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Troublesome love . . .

will not let you sleep . . .

Sort of like a basketball game . . .

Questions are bounced mad and furiously
against the hard wood floor with only
more questions bouncing back .

Meanwhile someone is trying to steal
your dreams causing you to twist and turn distorting your image .

And you fight your way down
the court of life and toss your hopes and
dreams into the air and pray to God . . .
go in.
Holly Freeman Mar 2013
Darling dearest,

I know troublesome times lie ahead,
But never neglect yourself.

Beloved, your beauty radiates the room,
Like the sun does the sky,
The stars do the night,
And your smile does your eye.

Never neglect yourself or fail to realize just how loved you are.
I know troublesome times are upon you set at an overwhelming tempo,
But soon the tempo will slow,
And you will know what I know.

My darling dearest.

Copyright March 18, 2013
For a friend suffering from depression.
Lori Carlson Feb 2010
You troublesome *****, always away,
just when I need you the most,
off to Hawaii on holiday.

You bask in the sun, glorious day!
native *** you sip with a host;
you troublesome *****, always away.

All the pressure! My Life's in a fray.
Your note arrives through the post:
off to Hawaii on holiday.

I search in my mind, words just wont stay.
You're what? They're giving a toast!
You troublesome ***** always away.

Do you think it's a joke, a game we play?
You get to leave; you always boast:
I'm off to Hawaii on holiday!

O muse, it's the end, no more disarray!
Next time the pig won't be the roast.
You troublesome *****, always away,
off to Hawaii on holiday.
© 1994,  Iona Nerissa

All poetry under the names Lori Carlson or Iona Nerissa are the sole property of Lori Carlson.
Please seek permission before using any of my writings.
~Lori Carlson~
Shofi Ahmed Sep 2018
Bud of the winter dew on lips grow,
Snowy boughs surrounding began to unfold,
'Spring it shall flower' you must travel along, to see
When she will flower and in her very first glance,
Shall innovate the ether lapis-lazuli sky,
And the glamorous sun in her luminous dews,
She will cast her gaze towards the infinity,
And the veiled spring-night of tender full-moon,
With millions of star thriving, will be reflected upon;
She will whisper to the sleeping morning breeze,
And that will wake dancing the primrose's aroma,
Smoothly waving over the green meadows!

Who will let it be freely, purely, organic!
In whose innovate warm touch shall dissolve,
Poor winter's covering upon the earth,
Hence, once again green earth shall cast,
A glance to its vernal zenana,
Beneath the sunny sky wherein the air,
Shall sniff the aroma of the radiant rose,
And the birds shall tour around,
Singing the song of freedom!

Endure, yet she is beyond the gaze of the sky!
Now a season poor as she has flown away,
Gone to address the assembly of the Angels!
Therefore, accepting an invitation from the fairies,
To have a bath in their lotus-pool, prior to flight.
Hence, delighted fairies all flew to the palace,
To give the news to Queen Mab!

And soon a while after they return,
Around the pool, they greeted and sang,
The spring while she steps into the pool,
They sing and dance, hail the spring:

'The troublesome thorn mingled into itself,
The long ugly arm has collapsed pieces itself,
And the beauty has broken through!
Behold! The shining sun under her shadow!
The beauty by her grace fathomless,
Gorgeous she looks, rosy winsome!
Make all dance her awakening fragrance,
Tenderness she breaths, and caresses the bliss,
With a heart of endless love,
Vivifies the file, pleasant, dynamic!'

Meanwhile, the maid of honour came with the news,
They wanted to hear 'the Houris too shall join them.'
Yet they are flowering themselves alike as they gaze,
Upon the adoring scene of divine, winsome, paragon, fashions,
Impressionist hairs of the Queen of Paradise!
Where lay upon the Throne, and youthful streams,
Flowing, surrounded by, and canopied by the sky
Of glory garnished by the millions of the divine artisans!
There the sun care greatest and offers harvest lights,
And now, she comes to the streams, she shall swim.
Therein the never fading water-lily will please her sight,
She will listen to the divine birds of joyfulness,
Singing the songs of the blissful souls,
In the name of the all praiseworthy,
The perpetual Creator, Allah.
As she will innovate the songs,
And the innovative image of the eternal creations,
Will be bestowed upon the spring and all the houris,
Shall greet the spring as they will pour
Flowery rain over the fairies' pool!

Listen, the angels sing 'Lo, the spring, '
Again and again, as she dives into the fairie's pool,
And dips out up to the earth! See for yourself:
As youthful as ever with the sun shining on her forehead
And the day on her flowers, with her the earth is radiant
Her soil is perfumed, she belongs to paradise!
Madisen Kuhn Sep 2013
Here’s something you seldom hear: don’t always listen to your heart. Because if your heart is like mine, it’s often fickle and confused. Emotions aren’t always true, they may come and go with the wind. Feelings trick us into believing lies. You look in the mirror and feel inadequate. You hear something so many times that you start to believe it’s true. You take a situation and manipulate it till it’s something completely false. But it’s time you start listening to your head: you may not be in control of what you feel, but you are in control of how you handle those feelings. Look in the mirror and tell yourself, “I know I am beautiful.” Refuse to believe the lies. Remind yourself of your many wonderful qualities. Don’t read too far into things, take them as they are. Worrying doesn’t change tomorrow, it just makes today more troublesome. Decide to be happy. Decide to be okay. Don’t believe everything you feel.
A PLAY


BY



ALEXANDER   K   OPICHO









THE CASTE
1. Chenje – Old man, father of Namugugu
2. Namugugu – Son of Chenje
3. Nanyuli – daughter of Lusaaka
4. Lusaaka – Old man, father of Nanyuli
5. Kulecho – wife of Lusaaka
6. Kuloba – wife of Chenje
7. Paulina – Old woman, neighbour to Chenje.
8. Child I, II and III – Nanyuli’s children
9. Policeman I, II and III
10. Mourners
11. Wangwe – a widowed village pastor

















ACTING HISTORY
This play was acted two times, on 25th and 26th December 2004 at Bokoli Roman Catholic Church, in Bokoli sub- location of Bungoma County in the western province of Kenya. The persons who acted and their respective roles are as below;

Wenani Kilong –stage director
Alexander k Opicho – Namugugu
Judith Sipapali Mutivoko- Nanyuli
Saul Sampaza Mazika Khayongo- Wangwe
Paul Lenin Maondo- Lusaaka
Peter Wajilontelela-  Chenje
Agnes Injila -  Kulecho
Beverline Kilobi- Paulina
Milka Molola Kitayi- Kuloba
Then mourners, children and police men changed roles often. This play was successfully stage performed and stunned the community audience to the helm.













PLOT
Language use in this play is not based on Standard English grammar, but is flexed to mirror social behaviour and actual life as well as assumptions of the people of Bokoli village in Bungoma district now Bungoma County in Western province of Kenya.

























ACT ONE
Scene One

This scene is set in Bokoli village of Western Kenya. In Chenje’s peasant hut, the mood is sombre. Chenje is busy thrashing lice from his old long trouser Kuloba, sitting on a short stool looking on.

Chenje: (thrashing a louse) these things are stubborn! The lice. You **** all of them today, and then tomorrow they are all-over. I hate them.
Kuloba: (sending out a cloud of smoke through her tobacco laden pipe). Nowadays I am tired. I have left them to do to me whatever they want (coughs) I killed them they were all over in my skirt.
Chenje: (looking straight at Kuloba) Do you know that they are significant?
Kuloba: What do they signify?
Chenje: Death
Kuloba: Now, who will die in this home? I have only one son. Let them stop their menace.
Chenje: I remember in 1968, two months that preceded my father’s death, they were all over. The lice were in every of my piece of clothes. Even the hat, handkerchief. I tell you what not!
Kuloba: (nodding), Yaa! I remember it very well my mzee, I had been married for about two years by then.
Chenje: Was it two years?
Kuloba: (assuringly) yes, (spots a cockroach on the floor goes at it and crushes it with her finger, then coughs with heavy sound) we had stayed together in a marriage for two years. That was when people had began back-biting me that I was barren. We did not have a child. We even also had the jiggers. I can still remember.
Chenje: Exactly (crashes a louse with his finger) we also had jiggers on our feet.
Kuloba: The jiggers are very troublesome. Even more than the lice and weevils.  
Chenje: But, the lice and jiggers, whenever they infest one’s home, they usually signify impending death of a family member.
Kuloba: Let them fail in Christ’s name. Because no one is ripe for death in this home. I have lost my five children. I only have one child. My son Namugugu – death let it fail. My son has to grow and have a family also like children of other people in this village. Let whoever that is practicing evil machinations against my family, my only child fail.
Chenje: (putting on the long-trouser from which he had been crushing lice) let others remain; I will **** them another time.
Kuloba: You will never finish them (giggles)
Chenje: You have reminded me, where is Namugugu today? I have not seen him.
Kuloba: He was here some while ago.
Chenje: (spitting out through an open window) He has become of an age. He is supposed to get married so that he can bear grand children for me. Had I the grand children they could even assist me to **** lice from my clothes. (Enters Namugugu) Come in boy, I want to talk to you.
Kuloba: (jokingly) you better give someone food, or anything to fill the stomach before you engages him in a talk.
Namugugu: (looks, at both Chenje and Kuloba, searchingly then goes for a chair next to him)
Mama! I am very hungry if you talk of feeding me, I really get thrilled (sits at a fold-chair, it breaks sending him down in a sprawl).
Kuloba: (exclaims) wooo! Sorry my son. This chair wants to **** (helps him up)
Namugugu: (waving his bleeding hand as he gets up) it has injured my hand. Too bad!
Chenje: (looking on) Sorry! Dress your finger with a piece of old clothes, to stop that blood oozing out.
Namugugu: (writhing in pain) No it was not a deep cut. It will soon stop bleeding even without a piece of rag.
Kuloba: (to Namugugu) let it be so. (Stands) let me go to my sweet potato field. There are some vivies, I have not harvested, I can get there some roots for our lunch (exits)
Chenje: (to Namugugu) my son even if you have injured your finger, but that will not prevent me from telling you what I am supposed to.
Namugugu: (with attention) yes.
Chenje: (pointing) sit to this other chair, it is safer than that one of yours.
Namugugu: (changing the chair) Thank you.
Chenje: You are now a big person. You are no longer an infant. I want you to come up with your own home. Look for a girl to marry. Don’t wait to grow more than here. The two years you have been in Nairobi, were really wasted. You could have been married, may you would now be having my two grand sons as per today.
Namugugu: Father I don’t refuse. But how can I marry and start up a family in a situation of extreme poverty? Do you want me to start a family with even nothing to eat?
Chenje: My son, you will be safer when you are a married beggar than a wife- less rich-man. No one is more exposed as a man without a wife.
Namugugu: (looking down) father it is true but not realistic.
Chenje: How?
Namugugu: All women tend to flock after a rich man.
Chenje: (laughs) my son, may be you don’t know. Let me tell you. One time you will remember, maybe I will be already dead by then. Look here, all riches flock after married men, all powers of darkness flock after married men and even all poverty flock after married. So, it is just a matter of living your life.
(Curtains)
SCENE TWO

Around Chenje’s hut, Kuloba and Namugugu are inside the hut; Chenje is out under the eaves. He is dropping at them.
Namugugu: Mama! Papa wants to drive wind of sadness permanently into my sail of life. He is always pressurizing me to get married at such a time when I totally have nothing. No food, no house no everything. Mama let me actually ask you; is it possible to get married in such a situation?
Kuloba: (Looking out if there is any one, but did not spot the eaves-dropping Chenje).
Forget. Marriage is not a Whiff of aroma. My son, try marriage in poverty and you will see.
Namugugu: (Emotionally) Now, if Papa knows that I will not have a happy married life, in such a situation, where I don’t have anything to support myself; then why is he singing for my marriage?
Kuloba: (gesticulating) He wants to mess you up the way he messed me up. He married me into his poverty. I have wasted away a whole of my life in his poverty. I regret. You! (Pointing) my son, never make a mistake of neither repeating nor replicating poverty of this home into your future through blind marriage.
Namugugu: (Approvingly) yes Mama, I get you.

