
by Miklós Radnóti
written October 6, 1944 near Crvenka, Serbia
loose translation by Michael R. Burch

A few miles away they're incinerating
the haystacks and the houses,
while squatting here on the fringe of this pleasant meadow,
the shell-shocked peasants sit quietly smoking their pipes.
Now, here, stepping into this still pond, the little shepherd girl
sets the silver water a-ripple
while, leaning over to drink, her flocculent sheep
seem to swim like drifting clouds.



Postcard 3
by Miklós Radnóti
loose translation by Michael R. Burch

The oxen dribble ****** spittle;
the men pass blood in their ****.
Our stinking regiment halts, a horde of perspiring savages,
adding our aroma to death's repulsive stench.



Postcard 4
by Miklós Radnóti
loose translation by Michael R. Burch

I toppled beside him―his body already taut,
tight as a string just before it snaps,
shot in the back of the head.
"This is how you’ll end too; just lie quietly here,"
I whispered to myself, patience blossoming from dread.
"Der springt noch auf," the voice above me jeered;
I could only dimly hear
through the congealing blood slowly sealing my ear.

This was his final poem, written October 31, 1944 near Szentkirályszabadja, Hungary. "Der springt noch auf" means something like "That one is still twitching."



This poetic tribute to Muhammad Ali has over 250 results:

Ali’s Song
by Michael R. Burch

They say that gold don’t tarnish. It ain’t so.
They say it has a wild, unearthly glow.
A man can be more beautiful, more wild.
I flung their medal to the river, child.
I flung their medal to the river, child.

They hung their coin around my neck; they made
my name a bridle, “called a ***** a *****.”
They say their gold is pure. I say defiled.
I flung their slave’s name to the river, child.
I flung their slave’s name to the river, child.

Ain’t got no quarrel with no Viet Cong
that never called me ******, did me wrong.
A man can’t be lukewarm, ’cause God hates mild.
I flung their notice to the river, child.
I flung their notice to the river, child.

They said, “Now here’s your bullet and your gun,
and there’s your cell: we’re waiting, you choose one.”
At first I groaned aloud, but then I smiled.
I gave their “future” to the river, child.
I gave their “future” to the river, child.

My face reflected up, dark bronze like gold,
a coin God stamped in His own image—BOLD.
My blood boiled like that river—strange and wild.
I died to hate in that dark river, child,
Come, be reborn in this bright river, child.

Originally published by Black Medina



This poem about US involvement in an ongoing Holocaust has over 200 results:

who, US?
by Michael R. Burch

jesus was born
a palestinian child
where there’s no Room
for the meek and the mild

... and in bethlehem still
to this day, lambs are born
to cries of “no Room!”
and Puritanical scorn ...

under Herod, Trump, Bibi
their fates are the same —
the slouching Beast mauls them
and WE have no shame:
“who’s to blame?”



This Ō no Yasumaro translation has over 200 results:

While you decline to cry,
high on the mountainside
a single stalk of plumegrass wilts.
―Ō no Yasumaro (circa 711), loose translation/interpretation by Michael R. Burch



These Sappho translations have over 200 results:

Sappho, fragment 156
loose translation by Michael R. Burch

She keeps her scents
in a dressing-case.
And her sense?
In some undiscoverable place.



Sappho, fragment 58
loose translation/interpretation by Michael R. Burch

Pain
drains
me
to
the
last
drop
.



This Parmenio translation has over 200 results:

Be ashamed, O mountains and seas,
that these valorous men lack breath.
Assume, like pale chattels,
an ashen silence at death.
—Michael R. Burch, after Parmenio



This original epigram has over 200 results:

Love is either wholly folly,
or fully holy.
—Michael R. Burch



Other poems, epigrams and translations with more than 100 results:



Hymn for Fallen Soldiers
by Michael R. Burch

Sound the awesome cannons.
Pin medals to each breast.
Attention, honor guard!
Give them a hero’s rest.
Recite their names to the heavens
Till the stars acknowledge their kin.
Then let the land they defended
Gather them in again.

When I learned there’s an American military organization, the DPAA (Defense/POW/MIA Accounting Agency) that is still finding and bringing home the bodies of soldiers who died serving their country in World War II, after blubbering like a baby, I managed to eke out this poem.