Kuloba: (Assertively) moreover, you are the only offspring of my womb             (touching her stomach) I have never eaten anything from you. You have never bought me anything even a headscarf alone. Now, if you start with a wife will I ever benefit anything from you?
Namugugu: (looking agog) indeed Mama.
Kuloba: (commandingly) don’t marry! Women are very many. You can marry at any age, any time or even any place. But it is very good to remember child-price paid by your mother in bringing you up. As a man my son, you have to put it before all other things in your life.
Namugugu: (in an affirmative feat) yes Mama.
Kuloba: It is not easy to bring up a child up to an age when in poverty. As a mother you really suffer. I’ve suffered indeed to bring you up. Your father has never been able to put food on the table. It has been my burden through out. So my son, pleased before you go for women remember that!
Namugugu: Yes Mama, I will.
(Enters Chenje)
Chenje: (to Kuloba) you old wizard headed woman! Why do you want to put    my home to a full stop?
Kuloba: (shy) why? You mean you were not away? (Goes out behaving shyly)

Chenje: (in anger to Namugugu) you must become a man! Why do you give your ears to such toxic conversations? Your mother is wrong. Whatever she has told you today is pure lies. It is her laziness that made her poor. She is very wrong to festoon me in any blame…. I want you to think excellently as a man now. Avoid her tricky influence and get married. I have told you finally and I will never repeat telling you again.

Namugugu: (in a feat of shyness) But Papa, you are just exploding for no good reason, Mama has told me nothing bad……………………
Chenje: (Awfully) shut up! You old ox. Remove your ears from poisonous mouths of old women!
(Enters Nanyuli with an old green paper bag in her hand. Its contents were bulging).
Nanyuli: (knocking) Hodii! Hodii!
Chenje: (calmly) come in my daughter! Come in.
Nanyuli: (entering) thank you.
Chenje: (to Namugugu) give the chair to our visitor.
Namugugu: (shyly, paving Nanyuli to sit) Karibu, have a sit please.
Nanyuli: (swinging girlishly) I will not sit me I am in a hurry.
Chenje: (to Nanyuli) just sit for a little moment my daughter. Kindly sit.
Nanyuli: (sitting, putting a paper-bag on her laps) where is the grandmother who is usually in this house?
Chenje: Who?
Nanyuli: Kuloba, the old grandmother.
Namugugu: She has just briefly gone out.
Chenje: (to Nanyuli) she has gone to the potato field and Cassava field to look for some roots for our lunch.
Nanyuli: Hmm. She will get.
Chenje: Yes, it is also our prayer. Because we’re very hungry.
Nanyuli: I am sure she will get.
Chenje: (to Nanyuli) excuse me my daughter; tell me who your father is?
Nanyuli: (shyly) you mean you don’t know me? And me I know you.
Chenje: Yes I don’t know you. Also my eyes have grown old, unless you remind
me, I may not easily know you.
Nanyuli: I am Lusaaka’s daughter
Chenje: Eh! Which Lusaka? The one with a brown wife? I don’t know… her name is Kulecho?
Nanyuli: Yes
Chenje: That brown old-mother is your mother?
Nanyuli: Yes, she is my mother. I am her first – born.
Chenje: Ooh! This is good (goes forward to greet her) shake my fore-limb my
daughter.

Nanyuli: (shaking Chenje’s hand) Thank you.
Chenje: I don’t know if your father has ever told you. I was circumcised the same year with your grand-gather. In fact we were cut by the same knife. I mean we shared the same circumciser.
Nanyuli: No, he has not yet. You know he is always at school. He never stays at home.
Chenje: That is true. I know him, he teaches at our mission primary school at Bokoli market.
Nanyuli: Yes.
Chenje: What is your name my daughter?
Nanyuli: My name is Loisy Nanyuli Lusaaka.
Chenje: Very good. They are pretty names. Loisy is a Catholic baptismal name, Nanyuli is our Bukusu tribal name meaning wife of an iron-smith and Lusaaka is your father’s name.
Nanyuli: (laughs) But I am not a Catholic. We used to go to Catholic Church upto last year December. But we are now born again, saved children of God. Fellowshipping with the Church of Holy Mountain of Jesus christ. It is at Bokoli market.
Chenje: Good, my daughter, in fact when I will happen to meet with your father, or even your mother the brown lady, I will comment them for having brought you up under the arm of God.
Nanyuli: Thank you; or even you can as well come to our home one day.
Chenje: (laughs) actually, I will come.
Nanyuli: Now, I want to go
Chenje: But you have not stayed for long. Let us talk a little more my daughter.
Nanyuli: No, I will not. I had just brought some tea leaves for Kuloba the old grandmother.
Chenje: Ooh! Who gave you the tea leaves?
Nanyuli: I do hawk tea leaves door to door. I met her last time and she requested me to bring her some. So I want to give them to you (pointing at Namugugu) so that you can give them to her when she comes.
Namugugu: No problem. I will.
Nanyuli: (takes out a tumbler from the paper bag, fills the tumbler twice, pours the tea leaves  into an old piece of  newspaper, folds and gives  it to Namugugu) you will give them to grandmother, Kuloba.
Namugugu: (taking) thank you.
Chenje: My daughter, how much is a tumbler full of tea leaves, I mean when it is full?
Nanyuli: Ten shillings of Kenya
Chenje: My daughter, your price is good. Not like others.
Nanyuli: Thank you.
Namugugu: (To Nanyuli) What about money, she gave you already?
Nanyuli: No, but tell her that any day I may come for it.
Namugugu: Ok, I will not forget to tell her
Nanyuli: I am thankful. Let me go, we shall meet another day.
Chenje: Yes my daughter, pass my regards to your father.
Nanyuli: Yes I will (goes out)
Chenje: (Biting his finger) I wish I was a boy. Such a good woman would never slip through my fingers.
Chenje: But father she is already a tea leaves vendor!
(CURTAINS)


SCENE THREE
Nanyuli and Kulecho in a common room Nanyuli and Kulecho are standing at the table, Nanyuli is often suspecting a blow from Kulecho, counting coins from sale of tea leaves; Lusaaka is sited at couch taking a coffee from a ceramic red kettle.


Kulecho: (to Nanyuli) these monies are not balancing with your stock. It is like you have sold more tea leaves but you have less money. This is only seventy five shillings. When it is supposed to be one hundred and fifty. Because you sold fifteen tumblers you are only left with five tumblers.
Nanyuli: (Fidgeting) this is the whole money I have, everything I collected from sales is here.
Kulecho: (heatedly) be serious, you stupid woman! How can you sell everything and am not seeing any money?
Nanyuli: Mama, this is the whole money I have, I have not taken your money anywhere.
Kulecho: You have not taken the money anywhere! Then where is it? Do you know that I am going to slap you!
Nanyuli: (shaking) forgive me Mama
Kulecho: Then speak the truth before you are forgiven. Where is the money you collected from tea leaves sales?
Nanyuli: (in a feat of shyness) some I bought a short trouser for my child.
Kulecho: (very violent) after whose permission? You old cow, after whose permission (slaps Nanyuli with her whole mighty) Talk out!
Nanyuli: (Sobbingly) forgive me mother, I thought you would understand. That is why I bought a trouser for my son with your money!
Lusaaka: (shouting a cup of coffee in his hand, standing charged) teach her a lesson, slap her again!
Kulecho (slaps, Nanyuli continuously, some times ******* her cheeks, as Nanyuli wails) Give me my money! Give me my money! Give me my money! Give me my money! You lousy, irresponsible Con-woman (clicks)
Lusaaka: Are you tired, kick the *** out of that woman (inveighs a slap towards Nanyuli) I can slap you!
Nanyuli: (kneeling, bowedly, carrying up her hands) forgive me father, I will never repeat that mistake again (sobs)
Lusaaka: An in-corrigible, ****!
Kulecho: (to Nanyuli) You! Useless heap of human flesh. I very much regret to have sired a sell-out of your type. It is very painful for you to be a first offspring of my womb.
I curse my womb because of you. You have ever betrayed me. I took you to school you were never thankful, instead you became pregnant. You were fertilized in the bush by peasant boys.
You have given birth to three childlings, from three different fathers! You do it in my home. What a shame! Your father is a teacher, how have you made him a laughing stock among his colleagues, teachers? I have become sympathetic to you by putting you into business. I have given you tea leaves to sell. A very noble occupation for a wretch like you. You only go out sell tea leaves and put the money in your wolfish stomach. Nanyuli! Why do you always act like this?
Nanyuli: (sobbing) Forgive me mother. Some tea leaves I sold on credit. I will come with the money today?
Kulecho: You sold on credit?
Nanyuli: Yes
Kul
this is a manuscript of a play, please guys help me get any publisher who can do publishing of this play
i  will appreciate. thanks
Though perception is interesting, how many was it really, wait, the joker never drank really? did he? ****, I forget. um, but I think I recall the riddler had , wait, maybe not. um,, way under the legal limit is below two , but did he, the joker, you know how he is. considering, wait, who was counting those things? what, one and what, oh ****. and we... what a **** this kat can be, wait, did he really, run the gauntlet just to show the world , oh ****, pull the skit, it is too rich, and he was spotted at the bank earlier speaking of laughing next time he visited. ****, writers and those skits. troublesome, and grrr, they forget to keep it clean. lol
PERSONIFICATIONS.

Boys.            Girls.
  January.                February.
  March.                  April.
  July.                   May.
  August.                 June.
  October.                September.
  December.               November.

  Robin Redbreasts; Lambs and Sheep; Nightingale and
  Nestlings.

  Various Flowers, Fruits, etc.

  Scene: A Cottage with its Grounds.


[A room in a large comfortable cottage; a fire burning on
the hearth; a table on which the breakfast things have
been left standing. January discovered seated by the
fire.]


          January.

Cold the day and cold the drifted snow,
Dim the day until the cold dark night.

                    [Stirs the fire.

Crackle, sparkle, *****; embers glow:
Some one may be plodding through the snow
Longing for a light,
For the light that you and I can show.
If no one else should come,
Here Robin Redbreast's welcome to a crumb,
And never troublesome:
Robin, why don't you come and fetch your crumb?


  Here's butter for my hunch of bread,
    And sugar for your crumb;
  Here's room upon the hearthrug,
    If you'll only come.

  In your scarlet waistcoat,
    With your keen bright eye,
  Where are you loitering?
    Wings were made to fly!

  Make haste to breakfast,
    Come and fetch your crumb,
  For I'm as glad to see you
    As you are glad to come.


[Two Robin Redbreasts are seen tapping with their beaks at
the lattice, which January opens. The birds flutter in,
hop about the floor, and peck up the crumbs and sugar
thrown to them. They have scarcely finished their meal,
when a knock is heard at the door. January hangs a
guard in front of the fire, and opens to February, who
appears with a bunch of snowdrops in her hand.]

          January.

Good-morrow, sister.

          February.

            Brother, joy to you!
I've brought some snowdrops; only just a few,
But quite enough to prove the world awake,
Cheerful and hopeful in the frosty dew
And for the pale sun's sake.

[She hands a few of her snowdrops to January, who retires
into the background. While February stands arranging
the remaining snowdrops in a glass of water on the
window-sill, a soft butting and bleating are heard outside.
She opens the door, and sees one foremost lamb, with
other sheep and lambs bleating and crowding towards
her.]

          February.

O you, you little wonder, come--come in,
You wonderful, you woolly soft white lamb:
You panting mother ewe, come too,
And lead that tottering twin
Safe in:
Bring all your bleating kith and kin,
Except the ***** ram.

[February opens a second door in the background, and the
little flock files through into a warm and sheltered compartment
out of sight.]

  The lambkin tottering in its walk
    With just a fleece to wear;
  The snowdrop drooping on its stalk
      So slender,--
  Snowdrop and lamb, a pretty pair,
  Braving the cold for our delight,
      Both white,
      Both tender.

[A rattling of doors and windows; branches seen without,
tossing violently to and fro.]

How the doors rattle, and the branches sway!
Here's brother March comes whirling on his way
With winds that eddy and sing.

[She turns the handle of the door, which bursts open, and
discloses March hastening up, both hands full of violets
and anemones.]

          February.

Come, show me what you bring;
For I have said my say, fulfilled my day,
And must away.

          March.

[Stopping short on the threshold.]

    I blow an arouse
    Through the world's wide house
  To quicken the torpid earth:
    Grappling I fling
    Each feeble thing,
  But bring strong life to the birth.
    I wrestle and frown,
    And topple down;
  I wrench, I rend, I uproot;
    Yet the violet
    Is born where I set
  The sole of my flying foot,

[Hands violets and anemones to February, who retires into
the background.]

    And in my wake
    Frail wind-flowers quake,
  And the catkins promise fruit.
    I drive ocean ashore
    With rush and roar,
  And he cannot say me nay:
    My harpstrings all
    Are the forests tall,
  Making music when I play.
    And as others perforce,
    So I on my course
  Run and needs must run,
    With sap on the mount
    And buds past count
  And rivers and clouds and sun,
    With seasons and breath
    And time and death
  And all that has yet begun.

[Before March has done speaking, a voice is heard approaching
accompanied by a twittering of birds. April comes
along singing, and stands outside and out of sight to finish
her song.]

          April.

[Outside.]

  Pretty little three
  Sparrows in a tree,
    Light upon the wing;
    Though you cannot sing
    You can chirp of Spring:
  Chirp of Spring to me,
  Sparrows, from your tree.

  Never mind the showers,
  Chirp about the flowers
    While you build a nest:
    Straws from east and west,
    Feathers from your breast,
  Make the snuggest bowers
  In a world of flowers.

  You must dart away
  From the chosen spray,
    You intrusive third
    Extra little bird;
    Join the unwedded herd!
  These have done with play,
  And must work to-day.

          April.

[Appearing at the open door.]

Good-morrow and good-bye: if others fly,
Of all the flying months you're the most flying.

          March.

You're hope and sweetness, April.

          April.

            Birth means dying,
As wings and wind mean flying;
So you and I and all things fly or die;
And sometimes I sit sighing to think of dying.
But meanwhile I've a rainbow in my showers,
And a lapful of flowers,
And these dear nestlings aged three hours;
And here's their mother sitting,
Their father's merely flitting
To find their breakfast somewhere in my bowers.

[As she speaks April shows March her apron full of flowers
and nest full of birds. March wanders away into the
grounds. April, without entering the cottage, hangs over
the hungry nestlings watching them.]

          April.

  What beaks you have, you funny things,
    What voices shrill and weak;
  Who'd think that anything that sings
    Could sing through such a beak?
  Yet you'll be nightingales one day,
    And charm the country-side,
  When I'm away and far away
    And May is queen and bride.

[May arrives unperceived by April, and gives her a kiss.
April starts and looks round.]

          April.

Ah May, good-morrow May, and so good-bye.

          May.

That's just your way, sweet April, smile and sigh:
Your sorrow's half in fun,
Begun and done
And turned to joy while twenty seconds run.
I've gathered flowers all as I came along,
At every step a flower
Fed by your last bright shower,--

[She divides an armful of all sorts of flowers with April, who
strolls away through the garden.]

          May.

And gathering flowers I listened to the song
Of every bird in bower.
    The world and I are far too full of bliss
    To think or plan or toil or care;
      The sun is waxing strong,
      The days are waxing long,
        And all that is,
          Is fair.

    Here are my buds of lily and of rose,
    And here's my namesake-blossom, may;
      And from a watery spot
      See here forget-me-not,
        With all that blows
          To-day.

    Hark to my linnets from the hedges green,
    Blackbird and lark and thrush and dove,
      And every nightingale
      And cuckoo tells its tale,
        And all they mean
          Is love.

[June appears at the further end of the garden, coming slowly
towards May, who, seeing her, exclaims]

          May.

Surely you're come too early, sister June.

          June.

Indeed I feel as if I came too soon
To round your young May moon
And set the world a-gasping at my noon.
Yet come I must. So here are strawberries
Sun-flushed and sweet, as many as you please;
And here are full-blown roses by the score,
More roses, and yet more.

[May, eating strawberries, withdraws among the flower beds.]

          June.

The sun does all my long day's work for me,
  Raises and ripens everything;
I need but sit beneath a leafy tree
    And watch and sing.

[Seats herself in the shadow of a laburnum.

Or if I'm lulled by note of bird and bee,
  Or lulled by noontide's silence deep,
I need but nestle down beneath my tree
    And drop asleep.

[June falls asleep; and is not awakened by the voice of July,
who behind the scenes is heard half singing, half calling.]

          July.

     [Behind the scenes.]

Blue flags, yellow flags, flags all freckled,
Which will you take? yellow, blue, speckled!
Take which you will, speckled, blue, yellow,
Each in its way has not a fellow.

[Enter July, a basket of many-colored irises slung upon his
shoulders, a bunch of ripe grass in one hand, and a plate
piled full of peaches balanced upon the other. He steals
up to June, and tickles her with the grass. She wakes.]

          June.

What, here already?

          July.

                  Nay, my tryst is kept;
The longest day slipped by you while you slept.
I've brought you one curved pyramid of bloom,

                        [Hands her the plate.

Not flowers, but peaches, gathered where the bees,
As downy, bask and boom
In sunshine and in gloom of trees.
But get you in, a storm is at my heels;
The whirlwind whistles and wheels,
Lightning flashes and thunder peals,
Flying and following hard upon my heels.

[June takes shelter in a thickly-woven arbor.]

          July.

  The roar of a storm sweeps up
    From the east to the lurid west,
  The darkening sky, like a cup,
    Is filled with rain to the brink;

  The sky is purple and fire,
    Blackness and noise and unrest;
  The earth, parched with desire,
      Opens her mouth to drink.

  Send forth thy thunder and fire,
    Turn over thy brimming cup,
  O sky, appease the desire
    Of earth in her parched unrest;
  Pour out drink to her thirst,
    Her famishing life lift up;
  Make thyself fair as at first,
      With a rainbow for thy crest.

  Have done with thunder and fire,
    O sky with the rainbow crest;
  O earth, have done with desire,
    Drink, and drink deep, and rest.

[Enter August, carrying a sheaf made up of different kinds of
grain.]

          July.

Hail, brother August, flushed and warm
And scatheless from my storm.
Your hands are full of corn, I see,
As full as hands can be:

And earth and air both smell as sweet as balm
In their recovered calm,
And that they owe to me.

[July retires into a shrubbery.]

          August.

  Wheat sways heavy, oats are airy,
    Barley bows a graceful head,
  Short and small shoots up canary,
    Each of these is some one's bread;
  Bread for man or bread for beast,
      Or at very least
      A bird's savory feast.

  Men are brethren of each other,
    One in flesh and one in food;
  And a sort of foster brother
    Is the litter, or the brood,
  Of that folk in fur or feather,
      Who, with men together,
      Breast the wind and weather.

[August descries September toiling across the lawn.]

          August.

My harvest home is ended; and I spy
September drawing nigh
With the first thought of Autumn in her eye,
And the first sigh
Of Autumn wind among her locks that fly.

[September arrives, carrying upon her head a basket heaped
high with fruit]


          September.

Unload me, brother. I have brought a few
Plums and these pears for you,
A dozen kinds of apples, one or two
Melons, some figs all bursting through
Their skins, and pearled with dew
These damsons violet-blue.

[While September is speaking, August lifts the basket to the
ground, selects various fruits, and withdraws slowly along
the gravel walk, eating a pear as he goes.]

      
Lunar Jun 2014
******
(noun)
1. any undesirable or troublesome plant, especially one that grows profusely where it is not wanted
2. a cigarette
3. ungainly person or animal

the weeds in the garden,
though sometimes unwanted,
sprout from the dirt yet full of life,
little in worth, yet lovely.

the weeds that we smoke,
dangerous to our health,
tasting bittersweet like memories
yet brings us short-lived ecstasy.

the **** of my life,
he was nothing but trouble
that brought about mirth
in my too-perfect garden;
he frustrated the people
who tended to me,
growing back into my life
every time they plucked him out.

unwanted but lovely.
dangerous but lively.
he was my whole definition of ****.
Who would not laugh, if Lawrence, hired to grace
His costly canvas with each flattered face,
Abused his art, till Nature, with a blush,
Saw cits grow Centaurs underneath his brush?
Or, should some limner join, for show or sale,
A Maid of Honour to a Mermaid’s tail?
Or low Dubost—as once the world has seen—
Degrade God’s creatures in his graphic spleen?
Not all that forced politeness, which defends
Fools in their faults, could gag his grinning friends.
Believe me, Moschus, like that picture seems
The book which, sillier than a sick man’s dreams,
Displays a crowd of figures incomplete,
Poetic Nightmares, without head or feet.

  Poets and painters, as all artists know,
May shoot a little with a lengthened bow;
We claim this mutual mercy for our task,
And grant in turn the pardon which we ask;
But make not monsters spring from gentle dams—
Birds breed not vipers, tigers nurse not lambs.

  A laboured, long Exordium, sometimes tends
(Like patriot speeches) but to paltry ends;
And nonsense in a lofty note goes down,
As Pertness passes with a legal gown:
Thus many a Bard describes in pompous strain
The clear brook babbling through the goodly plain:
The groves of Granta, and her Gothic halls,
King’s Coll-Cam’s stream-stained windows, and old walls:
Or, in adventurous numbers, neatly aims
To paint a rainbow, or the river Thames.

  You sketch a tree, and so perhaps may shine—
But daub a shipwreck like an alehouse sign;
You plan a vase—it dwindles to a ***;
Then glide down Grub-street—fasting and forgot:
Laughed into Lethe by some quaint Review,
Whose wit is never troublesome till—true.

In fine, to whatsoever you aspire,
Let it at least be simple and entire.

  The greater portion of the rhyming tribe
(Give ear, my friend, for thou hast been a scribe)
Are led astray by some peculiar lure.
I labour to be brief—become obscure;
One falls while following Elegance too fast;
Another soars, inflated with Bombast;
Too low a third crawls on, afraid to fly,
He spins his subject to Satiety;
Absurdly varying, he at last engraves
Fish in the woods, and boars beneath the waves!

  Unless your care’s exact, your judgment nice,
The flight from Folly leads but into Vice;
None are complete, all wanting in some part,
Like certain tailors, limited in art.
For galligaskins Slowshears is your man
But coats must claim another artisan.
Now this to me, I own, seems much the same
As Vulcan’s feet to bear Apollo’s frame;
Or, with a fair complexion, to expose
Black eyes, black ringlets, but—a bottle nose!

  Dear Authors! suit your topics to your strength,
And ponder well your subject, and its length;
Nor lift your load, before you’re quite aware
What weight your shoulders will, or will not, bear.
But lucid Order, and Wit’s siren voice,
Await the Poet, skilful in his choice;
With native Eloquence he soars along,
Grace in his thoughts, and Music in his song.

  Let Judgment teach him wisely to combine
With future parts the now omitted line:
This shall the Author choose, or that reject,
Precise in style, and cautious to select;
Nor slight applause will candid pens afford
To him who furnishes a wanting word.
Then fear not, if ’tis needful, to produce
Some term unknown, or obsolete in use,
(As Pitt has furnished us a word or two,
Which Lexicographers declined to do;)
So you indeed, with care,—(but be content
To take this license rarely)—may invent.
New words find credit in these latter days,
If neatly grafted on a Gallic phrase;
What Chaucer, Spenser did, we scarce refuse
To Dryden’s or to Pope’s maturer Muse.
If you can add a little, say why not,
As well as William Pitt, and Walter Scott?
Since they, by force of rhyme and force of lungs,
Enriched our Island’s ill-united tongues;
’Tis then—and shall be—lawful to present
Reform in writing, as in Parliament.

  As forests shed their foliage by degrees,
So fade expressions which in season please;
And we and ours, alas! are due to Fate,
And works and words but dwindle to a date.
Though as a Monarch nods, and Commerce calls,
Impetuous rivers stagnate in canals;
Though swamps subdued, and marshes drained, sustain
The heavy ploughshare and the yellow grain,
And rising ports along the busy shore
Protect the vessel from old Ocean’s roar,
All, all, must perish; but, surviving last,
The love of Letters half preserves the past.
True, some decay, yet not a few revive;
Though those shall sink, which now appear to thrive,
As Custom arbitrates, whose shifting sway
Our life and language must alike obey.

  The immortal wars which Gods and Angels wage,
Are they not shown in Milton’s sacred page?
His strain will teach what numbers best belong
To themes celestial told in Epic song.

  The slow, sad stanza will correctly paint
The Lover’s anguish, or the Friend’s complaint.
But which deserves the Laurel—Rhyme or Blank?
Which holds on Helicon the higher rank?
Let squabbling critics by themselves dispute
This point, as puzzling as a Chancery suit.

  Satiric rhyme first sprang from selfish spleen.
You doubt—see Dryden, Pope, St. Patrick’s Dean.
Blank verse is now, with one consent, allied
To Tragedy, and rarely quits her side.
Though mad Almanzor rhymed in Dryden’s days,
No sing-song Hero rants in modern plays;
Whilst modest Comedy her verse foregoes
For jest and ‘pun’ in very middling prose.
Not that our Bens or Beaumonts show the worse,
Or lose one point, because they wrote in verse.
But so Thalia pleases to appear,
Poor ******! ****** some twenty times a year!