Nun Fun Undone
by Michael R. Burch

Abbesses’
recesses
are not for excesses!



pretty pickle
by michael r. burch

u’d blaspheme if u could
because ur God’s no good,
but of course u cant:
ur a lowly ant
(or so u were told by a Hierophant).



I, Too, Have a Dream
by Michael R. Burch writing as “The Child Poets of Gaza”

I, too, have a dream ...
that one day Jews and Christians
will see me as I am:
a small child, lonely and afraid,
staring down the barrels of their big bazookas,
knowing I did nothing
to deserve their enmity.



My Nightmare ...
by Michael R. Burch  writing as “The Child Poets of Gaza”

I had a dream of Jesus!
Mama, his eyes were so kind!
But behind him I saw a billion Christians
hissing "You're nothing!," so blind.



Multiplication, Tabled
by Michael R. Burch

(for the Religious Right)

“Be fruitful and multiply”—
great advice, for a fruitfly!
But for women and men,
simple Simons, say, “WHEN!”



Once fanaticism has gangrened brains
the incurable malady invariably remains.
—Voltaire, translation by Michael R. Burch



Snapshots
by Michael R. Burch

Here I scrawl extravagant rainbows.
And there you go, skipping your way to school.

And here we are, drifting apart
like untethered balloons.

Here I am, creating "art,"
chanting in shadows,
pale as the crinoline moon,
ignoring your face.

There you go,
in diaphanous lace,
making another man’s heart swoon.

Suddenly, unthinkably, here he is,
taking my place.



Indestructible, for Johnny Cash
by Michael R. Burch

What is a mountain, but stone?
Or a spire, but a trinket of steel?
Johnny Cash is gone,
black from his hair to his bootheels.

Can a man out-endure mountains’ stone
if his songs lift us closer to heaven?
Can the steel in his voice vibrate on
till his words are our manna and leaven?

Then sing, all you mountains of stone,
with the rasp of his voice, and the gravel.
Let the twang of thumbed steel lead us home
through these weary dark ways all men travel.

For what is a mountain, but stone?
Or a spire, but a trinket of steel?
Johnny Cash lives on—
black from his hair to his bootheels.



Wulf and Eadwacer
ancient Old English (Anglo-Saxon) poem, circa 990 AD
loose translation/interpretation by Michael R. Burch

My clan's curs pursue him like crippled game;
they'll rip him apart if he approaches their pack.
It is otherwise with us.

Wulf's on one island; we're on another.
His island's a fortress, fastened by fens. (fastened=secured)
Here, bloodthirsty curs howl for carnage.
They'll rip him apart if he approaches their pack.
It is otherwise with us.

My hopes pursued Wulf like panting hounds,
but whenever it rained—how I wept!—
the boldest cur clutched me in his paws:
good feelings for him, but for me loathsome!

Wulf, O, my Wulf, my ache for you
has made me sick; your seldom-comings
have left me famished, deprived of real meat.
Have you heard, Eadwacer? Watchdog!
A wolf has borne our wretched whelp to the woods.
One can easily sever what never was one:
our song together.

Hearthside
by Michael R. Burch

“When you are old and grey and full of sleep...” — W. B. Yeats

For all that we professed of love, we knew
this night would come, that we would bend alone
to tend wan fires’ dimming bars—the moan
of wind cruel as the Trumpet, gelid dew
an eerie presence on encrusted logs
we hoard like jewels, embrittled so ourselves.
The books that line these close, familiar shelves
loom down like dreary chaperones. Wild dogs,
too old for mates, cringe furtive in the park,
as, toothless now, I frame this parchment kiss.
I do not know the words for easy bliss
and so my shriveled fingers clutch this stark,
long-unenamored pen and will it: Move.
I loved you more than words, so let words prove.



Observance
by Michael R. Burch

Here the hills are old and rolling
casually in their old age;
on the horizon youthful mountains
bathe themselves in windblown fountains . . .

By dying leaves and falling raindrops,
I have traced time's starts and stops,
and I have known the years to pass
almost unnoticed, whispering through treetops . . .

For here the valleys fill with sunlight
to the brim, then empty again,
and it seems that only I notice
how the years flood out, and in . . .

This is an early poem that made me feel like a “real poet.” I remember writing it in the break room of the McDonald's where I worked as a high school student. I believe that was at age 17.