Whate’er the scene, let this advice have weight:—
Adapt your language to your Hero’s state.
At times Melpomene forgets to groan,
And brisk Thalia takes a serious tone;
Nor unregarded will the act pass by
Where angry Townly “lifts his voice on high.”
Again, our Shakespeare limits verse to Kings,
When common prose will serve for common things;
And lively Hal resigns heroic ire,—
To “hollaing Hotspur” and his sceptred sire.

  ’Tis not enough, ye Bards, with all your art,
To polish poems; they must touch the heart:
Where’er the scene be laid, whate’er the song,
Still let it bear the hearer’s soul along;
Command your audience or to smile or weep,
Whiche’er may please you—anything but sleep.
The Poet claims our tears; but, by his leave,
Before I shed them, let me see ‘him’ grieve.

  If banished Romeo feigned nor sigh nor tear,
Lulled by his languor, I could sleep or sneer.
Sad words, no doubt, become a serious face,
And men look angry in the proper place.
At double meanings folks seem wondrous sly,
And Sentiment prescribes a pensive eye;
For Nature formed at first the inward man,
And actors copy Nature—when they can.
She bids the beating heart with rapture bound,
Raised to the Stars, or levelled with the ground;
And for Expression’s aid, ’tis said, or sung,
She gave our mind’s interpreter—the tongue,
Who, worn with use, of late would fain dispense
(At least in theatres) with common sense;
O’erwhelm with sound the Boxes, Gallery, Pit,
And raise a laugh with anything—but Wit.

  To skilful writers it will much import,
Whence spring their scenes, from common life or Court;
Whether they seek applause by smile or tear,
To draw a Lying Valet, or a Lear,
A sage, or rakish youngster wild from school,
A wandering Peregrine, or plain John Bull;
All persons please when Nature’s voice prevails,
Scottish or Irish, born in Wilts or Wales.

  Or follow common fame, or forge a plot;
Who cares if mimic heroes lived or not!
One precept serves to regulate the scene:
Make it appear as if it might have been.

  If some Drawcansir you aspire to draw,
Present him raving, and above all law:
If female furies in your scheme are planned,
Macbeth’s fierce dame is ready to your hand;
For tears and treachery, for good and evil,
Constance, King Richard, Hamlet, and the Devil!
But if a new design you dare essay,
And freely wander from the beaten way,
True to your characters, till all be past,
Preserve consistency from first to last.

  Tis hard to venture where our betters fail,
Or lend fresh interest to a twice-told tale;
And yet, perchance,’tis wiser to prefer
A hackneyed plot, than choose a new, and err;
Yet copy not too closely, but record,
More justly, thought for thought than word for word;
Nor trace your Prototype through narrow ways,
But only follow where he merits praise.

  For you, young Bard! whom luckless fate may lead
To tremble on the nod of all who read,
Ere your first score of cantos Time unrolls,
Beware—for God’s sake, don’t begin like Bowles!
“Awake a louder and a loftier strain,”—
And pray, what follows from his boiling brain?—
He sinks to Southey’s level in a trice,
Whose Epic Mountains never fail in mice!
Not so of yore awoke your mighty Sire
The tempered warblings of his master-lyre;
Soft as the gentler breathing of the lute,
“Of Man’s first disobedience and the fruit”
He speaks, but, as his subject swells along,
Earth, Heaven, and Hades echo with the song.”
Still to the “midst of things” he hastens on,
As if we witnessed all already done;
Leaves on his path whatever seems too mean
To raise the subject, or adorn the scene;
Gives, as each page improves upon the sight,
Not smoke from brightness, but from darkness—light;
And truth and fiction with such art compounds,
We know not where to fix their several bounds.

  If you would please the Public, deign to hear
What soothes the many-headed monster’s ear:
If your heart triumph when the hands of all
Applaud in thunder at the curtain’s fall,
Deserve those plaudits—study Nature’s page,
And sketch the striking traits of every age;
While varying Man and varying years unfold
Life’s little tale, so oft, so vainly told;
Observe his simple childhood’s dawning days,
His pranks, his prate, his playmates, and his plays:
Till time at length the mannish tyro weans,
And prurient vice outstrips his tardy teens!

  Behold him Freshman! forced no more to groan
O’er Virgil’s devilish verses and his own;
Prayers are too tedious, Lectures too abstruse,
He flies from Tavell’s frown to “Fordham’s Mews;”
(Unlucky Tavell! doomed to daily cares
By pugilistic pupils, and by bears,)
Fines, Tutors, tasks, Conventions threat in vain,
Before hounds, hunters, and Newmarket Plain.
Rough with his elders, with his equals rash,
Civil to sharpers, prodigal of cash;
Constant to nought—save hazard and a *****,
Yet cursing both—for both have made him sore:
Unread (unless since books beguile disease,
The P——x becomes his passage to Degrees);
Fooled, pillaged, dunned, he wastes his terms away,
And unexpelled, perhaps, retires M.A.;
Master of Arts! as hells and clubs proclaim,
Where scarce a blackleg bears a brighter name!

  Launched into life, extinct his early fire,
He apes the selfish prudence of his Sire;
Marries for money, chooses friends for rank,
Buys land, and shrewdly trusts not to the Bank;
Sits in the Senate; gets a son and heir;
Sends him to Harrow—for himself was there.
Mute, though he votes, unless when called to cheer,
His son’s so sharp—he’ll see the dog a Peer!

  Manhood declines—Age palsies every limb;
He quits the scene—or else the scene quits him;
Scrapes wealth, o’er each departing penny grieves,
And Avarice seizes all Ambition leaves;
Counts cent per cent, and smiles, or vainly frets,
O’er hoards diminished by young Hopeful’s debts;
Weighs well and wisely what to sell or buy,
Complete in all life’s lessons—but to die;
Peevish and spiteful, doting, hard to please,
Commending every time, save times like these;
Crazed, querulous, forsaken, half forgot,
Expires unwept—is buried—Let him rot!

  But from the Drama let me not digress,
Nor spare my precepts, though they please you less.
Though Woman weep, and hardest hearts are stirred,
When what is done is rather seen than heard,
Yet many deeds preserved in History’s page
Are better told than acted on the stage;
The ear sustains what shocks the timid eye,
And Horror thus subsides to Sympathy,
True Briton all beside, I here am French—
Bloodshed ’tis surely better to retrench:
The gladiatorial gore we teach to flow
In tragic scenes disgusts though but in show;
We hate the carnage while we see the trick,
And find small sympathy in being sick.
Not on the stage the regicide Macbeth
Appals an audience with a Monarch’s death;
To gaze when sable Hubert threats to sear
Young Arthur’s eyes, can ours or Nature bear?
A haltered heroine Johnson sought to slay—
We saved Irene, but half ****** the play,
And (Heaven be praised!) our tolerating times
Stint Metamorphoses to Pantomimes;
And Lewis’ self, with all his sprites, would quake
To change Earl Osmond’s ***** to a snake!
Because, in scenes exciting joy or grief,
We loathe the action which exceeds belief:
And yet, God knows! what may not authors do,
Whose Postscripts prate of dyeing “heroines blue”?

  Above all things, Dan Poet, if you can,
Eke out your acts, I pray, with mortal man,
Nor call a ghost, unless some cursed scrape
Must open ten trap-doors for your escape.
Of all the monstrous things I’d fain forbid,
I loathe an Opera worse than Dennis did;
Where good and evil persons, right or wrong,
Rage, love, and aught but moralise—in song.
Hail, last memorial of our foreign friends,
Which Gaul allows, and still Hesperia lends!
Napoleon’s edicts no embargo lay
On ******—spies—singers—wisely shipped away.
Our giant Capital, whose squares are spread
Where rustics earned, and now may beg, their bread,
In all iniquity is grown so nice,
It scorns amusements which are not of price.
Hence the pert shopkeeper, whose throbbing ear
Aches with orchestras which he pays to hear,
Whom shame, not sympathy, forbids to snore,
His anguish doubling by his own “encore;”
Squeezed in “Fop’s Alley,” jostled by the beaux,
Teased with his hat, and trembling for his toes;
Scarce wrestles through the night, nor tastes of ease,
Till the dropped curtain gives a glad release:
Why this, and more, he suffers—can ye guess?—
Because it costs him dear, and makes him dress!

  So prosper eunuchs from Etruscan schools;
Give us but fiddlers, and they’re sure of fools!
Ere scenes were played by many a reverend clerk,
(What harm, if David danced before the ark?)
In Christmas revels, simple country folks
Were pleased with morrice-mumm’ry and coarse jokes.
Improving years, with things no longer known,
Produced blithe Punch and merry Madame Joan,
Who still frisk on with feats so lewdly low,
’Tis strange Benvolio suffers such a show;
Suppressing peer! to whom each vice gives place,
Oaths, boxing, begging—all, save rout and race.

  Farce followed Comedy, and reached her prime,
In ever-laughing Foote’s fantastic time:
Mad wag! who pardoned none, nor spared the best,
And turned some very serious things to jest.
Nor Church nor State escaped his public sneers,
Arms nor the Gown—Priests—Lawyers—Volunteers:
“Alas, poor Yorick!” now for ever mute!
Whoever loves a laugh must sigh for Foote.

  We smile, perforce, when histrionic scenes
Ape the swoln dialogue of Kings and Queens,
When “Crononhotonthologos must die,”
And Arthur struts in mimic majesty.

  Moschus! with whom once more I hope to sit,
And smile at folly, if we can’t at wit;
Yes, Friend! for thee I’ll quit my cynic cell,
And bear Swift’s motto, “Vive la bagatelle!”
Which charmed our days in each ægean clime,
As oft at home, with revelry and rhyme.
Then may Euphrosyne, who sped the past,
Soothe thy Life’s scenes, nor leave thee in the last;
But find in thine—like pagan Plato’s bed,
Some merry Manuscript of Mimes, when dead.

  Now to the Drama let us bend our eyes,
Where fettered by whig Walpole low she lies;
Corruption foiled her, for she feared her glance;
Decorum left her for an Opera dance!
Yet Chesterfield, whose polished pen inveighs
‘Gainst laughter, fought for freedom to our Plays;
Unchecked by Megrims of patrician brains,
And damning Dulness of Lord Chamberlains.
Repeal that act! again let Humour roam
Wild o’er the stage—we’ve time for tears at home;
Let Archer plant the horns on Sullen’s brows,
And Estifania gull her “Copper” spouse;
The moral’s scant—but that may be excused,
Men go not to be lectured, but amused.
He whom our plays dispose to Good or Ill
Must wear a head in want of Willis’ skill;
Aye, but Macheath’s examp
Nikhil Batheja Oct 2012
I walk about in this yard... So far away from your heart... You were so easy to love... I guess that love wasn't enough...and now your gone and i wish i would have given you my everything... Killing my time... On the edge on the border line... I see the sunshine but its not on me... I see your love but its not for me... Yet i sit here all alone... Calling your phone... You answer it but i know you not alone... I knock my head on the wall.. Trying to forget it all... I wish i gave you my all... I see your picture on the wall... Troubled by your smile... We could have made it to the aisle... I stand in front of the Mirror with this Troublesome Smile...
gd Dec 2013
How troublesome it is trying to forget you.
Every twist, turn and shift
leads right back to your eyes,
which never seem to be looking back at mine.

I'm stuck in this pool of quicksand
filled to the rim with memories of seeing you,
feeling you, hearing you,
loving you.

In my head - like a flash of lighting or
Halley's Comet -
I beg and plead for a wish,
any wish in the moment to

guide me away
from the tormenting vivid doubts of my own mind
and lead me back into your arms.
But it never ends up that way;

what a troublesome act it is trying to forget you
when all I can see,
feel,
and hear

triggers the inner depths of my emotions;
the shallowness of my breaths;
my liquid stained eyes similar
to the stains of red and purple you once left on my neck,

and my gleaming pearly whites I flash for the cameras
who know nothing but my face -
contrary to the knowledge I have of you touch,
your stride, your lips on mine,
your scent hypnotic in such a troublesome way.

It truly is such a troublesome act trying to forget you,
when everything I've been left with
is sewn and threaded with reminders to
always remember.

- g.d.
Samuel Feb 2011
From my vantage point
This vast expanse of land
Bare of any soul save myself
Separates you from me
And the sky hangs over
As if to laugh at our plight

Billowing clouds, faint smiles
This is no place for a wanderer
No place for a thief
Who steals smiles from
Beneath mother's nose
No place for a liar
Who corrupts this peaceful scene
Flinging time bombs as an afterthought
To bring an end to light

No, I'm not entirely sure who belongs
In this place
I am nothing but a visitor here
Come to drink in the beauty
The stillness
And soon to depart
From the hole
In an otherwise
Troublesome world.
2011 Sam Dickinson
Katlyn Orthman Sep 2012
Why must you trouble my already aching heart, 
Why when I'm in the midst of  my happiness 
You must trample over it with your stampede of troublesome words 
Why must you control me with your
Heartbreaking speeches, 
Of how you have changed, 
Of how you can be better, 
But I've heard this many times before  
I will not fall for your pitiful attempts to pull me back into your deathly grip, 
I'm tired of these circling games, 
I'm done with your nonsense, 
So I bid you farewell
Anthony Williams Jul 2014
You're just a tiny bit minimalist in your own unique way
a white star I have to squint to see in daytime sky
not a Mercedes five point but a Nissan Micra car
you park neatly in a three point turn by my netsuke
and put a circular dent on my platonic furniture

Your two humble rooms devoid of any bold sculpture
except a fold-out table and a miniature bubble chair
and a futon for a bed which is troublesome to share
you draw the line at adornments but allow a wallflower

A bulb in a bowl is your ornamental garden feature
mealtimes a nibble on grated carrot celery cucumber
you run so long on empty you're an eco friendly teacher
stretching out the energy is a passion of my lover
engaging in lessons on sustaining a resourceful nature

Your shoes two pointe ballet slip ons easy to care
barely there g-string thin cotton underwear
nothing loud to upset your understated figure
slight as a pin drop your bottom's semi-derrière
sits so light on feet I'd swear you float on air

I rarely get to hear you come before you're in my hair
with a voice pitch high as a smitten kitten's purr
your upper reaches get a score sized single 'A'
nice when it fits into our schemes of feng shui

I carry your bundle home on the roadway rivers of light
yet you only burn one ray of candle power at night
born of scintillating atoms which flow along each vein
containing so much love without clutter in your frame
a brave star small as wings formed of minuscule wire
flutters in your eyes with minimal flare
but deep desire
by Anthony Williams
a bonsai has two elements, the tree and the container, and “once outside its flowerpot the tree ceases to be a bonsai.” Miniturization is not the defining feature of a bonsai; containment is, the strict boundary between the bonsai and the rest of nature. So, too, it was between her nature and mine.
Joseph S C Pope Jun 2013
There is nothing new under the sun, but it was night and the indifferent blinks of gaseous lives above looked down while my friends and I were at a new fast food joint that moved next to a now lonely Wendy's, with a faded sign tarnished by something the new fast food joint had yet to experience—mundanity by time. But I had my notebook with me while we ate outside, but it was in the car. My mind is always in that book, and I remembered something I had written for a novel in progress: 'Nothing is new under the sun. How is it possible to watch stars die? There is nothing new to their dust. We are the flies of the universes.'
It was just when I had finished my BBQ pork sandwich when Ariana suggested visiting a graveyard. I had the idea to visit a Satanist graveyard that our friend, Lanessa warned us against for the better safety of our sane souls—good luck with that. I wanted a revival of fear. How the beast would rip at the roof off our metal can of a car—the greater our barbarism, the greater our admiration and imagination—the less admiration and imagination, the greater our barbarism. But Ariana disagrees with words I never say, Nick laughs with my simple words to that previous thought. How funny it would be to burn eternal.
But then he suggested we should go to the Trussel in Conway. I had no idea or quote to think about to contribute to this idea. I wander, as I like to, into the possibility that his idea is a good one. Like some wanting hipster, I dress in an old t-shirt with of mantra long forgotten in the meaning of its cadence.
That is the march of men and women into the sea—honest, but forgetful and forgotten.
I was wearing a shirt sleeve on my head I bought from a mall-chain hippie store, and exercise shorts, finished off with skele-toes shoes. I was ready for everything and nothing at the same time. And that fits, I suppose. But all that does matter—and doesn't, but it is hard as hell to read the mind of a reader—it's like having a lover, but s/he doesn't know what s/he wants from you—selfish *******.
But there I was,  on the road, laughing in the back seat, sitting next to a girl who was tired, but also out of place. I could see she wanted to close arms of another, the voice of another, the truth that sits next to her while watching tv every time she comes over to hang with him, but never accepts that truth. She is a liar, but only to herself. How can she live with that? The world may never know.
The simple rides into things you've never done before give some of the greatest insight you could imagine, but only on the simple things that come full circle later. That is a mantra you can't print on a t-shirt, but if it ever is, I'm copyrighting it. And if it's not possible, I'll make it possible!
When we got to the Trussel, the scenic path lit by ornamented lamps seemed tame once I stepped onto the old railroad tracks. They were rusted and bruised by the once crushing value of trains rolling across it's once sturdy structure. Now they were old, charred by the night, and more than just some abandoned railroad bridge—the Trussel was a camouflage symbol birthed by the moment I looked into a Garfish's eye as it nibbled on my cork while I was on a fishing trip with my granddad when I was eleven. I remember that moment so well as the pale, olive green eye looked at me with a sort of seething iron imprint—I needed that fear, it branded instead of whispering that knowledge into my ears.
That moment epitomizes my fear of heights over water—what lies beneath to rip, restrain, devour, impale, and or distract me.
But epitomize is a horrible word. It reeks of undeveloped understanding. Yet  I want a nimble connection with something as great as being remembered—a breathe of air and the ideas  thought by my younger self, but I will never see or remember what I thought about when I was that young—only the summary of my acts and words. And by that nothing has changed—am I too afraid to say what I need to say? Too afraid to hear what everyone else hears? Or is it the truth—depravity of depravities that has no idea of its potential, so I am tired of the words that describe my shortcomings and unextended gasping hope. I am tired of living in the land of Gatsby Syndrome waiting for Takotsubo Cardiomyopathy!
But when we got to where the Trussel actually began I felt the fear hit like the day it was born—all hope was drained, and I was okay with abandoning all aspirations of having fun and being myself in the face of public criticism. I was flushed out by the weasel in my belly—the ******* beneath those still waters. I compare it to someone being able to handle Waterboarding, but can't handle being insulted—it's that kind of pathetic.
I stood just on the last understandably steady railroad ties that I knew were safe and watched my friends sit off the edge of the bridge, taking in the cold wonder of the night, and I was told at least I was smarter than my dead cousin who managed to get on top of his high school in the middle of the night, but had to be cohearsed down for fifteen minutes by a future marine, and future mourner who still grieves with a smile on his face.
The future mourner, he laughs at the times he insulted, or made fun of, or chilled with his now dead friend. It's never the bad times he cries about, there are none—just the good times, because they don't make them like they used to.
I watched them in that moment, and I don't know if I can deal with knowing my life is real. I began to blame my morality on this fear even though I already justified the fear just seconds before. But as I write this, I look over my notes and see something I wrote a few days ago: 'Life is ******* with  us right now. You laugh and I laugh, but we're still getting ******. The demon's in our face.'
As morbid as that comes off, it resonates some truth—what is killing us is going to **** us no matter what we do—and I don't want to be epitomized by the acts and words I didn't say.
I was never in the moment as a kid—I was raised by by old people and kept back by my younger siblings. The experienced tried to teach me wisdom, and the inexperienced kept my imagination locked in time. I don't want to go home as much now because I see that the inexperienced are becoming wiser everyday and the experienced are dying before my eyes. My idea of things is enduring leprosy.
But back to the simple moments.
Ariana saw a playground as she stood up and investigated the Trussel. It was next to the river, behind the church, fenced off by the fellowship of the church to keep the young ones in and the troublesome out. Of course, we didn't realize there was a gate and it was locked until Nick stated the probable obvious within ten feet of the nostalgic playground. And that's when Ariana pointed out the bugs swarming the parking lot outdoor lamp that blazed the fleshiness of our presences into dense shadows and more than likely caught the eye of a suspicious driver in a truck passing by. But I was still on the bridge—back in the past, never the moment. Me and my friends are still children inside these ***** forms. I muttered to myself: “Life ain't about baby steps.”
Nick looked over and asked what I said. I turned around, dramatic, like I always like to and repeated louder this time, “Life ain't about baby steps.”
He asked if I needed to do this alone, and I said he could come along. I walked rhythmically across the railroad ties, and heard Ariana comment that getting to the railroad up the small, steep hill was like being in the Marines. I laughed sarcastically. Nick and I had been to Parris Island before, and I know they test your possible fears, but they beat the living **** out of them.
I casually walk into the room where my fear lives and tell it to get the **** out.
When I reached the precipice of the last railroad tie I stood on before, I felt the old remind me that death awaited me, but there was no epic soundtrack or incredible action scene where I stab a manifestation of my fear in heart—a bit fun it might have been, but not the truth. I bear-crawled over the crossings of the ties and the structure of the bridge itself. I felt Relowatiphsy—an open-minded apathy self-made philosophical term—take over me. It is much simpler than it sounds.
There was no cold wonder as I imagined. There was just a bleak mirror of water below, a stiff curtain of trees that shadowed it, and the curiosity of what lies in the dark continuing distance past the Trussel.
Nick sat with me and we talked about women and fear, or at least I did, and I hoped he felt what I did—there was a force there that is nabbed by everyone, but cherished by few—courage. And I thank him for it, but I know I did it. Now I want to go and jump in that still water below—Ariana later says she's happy I got over my fear, but I'll probably have a harder time during the day when I can see what I'm facing, but I see it differently. During the day, the demons are stone and far away—like looking down the barrels of a double-barreled shotgun uncocked and unloaded, but at night is when the chamber is full and ready to go, and you have no idea who is holding the gun with their finger on the trigger and your destination in mind.
Then we threw rocks into the water in contest to see who could throw past the moonlight into the shadowy distance . I aimed for the water marker, and got the closest with limited footing, using just my arm strength. But it wasn't long before we had to leave, making fun of people who do cooler things than us, on the way to the car. I had to ride in the back seat again because I forgot to call shotgun. But on the way home, the idea popped in our heads what we should get my hooka and go to Broadway, and get the materials so we could smoke on the beach.
Nick's girlfriend and her friend joined us.
I missed a few puns against my co-worker as I was sent to get free water from the candy store where I work. I ended up doing a chore because I was taller than most of the people there. Appropriate enough, it was filling the water bottles up in the refrigerator.
All the while I loathed the fact that I would have to be clocked in tomorrow by two in the afternoon. I grabbed the water and got out of there as fast as possible without appearing to be in a hurry.
Impression of caring matters more than the actuality where I work—and yes, that makes me a miserable ****.
Perhaps it's not too late to admit I am recovering pyromaniac from my childhood and the flavoring we use for the taffy is extremely flammable. It would be a shame to drench the store in what people love to smell everyday when they walk in, and light the gas stove. Then, maybe I could walk away real cool-like as this pimple in this tourist acne town pops like the Hindenburg. The impression of splendor is like a phoenix—it grows old, dies, resurrects into the same, but apparently different form, spreads it's wings, and eats and ***** on everything simple, or presumably so.
I forget the name of the beach, but it was the best time I've had in a while. I was whimsy, and high on the vastness of the stretch of beach around us. They could bury us here. But me in particular. I rolled from the middle of the beach to the water, stood in the waves and shouted my phrase I coined when I realize something as wonderful as conquering a fear or realizing a dream;
--******' off!
And I stared at the horizon. My friends came up behind me and I looked back to see it was Nick and his girlfriend hugging. I gave a soft smile, put my hands in my pocket, and turned back to stare at the clouded horizon. What beasts must lie out there—more ferocious than the simple fresh water beings that wait beneath the earlier placid waters. I was a fool to think that was the worst. Nick said as I pondered all that, that I looked like Gatsby, and I tried to give him a smile that you may only see once in a lifetime, but I'm sure it failed.
I wanted to tell him that, “You cannot make me happy. It is usually the people who have no intention of making me happy that makes me smile the quickest.” But I don't. Let me be Gatsby, or Fitzgerald, if to no one else, but myself.