Discrimination
by Michael R. Burch

The meter I had sought to find, perplexed,
was ripped from books of "verse" that read like prose.
I found it in sheet music, in long rows
of hologramic CDs, in sad wrecks
of long-forgotten volumes undisturbed
half-centuries by archivists, unscanned.
I read their fading numbers, frowned, perturbed—
why should such tattered artistry be banned?
I heard the sleigh bells’ jingles, vampish ads,
the supermodels’ babble, Seuss’s books
extolled in major movies, blurbs for abs ...
A few poor thinnish journals crammed in nooks
are all I’ve found this late to sell to those
who’d classify free verse "expensive prose."

Originally published by The Chariton Review



Will There Be Starlight
by Michael R. Burch

Will there be starlight
tonight
while she gathers
damask
and lilac
and sweet-scented heathers?

And will she find flowers,
or will she find thorns
guarding the petals
of roses unborn?

Will there be starlight
tonight
while she gathers
seashells
and mussels
and albatross feathers?

And will she find treasure
or will she find pain
at the end of this rainbow
of moonlight on rain?



in-flight convergence
by Michael R. Burch

serene, almost angelic,
the lights of the city extend
over lumbering behemoths
shrilly screeching displeasure;
they say
that nothing is certain,
that nothing man dreams or ordains
long endures his command
here the streetlights that flicker
and those blazing steadfast
seem one: from a distance;
descend,
they abruptly
part ways,
so that nothing is one
which at times does not suddenly blend
into garish insignificance
in the familiar alleyways,
in the white neon flash
and the billboards of Convenience
and man seems the afterthought of his own Brilliance
as we thunder down the enlightened runways.

Originally published by The Aurorean and nominated for the Pushcart Prize


Pan
by Michael R. Burch

... Among the shadows of the groaning elms,
amid the darkening oaks, we fled ourselves ...
... Once there were paths that led to coracles
that clung to piers like loosening barnacles ...
... where we cannot return, because we lost
the pebbles and the playthings, and the moss ...
... hangs weeping gently downward, maidens’ hair
who never were enchanted, and the stairs ...
... that led up to the Fortress in the trees
will not support our weight, but on our knees ...
... we still might fit inside those splendid hours
of damsels in distress, of rustic towers ...
... of voices heard in wolves’ tormented howls
that died, and live in dreams’ soft, windy vowels ...



At Wilfred Owen’s Grave
by Michael R. Burch

A week before the Armistice, you died.
They did not keep your heart like Livingstone’s,
then plant your bones near Shakespeare’s. So you lie
between two privates, sacrificed like Christ
to politics, your poetry unknown
except for that brief flurry’s: thirteen months
with Gaukroger beside you in the trench,
dismembered, as you babbled, as the stench
of gangrene filled your nostrils, till you clenched
your broken heart together and the fist
began to pulse with life, so close to death.
Or was it at Craiglockhart, in the care
of “ergotherapists” that you sensed life
is only in the work, and made despair
a thing that Yeats despised, but also breath,
a mouthful’s merest air, inspired less
than wrested from you, and which we confess
we only vaguely breathe: the troubled air
that even Sassoon failed to share, because
a man in pieces is not healed by gauze,
and breath’s transparent, unless we believe
the words are true despite their lack of weight
and float to us like chlorine—scalding eyes,
and lungs, and hearts. Your words revealed the fate
of boys who retched up life here, gagged on lies.



Ebb Tide
by Michael R. Burch

Massive, gray, these leaden waves
bear their unchanging burden—
the sameness of each day to day
while the wind seems to struggle to say
something half-submerged planks at the mouth of the bay
might nuzzle limp seaweed to understand.
Now collapsing dull waves drain away
from the unenticing land;
shrieking gulls shadow fish through salt spray—
whitish streaks on a fogged silver mirror.
Sizzling lightning impresses its brand.
Unseen fingers scribble something in the wet sand.

Originally published by Southwest Review



At Once
by Michael R. Burch

Though she was fair,
though she sent me the epistle of her love at once
and inscribed therein love’s antique prayer,
I did not love her at once.
Though she would dare
pain’s pale, clinging shadows, to approach me at once,
the dark, haggard keeper of the lair,
I did not love her at once.
Though she would share
the all of her being, to heal me at once,
yet more than her touch I was unable bear.
I did not love her at once.
And yet she would care,
and pour out her essence ...
and yet—there was more!
I awoke from long darkness,
and yet—she was there.
I loved her the longer;
I loved her the more
because I did not love her at once.