Hell is the deterioration of all that matters, and as the five of us sat around the hooka, and inhaled the thick blueberry flavored smoke that hinted at the taste of the Blueberry flavoring I use to make Blueberry taffy, there was a satirical realization that the coal used to activate the tobacco and flavor in the bowl is sparking like a firework, and reminds us all of where we're going.
It's a love affair between that hopelessness and hope of some destination we've only read about, but never seen.
By this point Nick and I are covered in sand, because he joined me in fun of rolling down the beach. We want so bad to be Daoists—nonchalant to the oblivion as we sit in. Just on the rifts of the tide, he and I scooped handfuls of wet sand, and I lost my fear of making sense and let Relowatiphsy take over again.
“Look at the sand in your hands. It can be molded to the shapes your hands make. We scoop it out of the surf and it falls through our fingers. There are things we're afraid of out there, and we sit just out reach of them, but within the grasp of their impressions. The sand falls through our fingers, and it plops into the tide, sending back up drops of water to hit our hands—the molders of our lives.” I said all that in hope against the hopelessness of being forgotten.
Then he said, “What if this is life? Not just the metaphor, but the act of holding sand in our hands.
I relish in his idea of wiping away my fear of an unimportant life. And by this point, it's safe to assume I live to relish ideas.

The last bit of sand from the last handful of sand was washed from my hand and I looked back at the clouded horizon, pitch black with frightful clouds and said:
“Nick, if I don't become a writer. If I live a life where I just convince myself everything's fine, and that dream will come true after I finish all the practical prep I 'must' do. I will **** myself.
I looked at him, Relowatiphsy in my heart, and he said:
“As a friend, I'd be sad, but I'd understand. But that means you have to literally fight for your life now—regardlessly.”
And he left me with those words. Just the same as my granddad left me a serious heed before he wanted to talk about something more cheerful, when I asked about his glory days fishing the Great *** Dee River. He said: “I wish I'd been here before the white man polluted the river. It would've been something to fish this water then”, then he paused to catch his breath, “Guess there are some things that stay, and others than go.” Then joy returned, as it always does.

But the idea of what was happening to me didn't hit me until we were a few miles away from the beach, covered in sand, but the potential of the night after conquering my fear of heights over water had been shed in the ocean.
Around midnight, when the headache from the cheap hooka smoke wore off and the mystic veil of the clouds over the horizon has been closed in by the condensation on the windows of some Waffle House in Myrtle Beach. There was a wave of seriousness that broke over my imagination. Works calls for me tomorrow by two.
There's not much vacationing when you live in a vacation town.
And midnight—the witching hour—spooks away the posers too afraid to commit to rage against the fear.
But there are others—college students that walk in and complain about the temperature of the eating establishment, and the lack of ashtrays—how they must be thinking of dining and dashing—running from a box, but forever locked in it.

They make annoying music as I write this. That is how they deal.
This one was the unedited version (if I make that sound naughty or euphemistic).
Evynne Aug 2013
There is a longing you feel
To know the whole universe
All of its secrets
All of its flaws
Everything
You think about it and wonder if it feels light or heavy
Or maybe even a paradoxical combination of both
But you will never know
Because you do not realize that you are the entire universe
You are all of its flaws
All of its beauties
All of its secrets, all of its wisdom
You are everything and everything is you
You are forever
And you need to be loved
Just as everything and everyone else needs love to survive

Look at the clouds above your home
Notice the way water forms differently on every single surface
Muster every single detail
Increase your awareness
And you will soon discover the secrets of the universe
And if you are feeling sad and quiet turn to your soul and acknowledge your humanness
Love your human nature
Realize it is precious and valuable
You do this and you will feel the soft and kind hand of the universe on your shoulder
You will feel its presence within you
And you'll look down at yourself laying and feeling hurt and hopeless
Slowly holding on to old feelings and new times
You will realize it is time to leave
So you go and you write as you feel that familiar ache all over your body
Resonating from deep within every single corner of your heart and soul

You glance outside of your window and see the green of the trees and revel in their magnificence and beauty
And in that moment you realize how immaculate existence is
So you take a deep breath as you take it all in
Your thoughts are very much alive and pulsating
And your arms tingle and your soul emits strong and powerful waves of unadulterated passion from within
Joy waits at your fingertips as you reach softly
You constantly taste past times of pain and hurt on your tongue
Violently brushing your teeth every night in hopes it will go away
But it is always there and may go away at times but it always comes back
A constant reminder of who you are and what you have come from

Sometimes when you walk your feet feel old and you think about how you haven't even lived an entire lifetime yet so how on earth can you feel so tired?
You wonder when you will actually stop waiting
When a strong ocean wind will knock you over
Cold and hard
And you'll gaze ahead of you with bleary eyes
Your head still in a state of shock
And you'll come closer and closer to the reason that was dug out from the deepest part of your insides
Until everything feels soft and you can stand again
And you'll look to the sky and forget all of the pain
And a small touch of hope will be born upon a tiny spot on the surface of your heart
Beating hard and lovely and powerful

You think of the rain and how it falls completely
You think about how you exist and how it is okay there is no more innocence and just as much loneliness
You realize you've got to keep your dreams alive
You are thinking quietly
Your thoughts are kissing the walls of your mind carefully
"Oh, how beautiful it is to be alive and aware!"
You say in your head
And you wish to meet your perfect heart in the stars
And feel all of the care and warmth as certain waves of truth and ardor crash into you
A tree of sure sadness looks down upon you
Saying you are clean and new and beautiful
And that
It is okay if you do not spend the majority of your days feeling sad and lost and lonely
Until a quiet reverie born from stardust clouds your mind
You feel the secret tingling on the outer parts of your mouth
And things are better and you feel closer
You are no longer searching
And words have always been a dear friend
You are able to realize that now
You used to be broken
For a long, long time
So of course it is going to be extremely difficult getting used to life without being broken beyond repair
A part of you will always be broken
You know that and you are okay with it
Finally you embrace it
There is an ease and comfort with the going of sorrow
And you wonder
How it can feel so wonderful when your bones are free and you feel happy in the deepest part of you
Because really, what are you doing?
WHAT ARE YOU DOING???
You are living and that is all
You are embracing life and all that you feel and it is okay and when it comes down to it, you really do love it
But sometimes your mind refuses to hear that
It shuts itself off from everything and all you can do is guess for why it happens like this
So you take those two horrid
But so essential
White pills
And you sleep and sleep
Never awakening until your alarm sounds
And your lids open
And your lips bring in fresh air to your lungs
Your mind and your heart are engulfed in peace and never are they apart
Together they are one with your soul
The sunlight starts to kiss your face and you start to think about the years you have been living
And how the voice inside of you has changed over those years and the ways it has touched your life

So here you are listening to music
Lonely and sweet
With a strange feeling in your chest as your stomach rests lightly on the surface of your bed
Barely moving, your hand somehow knows how to write without your mind really thinking
You have always held your pen tightly and a lot of great and loving and bright words are capable of surfacing
Maybe differently than before
But even so
Your veins still continuously pump blood throughout your body

You get up out of bed and stagger into your bathroom where you stare into the mirror and know you are supposed to see yourself staring right back but really
You see nothing
All the while knowing your face is sober looking
And your skin is browned and soothing with the beauty of summer's presence hard and golden on your surface
Feeling crazy, your eyes are locked to a spot consisting of nothingness
Void of any control
In a realm that is almost reaching fantasy
Tingling and alluring
So you look for the window
But then it is gone and you feel an aching that gets stronger as the walls close in on you
And you notice the kisses full of blood that set the earth on fire
And you breathe with fear as death sits on your windowsill
Should you reach for it or push it away?
To die or to help this weak and troublesome girl who is far too used to living in darkness and not only asks for but needs trust?

The leaves on the trees don't stay dead forever
Open your mind and your heart and drift away
Far, far away
Your soul lives and exists in every realm of consciousness
You are safe
Even as your secrets build like smoke
Like wandering rays beating down strong upon you
Conquering your emptiness instead of all of the happy thoughts that reside and are inevitably known and lovely and consisting of everything except for unwanted goodbyes
Your heart shines on what it needs
Easy and lovely
And mostly, it has it
Your heart is the sun that shines on his face and makes his own heart race in perfect synchronization with yours
He is something you take like black coffee or straight whiskey because it needs nothing more than what it is
Everything it is
Is enough and beautiful and enticing because of that
But their strength is the most admirable
The sunshine gets stronger throughout the day just as one gets stronger throughout their own life
Accumulating more and more understanding as certain parts are more inviting than others
And still, others escape stability and their reflections whisper on your flesh and send a sense of desire across your cheeks until they reach the middle of your being and are forgotten

You have come close to death many times before
But now it is distant
So you close your eyes as you lie on the itchy, flat floor of your room
And imagine all of those and all of which you have met in the darkness
Staring very surely at nothing in particular
The sound of your heartbeat grows quiet
Changing the bad into nothing but tugging memories
Making you leave true despair behind as you not only grasp, but accept, the endless tears on the sand