Published by The Lyric, Romantics Quarterly and Grassroots Poetry



Chloe
by Michael R. Burch

There were skies onyx at night ... moons by day ...
lakes pale as her eyes ... breathless winds
******* tall elms; ... she would say
that we loved, but I figured we’d sinned.
Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray ...
all the light of that world softly dimmed.
Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.
What I found, I found lost in her face
while yielding all my virtue to her grace.

Originally published by Romantics Quarterly as “A Dying Fall”



The Wonder Boys
by Michael R. Burch

(for Leslie Mellichamp, the late editor of The Lyric,
who was a friend and mentor to many poets, and
a fine poet in his own right)

The stars were always there, too-bright cliches:
scintillant truths the jaded world outgrew
as baffled poets winged keyed kites—amazed,
in dream of shocks that suddenly came true . . .
but came almost as static—background noise,
a song out of the cosmos no one hears,
or cares to hear. The poets, starstruck boys,
lay tuned in to their kite strings, saucer-eared.
They thought to feel the lightning’s brilliant sparks
electrify their nerves, their brains; the smoke
of words poured from their overheated hearts.
The kite string, knotted, made a nifty rope . . .
You will not find them here; they blew away—
in tumbling flight beyond nights’ stars. They clung
by fingertips to satellites. They strayed
too far to remain mortal. Elfin, young,
their words are with us still. Devout and fey,
they wink at us whenever skies are gray.

Originally published by The Lyric



The Beat Goes On (and On and On and On ...)
by Michael R. Burch

Bored stiff by his board-stiff attempts
at “meter,” I crossly concluded
I’d use each iamb
in lieu of a lamb,
bedtimes when I’m under-quaaluded.

Originally published by Grand Little Things



Playmates
by Michael R. Burch

WHEN you were my playmate and I was yours,
we spent endless hours with simple toys,
and the sorrows and cares of our indentured days
were uncomprehended . . . far, far away . . .
for the temptations and trials we had yet to face
were lost in the shadows of an unventured maze.
Then simple pleasures were easy to find
and if they cost us a little, we didn't mind;
for even a penny in a pocket back then
was one penny too many, a penny to spend.
Then feelings were feelings and love was just love,
not a strange, complex mystery to be understood;
while "sin" and "damnation" meant little to us,
since forbidden cookies were our only lusts!
Then we never worried about what we had,
and we were both sure—what was good, what was bad.
And we sometimes quarreled, but we didn't hate;
we seldom gave thought to the uncertainties of fate.
Hell, we seldom thought about the next day,
when tomorrow seemed hidden—adventures away.
Though sometimes we dreamed of adventures past,
and wondered, at times, why things couldn't last.
Still, we never worried about getting by,
and we didn't know that we were to die . . .
when we spent endless hours with simple toys,
and I was your playmate, and we were boys.

This is probably the poem that "made" me, because my high school English teacher called it "beautiful" and I took that to mean I was surely the Second Coming of Percy Bysshe Shelley! "Playmates" is the second poem I remember writing; I believe I was around 13 or 14 at the time. It was originally published by The Lyric.



Lines for My Ascension
by Michael R. Burch

I.
If I should die,
there will come a Doom,
and the sky will darken
to the deepest Gloom.

But if my body
should not be found,
never think of me
in the cold ground.

II.
If I should die,
let no mortal say,
“Here was a man,
with feet of clay,
or a timid sparrow
God’s hand let fall.”
But watch the sky darken
to an eerie pall
and know that my Spirit,
unvanquished, broods,
and scoffs at quaint churchyards
littered with roods.

And if my body
should not be found,
never think of me
in the cold ground.

III.
If I should die,
let no man adore
his incompetent Maker:
Zeus, Yahweh, or Thor.
Think of Me as One
who never died—
the unvanquished Immortal
with the unriven side.

And if my body
should not be found,
never think of me
in the cold ground.

IV.
And if I should “die,”
though the clouds grow dark
as fierce lightnings rend
this bleak asteroid, stark ...
If you look above,
you will see a bright Sign—
the sun with the moon
in its arms, Divine.
So divine, if you can,
my bright meaning, and know—
my Spirit is mine.
I will go where I go.

And if my body
should not be found,
never think of me
in the cold ground.