Your mind is wandering
Walking to places both near and far
Trying to piece together the point and meaning of past lovers
But that doesn't really matter because nature fully forces you to not only imagine
But realize
The beauty and point of the present that is filled with growing wisdom
So you sit with your back against the wall
And your stomach burns with purpose slightly surrounding nature and the moonlight
And bliss surfaces like cigarette smoke floating then disappearing but still always present in the air around you
And you understand the ruined and intense thoughts of your past and the blessings they have brought
And the pressure you feel on your heart as you admire the luster of the sun on the metal of the railings
And the branches laying in rest
Void of hurt
But listening to conversations harder and more difficult with time
Solid
But struggling entirely with magnitude
Lifeless beings in a sense
But the raindrops make their hearts ache
Beaming ultimately away from conformity until they become another entity compiled of lust and beauty
And as you walk
The grass is loud and green as the dead branches lie hot and broken in the caress of the ground
Void of hate
As you watch the darkness pull them in and swallow them whole
Wanted completely
Written on your flesh with self supposed anxiety
Your kisses are longer and drown in a sea of meaning as you pray with clenched teeth
You feel on your arm a peculiar force and questions, smooth but loud, utter desperately within you as
Heavy but gentle hope swirls like incense around your nose until your spirit is calm and pain is hidden
And you find yourself to be trapped in nothing less than gold and passion
And that is when things were easy again
So in all reality, this could be a lot of different poems combined into one. But for now, I am keeping the thing whole and together because that is how it was written. This was one of those things that manifested itself across nine handwritten pieces of paper with complete and utter ease. One of those things where I had no idea what I had written until after I had finished it and read through it. So pretty much, this is all raw and pure and true and honest in every single aspect. It came from deep within, subconsciously almost. Enjoy.
its troublesome still.
is it ever achievable?
in this lifetime,
scarcely.
I wish to attain it
unconditional love
but Im selfish and mostly want it for myself
to lay my head on your lap when I don't feel like being strong anymore
it's hard sometimes in hard times to convince myself its all going to be fine
when it's all so rough
the friction distills
strains.
kills.
it's troublesome still
to not have a place to rest my anxious head.
to rely on a God whom I can't feel
nor touch
even though I know you're there
it's troublesome still.
because I need some sort of touch
a stroke
so as to leave a coded memory
embroidered on my skin
as a constant reminder that
I am
in fact
not alone.
Joseph S C Pope Jun 2013
There is nothing new under the sun, but it was night and the indifferent blinks of gaseous lives above looked down while my friends and I were at a new fast food joint that moved next to a now lonely Wendy's, with a faded sign tarnished by something the new fast food joint had yet to experience—mundanity by time. But I had my notebook with me while we ate outside, but it was in the car. My mind is always in that book, and I remembered something I had written for a novel in progress: 'Nothing is new under the sun. How is it possible to watch stars die? There is nothing new to their dust. We are the flies of the universes.'
It was just when I had finished my BBQ pork sandwich when Ariana suggested visiting a graveyard. I had the idea to visit a Satanist graveyard that our friend, Lanessa warned us against for the better safety of our sane souls—good luck with that. I wanted a revival of fear. How the beast would rip at the roof off our metal can of a car—the greater our barbarism, the greater our admiration and imagination—the less admiration and imagination, the greater our barbarism. But Ariana disagrees with words I never say, Nick laughs with my simple words to that previous thought. How funny it would be to burn eternal.
But then he suggested we should go to the Trussel in Conway. I had no idea or quote to think about to contribute to this idea. I wander, as I like to, into the possibility that his idea is a good one. Like some wanting hipster, I dress in an old t-shirt with of mantra long forgotten in the meaning of its cadence.
That is the march of men and women into the sea—honest, but forgetful and forgotten.
I was wearing a shirt sleeve on my head I bought from a mall-chain hippie store, and exercise shorts, finished off with skele-toes shoes. I was ready for everything and nothing at the same time. And that fits, I suppose. But all that does matter—and doesn't, but it is hard as hell to read the mind of a reader—it's like having a lover, but s/he doesn't know what s/he wants from you—selfish *******.
But there I was,  on the road, laughing in the back seat, sitting next to a girl who was tired, but also out of place. I could see she wanted to close arms of another, the voice of another, the truth that sits next to her while watching tv every time she comes over to hang with him, but never accepts that truth. She is a liar, but only to herself. How can she live with that? The world may never know.
The simple rides into things you've never done before give some of the greatest insight you could imagine, but only on the simple things that come full circle later. That is a mantra you can't print on a t-shirt, but if it ever is, I'm copyrighting it. And if it's not possible, I'll make it possible!
When we got to the Trussel, the scenic path lit by ornamented lamps seemed tame once I stepped onto the old railroad tracks. They were rusted and bruised by the once crushing value of trains rolling across it's once sturdy structure. Now they were old, charred by the night, and more than just some abandoned railroad bridge—the Trussel was a camouflage symbol birthed by the moment I looked into a Garfish's eye as it nibbled on my cork while I was on a fishing trip with my granddad when I was eleven. I remember that moment so well as the pale, olive green eye looked at me with a sort of seething iron imprint—I needed that fear, it branded instead of whispering that knowledge into my ears.
That moment epitomizes my fear of heights over water—what lies beneath to rip, restrain, devour, impale, and or distract me.
But epitomize is a horrible word. It reeks of undeveloped understanding. Yet  I want a nimble connection with something as great as being remembered—a breathe of air and the ideas  thought by my younger self, but I will never see or remember what I thought about when I was that young—only the summary of my acts and words. And by that nothing has changed—am I too afraid to say what I need to say? Too afraid to hear what everyone else hears? Or is it the truth—depravity of depravities that has no idea of its potential, so I am tired of the words that describe my shortcomings and unextended gasping hope. I am tired of living in the land of Gatsby Syndrome waiting for Takotsubo Cardiomyopathy!
But when we got to where the Trussel actually began I felt the fear hit like the day it was born—all hope was drained, and I was okay with abandoning all aspirations of having fun and being myself in the face of public criticism. I was flushed out by the weasel in my belly—the ******* beneath those still waters. I compare it to someone being able to handle Waterboarding, but can't handle being insulted—it's that kind of pathetic.
I stood just on the last understandably steady railroad ties that I knew were safe and watched my friends sit off the edge of the bridge, taking in the cold wonder of the night, and I was told at least I was smarter than my dead cousin who managed to get on top of his high school in the middle of the night, but had to be cohearsed down for fifteen minutes by a future marine, and future mourner who still grieves with a smile on his face.
The future mourner, he laughs at the times he insulted, or made fun of, or chilled with his now dead friend. It's never the bad times he cries about, there are none—just the good times, because they don't make them like they used to.
I watched them in that moment, and I don't know if I can deal with knowing my life is real. I began to blame my morality on this fear even though I already justified the fear just seconds before. But as I write this, I look over my notes and see something I wrote a few days ago: 'Life is ******* with  us right now. You laugh and I laugh, but we're still getting ******. The demon's in our face.'
As morbid as that comes off, it resonates some truth—what is killing us is going to **** us no matter what we do—and I don't want to be epitomized by the acts and words I didn't say.
I was never in the moment as a kid—I was raised by by old people and kept back by my younger siblings. The experienced tried to teach me wisdom, and the inexperienced kept my imagination locked in time. I don't want to go home as much now because I see that the inexperienced are becoming wiser everyday and the experienced are dying before my eyes. My idea of things is enduring leprosy.
But back to the simple moments.
Ariana saw a playground as she stood up and investigated the Trussel. It was next to the river, behind the church, fenced off by the fellowship of the church to keep the young ones in and the troublesome out. Of course, we didn't realize there was a gate and it was locked until Nick stated the probable obvious within ten feet of the nostalgic playground. And that's when Ariana pointed out the bugs swarming the parking lot outdoor lamp that blazed the fleshiness of our presences into dense shadows and more than likely caught the eye of a suspicious driver in a truck passing by. But I was still on the bridge—back in the past, never the moment. Me and my friends are still children inside these ***** forms. I muttered to myself: “Life ain't about baby steps.”
Nick looked over and asked what I said. I turned around, dramatic, like I always like to and repeated louder this time, “Life ain't about baby steps.”
He asked if I needed to do this alone, and I said he could come along. I walked rhythmically across the railroad ties, and heard Ariana comment that getting to the railroad up the small, steep hill was like being in the Marines. I laughed sarcastically. Nick and I had been to Parris Island before, and I know they test your possible fears, but they beat the living **** out of them.
I casually walk into the room where my fear lives and tell it to get the **** out.
When I reached the precipice of the last railroad tie I stood on before, I felt the old remind me that death awaited me, but there was no epic soundtrack or incredible action scene where I stab a manifestation of my fear in heart—a bit fun it might have been, but not the truth. I bear-crawled over the crossings of the ties and the structure of the bridge itself. I felt Relowatiphsy—an open-minded apathy self-made philosophical term—take over me. It is much simpler than it sounds.
There was no cold wonder as I imagined. There was just a bleak mirror of water below, a stiff curtain of trees that shadowed it, and the curiosity of what lies in the dark continuing distance past the Trussel.
Nick sat with me and we talked about women and fear, or at least I did, and I hoped he felt what I did—there was a force there that is nabbed by everyone, but cherished by few—courage. And I thank him for it, but I know I did it. Now I want to go and jump in that still water below—Ariana later says she's happy I got over my fear, but I'll probably have a harder time during the day when I can see what I'm facing, but I see it differently. During the day, the demons are stone and far away—like looking down the barrels of a double-barreled shotgun uncocked and unloaded, but at night is when the chamber is full and ready to go, and you have no idea who is holding the gun with their finger on the trigger and your destination in mind.
Then we threw rocks into the water in contest to see who could throw past the moonlight into the shadowy distance . I aimed for the water marker, and got the closest with limited footing, using just my arm strength. But it wasn't long before we had to leave, making fun of people who do cooler things than us, on the way to the car. I had to ride in the back seat again because I forgot to call shotgun. But on the way home, the idea popped in our heads what we should get my hooka and go to Broadway, and get the materials so we could smoke on the beach.
Nick's girlfriend and her friend joined us.
I missed a few puns against my co-worker as I was sent to get free water from the candy store where I work. I ended up doing a chore because I was taller than most of the people there. Appropriate enough, it was filling the water bottles up in the refrigerator.
All the while I loathed the fact that I would have to be clocked in tomorrow by two in the afternoon. I grabbed the water and got out of there as fast as possible without appearing to be in a hurry.
Impression of caring matters more than the actuality where I work—and yes, that makes me a miserable ****.
Perhaps it's not too late to admit I am recovering pyromaniac from my childhood and the flavoring we use for the taffy is extremely flammable. It would be a shame to drench the store in what people love to smell everyday when they walk in, and light the gas stove. Then, maybe I could walk away real cool-like as this pimple in this tourist acne town pops like the Hindenburg. The impression of splendor is like a phoenix—it grows old, dies, resurrects into the same, but apparently different form, spreads it's wings, and eats and ***** on everything simple, or presumably so.
I forget the name of the beach, but it was the best time I've had in a while. I was whimsy, and high on the vastness of the stretch of beach around us. They could bury us here. But me in particular. I rolled from the middle of the beach to the water, stood in the waves and shouted my phrase I coined when I realize something as wonderful as conquering a fear or realizing a dream;
--******' off!
And I stared at the horizon. My friends came up behind me and I looked back to see it was Nick and his girlfriend hugging. I gave a soft smile, put my hands in my pocket, and turned back to stare at the clouded horizon. What beasts must lie out there—more ferocious than the simple fresh water beings that wait beneath the earlier placid waters. I was a fool to think that was the worst. Nick said as I pondered all that, that I looked like Gatsby, and I tried to give him a smile that you may only see once in a lifetime, but I'm sure it failed.
I wanted to tell him that, “You cannot make me happy. It is usually the people who have no intention of making me happy that makes me smile the quickest.” But I don't. Let me be Gatsby, or Fitzgerald, if to no one else, but myself.

Hell is the deterioration of all that matters, and as the five of us sat around the hooka, and inhaled the thick blueberry flavored smoke that hinted at the taste of the Blueberry flavoring I use to make Blueberry taffy, there was a satirical realization that the coal used to activate the tobacco and flavor in the bowl is sparking like a firework, and reminds us all of where we're going.
It's a love affair between that hopelessness and hope of some destination we've only read about, but never seen.
By this point Nick and I are covered in sand, because he joined me in fun of rolling down the beach. We want so bad to be Daoists—nonchalant to the oblivion as we sit in. Just on the rifts of the tide, he and I scooped handfuls of wet sand, and I lost my fear of making sense and let Relowatiphsy take over again.
“Look at the sand in your hands. It can be molded to the shapes your hands make. We scoop it out of the surf and it falls through our fingers. There are things we're afraid of out there, and we sit just out reach of them, but within the grasp of their impressions. The sand falls through our fingers, and it plops into the tide, sending back up drops of water to hit our hands—the molders of our lives.” I said all that in hope against the hopelessness of being forgotten.
Then he said, “What if this is life? Not just the metaphor, but the act of holding sand in our hands.
I relish in his idea of wiping away my fear of an unimportant life. And by this point, it's safe to assume I live to relish ideas.

The last bit of sand from the last handful of sand was washed from my hand and I looked back at the clouded horizon, pitch black with frightful clouds and said:
“Nick, if I don't become a writer. If I live a life where I just convince myself everything's fine, and that dream will come true after I finish all the practical prep I 'must' do. I will **** myself.
I looked at him, Relowatiphsy in my heart, and he said:
“As a friend, I'd be sad, but I'd understand. But that means you have to literally fight for your life now—regardlessly.”
And he left me with those words. Just the same as my granddad left me a serious heed before he wanted to talk about something more cheerful, when I asked about his glory days fishing the Great *** Dee River. He said: “I wish I'd been here before the white man polluted the river. It would've been something to fish this water then”, then he paused to catch his breath, “Guess there are some things that stay, and others than go.” Then joy returned, as it always does.

But the idea of what was happening to me didn't hit me until we were a few miles away from the beach, covered in sand, but the potential of the night after conquering my fear of heights over water had been shed in the ocean.
Around midnight, when the headache from the cheap hooka smoke wore off and the mystic veil of the clouds over the horizon has been closed in by the condensation on the windows of some Waffle House in Myrtle Beach. There was a wave of seriousness that broke over my imagination. Works calls for me tomorrow by two.
There's not much vacationing when you live in a vacation town.
And midnight—the witching hour—spooks away the posers too afraid to commit to rage against the fear.
But there are others—college students that walk in and complain about the temperature of the eating establishment, and the lack of ashtrays—how they must be thinking of dining and dashing—running from a box, but forever locked in it.

They make annoying music as I write this. That is how they deal with the inevitable death of the night. They bruise the air I breathe with love and faith and trust with no meaning—without even meaning it. But what do they know what I didn’t feel when I sat on that bridge or cowered on the fringes of the ocean? Their hands aren’t ***** like mine—their confidence does not seem fractured by these words that will never reach them, or their kids, or grandkids.
As day begins to move, I know I work at two and will be home by midnight again. The witching hour—where some stay and others go.
Hidden Oct 2018
making sure you could hear me
was never the problem
the problem

was being listened to

i needed to think less about
whether i’m being too
troublesome

and start thinking more about
what i can do to be
influential

i was born to leave
a big crater wherever i stand
a sign that i am just as thundering as you

i construct my words
to be deafening
to make your ears ring and your eyes water

i was taught to make my ideas
the thoughts you lust after
the kind that are both confident and emphatic

because its always better to be
powerful

than to be
voiceless
I decided because this page started off with such a sad note, some positivity was in order
Nat Lipstadt Aug 2018
a poem I didn’t plan: but a foot upon my shoulder
gave me no choice

if perfection came along regularly
we would not take note of this August Sunday

the breeze looks steady, blowing a firm few knots
making the waves rulers of the bay
without the necessity of troublesome whitecap shoutouts,
the sailboats muttering thankee

the kids dock jumping into the water so warm they shiver running on a warm summer day, 
 to home, where they do the coverup thing with hoodies and their Great Aunts white haired cozies blankets which appear in untold numbers,
one for everyone and don’t drip the cherry frozen sticks stains
from your tongue and lips

the sun temp modulated and moderate, a summer kiss farewell,
after weekend of thunderstorms and house shakings, it is sad for now
we recount the costly lost days unretrievable and
sky watching
for  naught

the waters inviting again come walk-upon me Island Poet,
to  see my new sea bottom treasures that the heavens, abetted by foolish men and children
have added to my storehouses of grains and pains

decline and recline for
Oh! have I not got one more weekend, to
close out that Melville tale^ and that is something one need not rush to complete

let me clarify - I am a Summer Man^^
and the summers sunsetting
is a ring around my chest that sings ever louder
nearer my god than thee;
now at the age where one only counts down to zero at double time
marching, eye straight

in this place where we - god and me - have sung and battled together
like good friend and peer,^^^
college roommate permanent enemies,
he keeps his teary rains in abeyance to remind that the coming of his schooner is
inevitable and to pack my poems in plastic for the journey
finale