Translations with more than 100 results and/or a high number of page views:

“Wulf and Eadwacer” translation
“Deor’s Lament” translation
“The Wife’s Lament” translation
“Whoso List to Hunt” by Sir Thomas Wyatt, translation
“The Eager Traveler” by Ahmad Faraz, translation
“Herbsttag” (“Autumn Day”) by Rainer Maria Rilke, translation
“Archaischer Torso Apollos” (“Archaic Torso of Apollo”) by Rainer Maria Rilke, translation
“Komm, Du” (“Come, You”) by Rainer Maria Rilke, translation
“Der Panther” (“The Panther”) by Rainer Maria Rilke, translation
“Liebes-Lied” (“Love Song”) by Rainer Maria Rilke, translation
“Das Lied des Bettlers” (“The Beggar’s Song”) by Rainer Maria Rilke, translation
Original poems with more than 100 results:
“Water and Gold”
“See”
“The Folly of Wisdom”
“The Effects of Memory”
“Finally to Burn: the Fall and Resurrection of Icarus”




Dream of Infinity
by Michael R. Burch

Have you tasted the bitterness of tears of despair?
Have you watched the sun sink through such pale, balmless air
that your soul sought its shell like a crab on a beach,
then scuttled inside to be safe, out of reach?

Might I lift you tonight from earth’s wreckage and damage
on these waves gently rising to pay the moon homage?
Or better, perhaps, let me say that I, too,
have dreamed of infinity... windswept and blue.

This poem was originally published by TC Broadsheet Verses. I was paid a whopping $10, my first cash payment. It was subsequently published by Piedmont Literary Review, Penny Dreadful, the Net Poetry and Art Competition, Songs of Innocence, Poetry Life & Times, Better Than Starbucks and The Chained Muse.



we did not Dye in vain!
by Michael R. Burch

from “songs of the sea snails”

though i’m just a slimy crawler,
my lineage is proud:
my forebears gave their lives
(oh, let the trumps blare loud!)
so purple-mantled Royals
might stand out in a crowd.

i salute you, fellow loyals,
who labor without scruple
as your incomes fall
while deficits quadruple
to swaddle unjust Lords
in bright imperial purple!

Notes: In ancient times the purple dye produced from the secretions of purpura mollusks (sea snails) was known as “Tyrian purple,” “royal purple” and “imperial purple.” It was greatly prized in antiquity, and was very expensive according to the historian Theopompus: “Purple for dyes fetched its weight in silver at Colophon.” Thus, purple-dyed fabrics became status symbols, and laws often prevented commoners from possessing them. The production of Tyrian purple was tightly controlled in Byzantium, where the imperial court restricted its use to the coloring of imperial silks. A child born to the reigning emperor was literally porphyrogenitos ("born to the purple") because the imperial birthing apartment was walled in porphyry, a purple-hued rock, and draped with purple silks. Royal babies were swaddled in purple; we know this because the iconodules, who disagreed with the emperor Constantine about the veneration of images, accused him of defecating on his imperial purple swaddling clothes!



Circe
by Michael R. Burch

She spoke
and her words
were like a ringing echo dying
or like smoke
rising and drifting
while the earth below is spinning.

She awoke
with a cry
from a dream that had no ending,
without hope
or strength to rise,
into hopelessness descending.

And an ache
in her heart
toward that dream, retreating,
left a wake
of small waves
in circles never completing.

Originally published by Romantics Quarterly



To Have Loved
by Michael R. Burch

"The face that launched a thousand ships ..."

Helen, bright accompaniment,
accouterment of war as sure as all
the polished swords of princes groomed to lie
in mausoleums all eternity ...

The price of love is not so high
as never to have loved once in the dark
beyond foreseeing. Now, as dawn gleams pale
upon small wind-fanned waves, amid white sails, ...

now all that war entails becomes as small,
as though receding. Paris in your arms
was never yours, nor were you his at all.
And should gods call

in numberless strange voices, should you hear,
still what would be the difference? Men must die
to be remembered. Fame, the shrillest cry,
leaves all the world dismembered.

Hold him, lie,
tell many pleasant tales of lips and thighs;
enthrall him with your sweetness, till the pall
and ash lie cold upon him.

Is this all? You saw fear in his eyes, and now they dim
with fear’s remembrance. Love, the fiercest cry,
becomes gasped sighs in his once-gallant hymn
of dreamed “salvation.” Still, you do not care

because you have this moment, and no man
can touch you as he can ... and when he’s gone
there will be other men to look upon
your beauty, and have done.

Smile―woebegone, pale, haggard. Will the tales
paint this―your final portrait? Can the stars
find any strange alignments, Zodiacs,
to spell, or unspell, what held beauty lacks?



NOVELTIES
by Thomas Campion
loose translation/interpretation by Michael R. Burch

Booksellers laud authors for novel editions
as pimps praise their ****** for exotic positions.



Nod to the Master
by Michael R. Burch

for the Divine Oscar Wilde

If every witty thing that’s said were true,
Oscar Wilde, the world would worship You!



A question that sometimes drives me hazy:
am I or are the others crazy?
—Albert Einstein, loose translation/interpretation by Michael R. Burch



This is love: to fly toward a mysterious sky,
to cause ten thousand veils to fall.
First, to stop clinging to life,
then to step out, without feet ...
—Rumi, loose translation/interpretation by Michael R. Burch



To live without philosophizing is to close one's eyes and never attempt to open them. – Rene Descartes, loose translation by Michael R. Burch



Stage Fright
by Michael R. Burch

To be or not to be?
In the end Hamlet
opted for naught.



I test the tightrope
balancing a child
in each arm.
—Vera Pavlova, loose translation/interpretation by Michael R. Burch



Brief Fling
by Michael R. Burch

“Epigram”
means cram,
then scram!



*******
by Michael R. Burch

You came to me as rain breaks on the desert
when every flower springs to life at once.
But joys are wan illusions to the expert:
the Bedouin has learned how not to want.



Love is either wholly folly,
or fully holy.
—Michael R. Burch



Intimations
by Michael R. Burch

Let mercy surround us
with a sweet persistence.

Let love propound to us
that life is infinitely more than existence.



Less Heroic Couplets: Marketing 101
by Michael R. Burch

Building her brand, she disrobes,
naked, except for her earlobes.



Villanelle of an Opportunist
by Michael R. Burch

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

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

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

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

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

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



She Always Grew Roses
by Michael R. Burch

for my grandmother, Lillian Lee

Tell us, heart, what the season discloses.
“Too little loved by the ego in its poses,
she always grew roses.”

What the heart would embrace, the ego opposes,
fritters away, and sometimes bulldozes.
Tell us, heart, what the season discloses.

“Too little loved by the ego in its poses,
she loved nonetheless, as her legacy discloses—
she always grew roses.”

How does one repent when regret discomposes?
When the shadow of guilt, at last, interposes?
Tell us, heart, what the season discloses.

“Too little loved by the ego in its poses,
she continued to love, as her handiwork shows us,
and she always grew roses.”

Too little, too late, the grieved heart imposes
its too-patient will as the opened book recloses.
Tell us, heart, what the season discloses.
“She always grew roses.”

The opened-then-closed book is a picture album. The season is late fall because it was in my autumn years that I realized I had written poems for everyone in my family except Grandma Lee. Hopefully it is never too late to repent and correct an old wrong.



Little Sparrow
by Michael R. Burch

for my petite grandmother, Christine Ena Hurt, who couldn’t carry a note, but sang her heart out with great joy, accompanied, I have no doubt, by angels

“In praise of Love and Life we bring
this sacramental offering.”
Little sparrow of a woman, sing!

What did she have? Hardly a thing.
A roof, plain food, and a tiny gold ring.
Yet, “In praise of Love and Life we bring

this sacramental offering.”
“Hosanna!” angel choirs ring.
Little sparrow of a woman, sing!

Whence comes this praise, as angels sing
to her tuneless voice? What of Death’s sting?
Yet, “In praise of Love and Life we bring

this sacramental offering.”
Let others have their stoles and bling.
Little sparrow of a woman, sing!

“In praise of Love and Life we bring
this sacramental offering
as the harps of beaming angels ring.
Little sparrow of a woman, sing!”



She is brighter than dawn
by Michael R. Burch

for Beth

There’s a light about her
like the moon through a mist:
a bright incandescence
with which she is blessed

and my heart to her light
like the tide now is pulled . . .
she is fair, O, and bright
like the moon silver-veiled.

There’s a fire within her
like the sun’s leaping forth
to lap up the darkness
of night from earth's hearth

and my eyes to her flame
like twin moths now are drawn
till my heart is consumed.
She is brighter than dawn.



Geraldine in her pj's
by Michael R. Burch

for Geraldine A. V. Hughes

Geraldine in her pj's
checks her security relays,
sits down armed with a skillet,
mutters, "Intruder? I'll **** it!"
Then, as satellites wink high above,
she turns to her poets with love.



Rag Doll
by Michael R. Burch, age 17

On an angry sea a rag doll is tossed
back and forth between cruel waves
that have marred her easy beauty
and ripped away her clothes.
And her arms, once smoothly tanned,
are gashed and torn and peeling
as she dances to the waters’
rockings and reelings.
     She’s a rag doll now,
     a toy of the sea,
     and never before
     has she been so free,
     or so uneasy.

She’s slammed by the hammering waves,
the flesh shorn away from her bones,
and her silent lips must long to scream,
and her corpse must long to find its home.
     For she’s a rag doll now,
     at the mercy of all
     the sea’s relentless power,
     cruelly being ravaged
     with every passing hour.

Her eyes are gone; her lips are swollen
shut to the pounding waves
whose waters reached out to fill her mouth
with puddles of agony.
Her limbs are limp; her skull is crushed;
her hair hangs like seaweed
in trailing tendrils draped across
a never-ending sea.
     For she’s a rag doll now,
     a worn-out toy
     with which the waves will play
     ten thousand thoughtless games
     until her bed is made.



Teddy Roosevelt spoke softly and carried a big stick; Donald Trump speaks loudly and carries a big shtick.—Michael R. Burch



Viral Donald (I)
by Michael R. Burch aka "The Loyal Opposition"

Donald Trump is coronaviral:
his brain's in a downward spiral.
His pale nimbus of hair
proves there's nothing up there
but an empty skull, fluff and denial.



Viral Donald (II)
by Michael R. Burch aka "The Loyal Opposition"

Why didn't Herr Trump, the POTUS,
protect us from the Coronavirus?
That weird orange corona of hair's an alarm:
Trump is the Virus in Human Form!

Keywords/Tags: Michael Burch, popular, most popular, best poems, viral poems, poetry, poetic expression, epigrams, epitaph, translation, translations, quotes, Google, Internet, journals, literary journals, blogs, social media, Facebook, Twitter, Instagram, Yahoo, international, mrbpop, mrbbest, mrbest

The Unicorn appeared from the Light
radiant, young and full of promise
her magical horn
shone bright in the sun,
mirrored the moon

She appeared from the light
to startled villagers
they could do naught but stare
enthralled by her magic and beauty

The village elder Elder reached out his Hand
overcome by joy, he couldn't resist
blinded by her exquisite beauty,
he couldn't help but reach to her
and reluctantly, the Unicorn moved forward
full of mistrust,
she took a chance...

But, unbeknownst to them
the Hunter was peering at her too –
through his rifle’s telescope!

The deafening boom
fell the Unicorn to the ground
and sent the villagers fleeing in panic

Into the Sacred circle
the Hunter stepped with muddy boots,
with his cruel Knife he cut her horn
then drank from her pure blood
as she lay on the ground
while her horn was a trophy
lost between a hundred others

The villagers tried with all their craft
to heal the Unicorn and restore her Life.
But her scars remained
her blood stayed cold
like marble, her heart hardened.

evermore the villagers lived
with the wounded Unicorn
who was filled with hate towards the Hunters
and ever she kicked
at the village Elder,
mistaking him as the Hunter

Yet, there is always Hope
while the Unicorn grazes
between the thorns and thistles
the Elder still prays and Hopes
that their magical Unicorn would be restored to them

no bison on the menu
at the Buffalo; this diner
never served it  

Big Mike, long gone
named it for the high shelf  
on the prairie behind it  

where Lakota learned
to stampede beasts over the edge, massacring
hordes without bow or sweat

the gully below,
their forgotten bone yard,
left little trace of them

save half a skull
Mike exhumed and hung on the wall
in the time of polio

before the wide whizzing interstates
when truckers still landed on his dusty lot  
their rolling behemoths content in pasture

in a new millennium, the cafe highway is but
an accidental detour; the shack guarded by thistles,
long departed the Detroit steel

the truckers now in the ground, their bones
free from pillage, but the Cyclops on the wall remains,
eyeing the vacant prairie they all once roamed