Oh! how can perfect be so saddening but it is

my perfection days are minimizing and should not complain
for wrote many poems to day, unable to refuse my traveling muses
who summer with me, one upon each shoulder until god kicks them off, with a bossy look of
he’s more mine than yours

to make sure his presence acknowledged he
makes Pandora play Billie Holiday singing:
“I'll be seeing you
In every lovely summer's day
In everything that's light and gay
I'll always think of you that way

I'll find you in the morning sun
And when the night is new
I'll be looking at the moon
But I'll be seeing you”


subtle, right?

but who am I to complain
the razor thin difference tween
blessings and curses so thin
sometimes are they not the same thing

ne sont-ils pas les mêmes?


an unplanned poem
part of the plan
I am left gasping for air again
Laying on the ground
With a cigarette between my lips
Because the only way my lungs will open
Is with a cloud of smoke
My heart is obsessed with self destruction
Because it is my body that wants to die
Not my mind
That's the thing about depression
It's a deadly state of being
Not a troublesome emotion
Thank you Marlboro for giving me another day
You'll **** me slower than trying to breathe on my own
Cigarettes Can Really Save You Sometimes
Pete Marshall Feb 2010
Reflecting disdainfully, remembering painfully,

upsetting, annoying, troublesome

Bickering, sarcastic, disputing, bombastic,

arrogant, conceited, unwelcome

Fastidious relations, private fixations,

foreboding, disturbing resentment

Silently scheming, nobody weeping,

selfish, unblinking, TRIUMPHANT!
First Published on Authspot 12th Jan 2010
Ah, why, why is t'is desire still here, Vladimir?
T'is generous, yes, and unmistakable desire
to love thee, and imagine thee here-
fidgeting softly and so tenderly
within th' nourishing charms of my arms.
And thy bronze hair!
Swiftly moving away, along with thy own fantasy
as I rub my palm across its comeliness
and bestow a kiss on its fairness.
Oh, what a morbid, morbid image!
An image I should dream of not!
I am allowed not to love thee, allowed not!
For I am his already, and might just be his forever-
and thus to befriend all his mistakes,
bear all his troublesome resolutions,
and cheer and sheepishly flourish
in th' seemingly very occurrences of his triumphs.
And his days, Vladimir-are supposedly my ways,
my ways towards yon now unbearable fascination,
whose murky door is a key to fate, ah-
a fate to my mind, and assumed, t'ough dreaded, salvation.
But look, look how my conscience is burnt!
O, burnt upon thinking of leading t'is life-
and th' remnants of my thy age, without thee!
Burnt so atrociously together as it shalt be-
with my loitering delight, which lies just, tragically,
in th' layers of thy salubrious lips, and
th' very sole guiltlessness of thy blue eyes.
O, how immortal is its blueness, Vladimir-
in whom shalt never t'ere be mortal misery!
A mortal, mortal misery-
like yon one of t'at roaring seagull,
suffocating and out choking upon its first fly
over th' highlands next to th' sea
and behindst its deafening nightmare across th' sky
innocent and trembling, in such coldness,
without having but anywhere to lie;
meanwhile trampled along by th' sinister heaven
until its tower of love, and wreaths of wisdom, die.
But look at t'ose angels above 'im!
With paeans so eloquent and fulled by eagerness,
shalt t'ey sing above its eccentric grave-
ah, but only a grave of stateliness, and not 'is body
until wherein a touch of t'eir finger
wakes 'im back up, and resuscitates 'is rays of laughter
so t'at it celebrates forever eternity-
and in return, its very own eternity, forever.

And here I am-like a pale tree, standing *****
'mongst most of th' nightly valley-
animated with green light, and shapes of madness
in th' entirety of whose torso;
so t'at I wilt, with such a wildness in my heart,
hover over thee against in today's dreams,
and thy magic which is buried humbly in thy Moscow.
O, my Russian prince, for th' battles of my heart thou hath won
and from whose sarcasm thou hath shone.
I am drawn, drawn, hungrily-and selfishly, to thee!
And I caught thee, again, yesterday, behind th' bushes,
far not from th' rich forests and distant gravel paths,
waving at me, with a gentle smile on thy lips
defined t'ere so clearly, so young and free!
O, but cannot I declare t'at I love thee,
how sadly and tortuously!
Ah, for I am entwined with him only,
how thou but came late to my life-
oh, if only t'ose dreadful seconds hath but never existed!
Remorse, remorse, and accusations are but th' mere ones
t'at I deserve; and shalt forever just I preserve
for from thy love I canst never run;
and t'is ode shalt be meaningless and just fun
as to nature I wilt do harm
should I ever be swirled lost in thy charms.

Ah, Vladimir! I reckon thy love is as poisonous
as Eden's evil fruit; and soon I consumed my sight-
by peering up into thy eyes;
I caught th' sense of boyish starlight,
which lulled me t'en to a new sleep, all day and night.
Thy very mirth is to me laughs;
but thy sadness is to me tears.
But all thy touches are to me love;
and of which no-one shalt ever hear.
For thinking of thee is a sin, my love-
and a wound to him, and his course a fear.
How forbidden, forbidden thou art, to me!
But sadly I canst only love thee!
Oh, Vladimir, I doth love thee, with all th' strictness
and assurances t'at I might have-as all th' powers I may still save.
My Vladimir! And in th' afterlife,
with blossoms of snow in our cold Moscow
Might just we be t'ere for our tomorrow;
and cherish t'is end of our strained sorrow.

And just hath I always done,
'Tis time needed I retreatst from my poetry;
and faced, ah, faced t'is troublesome relapse
of my reality. Oh, t'ese wan, surreal chores!
And t'at knock on my door-which is insidiously
his, and his only.
But I shalt think of thee again, t'is evening-
and may just be more ever after,
with such an ardent thoughtfulness in my mind
and violent; as how is t'is craving, for making thee mine.
Nnaemeka Mokeme Jul 2018
Tell me what it is that you can't do,
or become,
tell me what it is
that is too insignificant to achieve.
Life is not worth throwing away
just to please certain people by
forgetting the truth and essence of life.
You don't want to die for another's believe.
Using your death to **** their assumed
enemy means you are one too.
Blowing up yourself is an abomination.
Anything unnatural that could cause
anyone's death is not worth anything.
Avoid it like a plague.
Hide yourselves from it's way,
when it comes with fury to meet you.
Close your ears from it's path,
as it uses subtle words to cajole you.
Guard your heart from the troublesome
tempest of it's bait as it keeps knocking
on your door to convince you,
using all kinds of manipulative
crafty intimidating tactical
techniques to woo you,
just to send you to your death.
Don't buy their ideas for it has nothing
to do with your vision.
Death awaits anyone who does not listen
to the secrets offered by wisdom.
It may look so strange and simple,
but it carries within it the age old beneficial
heart warming truth that has time tested
safe haven to keep you alive.
Heed to it's invitation to live.
Cowardice is not courage,
it's only an end to your beautiful life.
If there's truth in dying to prove your cause,
why are the initiators don't die
first to prove their case.
Can't you see that it's all for nothing.
Be wise and say no to their call.
Your lives matter.
©2018,Emeka Mokeme. All Rights Reserved.
Suicide bombing and the people who cajoled and confused them to **** themselves and others needs to stop.
anastasiad Dec 2016
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I'm such like a chemical equation.
May evening, 10 pm as the time stitch stick, I was ionized.

We were, perfectly just like Berilium and Sulfate combination did.

Slowly by time, it solved like a combustion struck by appearance of troublesome oxygen and we survived
whereas the beliefs evaporated like the hydrogen dioxide.

In the end, you won over it, finalized the equation by eliminating me both in left and right side.

Leaving me partially ionized, failed thermochemistry as the exothermic spread no waste and the enthalpy was hurt much more.
and without electron I lost.
Styles Feb 2017
Body of a goddess
her features the oddest
that’s what makes her the hottest
she thought she knew love
until I teach her what a God is
I'm a preacher and a prophet
so when I reach her, I won’t stop it
pretty little eyes, they make my eye-max.
Thick thick thighs,
she makes my high max
I won't stop it, until she prospers
take the good with the bad and all the rest of her orders
like a gentleman, I let her *** first, then I switch up the orders
then give her comfort like her thumb hurts

**** in a dress, real pretty in my extra long t-shirts
make her feel so good, she'll never feel hurt
lovers before friends
so when it all ends,
we'll be right back
to where we begins.

She’s so bad,
that when she’s good,
she's Bad.
I'm kinda wishing
she would.
One in trillion,
best of a chosen few.
*** her in a bad way
she loves it when I do it that way.
Choker on with some high heels
So **** she's
given me the best of views
couldn’t imagine it any better
if I did it wouldn't trues
angel in the streets
under the sheets
she's a sinner
No trick or treats
finger licking good
she will eat,
sum good lovin
for dinner,
And whine
the whole time
until I
finally
deliver.
Isabel met an enormous bear,
Isabel, Isabel, didn't care;
The bear was hungry, the bear was ravenous,
The bear's big mouth was cruel and cavernous.
The bear said, Isabel, glad to meet you,
How do, Isabel, now I'll eat you!
Isabel, Isabel, didn't worry.
Isabel didn't scream or scurry.
She washed her hands and she straightened her hair up,
Then Isabel quietly ate the bear up.
Once in a night as black as pitch
Isabel met a wicked old witch.
the witch's face was cross and wrinkled,
The witch's gums with teeth were sprinkled.
**, **, Isabel! the old witch crowed,
I'll turn you into an ugly toad!
Isabel, Isabel, didn't worry,
Isabel didn't scream or scurry,
She showed no rage and she showed no rancor,
But she turned the witch into milk and drank her.
Isabel met a hideous giant,
Isabel continued self reliant.
The giant was hairy, the giant was horrid,
He had one eye in the middle of his forhead.
Good morning, Isabel, the giant said,
I'll grind your bones to make my bread.
Isabel, Isabel, didn't worry,
Isabel didn't scream or scurry.
She nibled the zwieback that she always fed off,
And when it was gone, she cut the giant's head off.
Isabel met a troublesome doctor,
He punched and he poked till he really shocked her.
The doctor's talk was of coughs and chills
And the doctor's satchel bulged with pills.
The doctor said unto Isabel,
Swallow this, it will make you well.
Isabel, Isabel, didn't worry,
Isabel didn't scream or scurry.
She took those pills from the pill concocter,
And Isabel calmly cured the doctor.
fragile Dec 2013
I looked around your room
And saw a  poem
Saying you were the troublesome ****
That no one really wanted.
And all I could think was,
if you were the unwanted ****,
Than I am the grass
That no one pays attention to.
Always trying to grow as tall as I can go,
Just to be cut back down again.  
Never being appreciated.

And you may be the troublesome **** darling,
But I am the child always thinking
you are the most beautiful flower in the garden.
Jacobo Raymundo Jan 2013
Flabbergasted, the whale wails
Lonely upon the sea drifting ever apart
A sole ****** raises his tired sails
Forever trapped in solitary solace

Winds warping the canvas
While ominous clouds encroach
The salty breeze stinging his taste
A bitterness within the calm

Peace drowns with the fury
That the storm has yet to bring
Fear not, creature of the sea
The troublesome life is far from over

Another night trashing about
The rock and the roll of the bow
A lullaby to a tired soul
Slowly rocking to dreamless sleep
An odd view of a seemingly simple poem... the ****** is actually dead. he is in his afterlife (though neither heaven nor hell). he lived a life forever wanting a girl he could never have and thus is drifting off at sea with nothing more around him than the call of a lonely whale.
Tatiana Jun 2019
They read our unlabeled books
laughing every second
our minds erupt
©Tatiana

how troublesome it is to be judged
.
.
.
Check out the other poems in this mini series I wrote
https://hellopoetry.com/poem/3198382/looks-****/
https://hellopoetry.com/poem/3198466/peace/
https://hellopoetry.com/poem/3198472/my-friend/
YoungSymba Jun 2015
Give yourself to me with no reservations and acknowledge that the lack of obstacles that hold us distance is the significance of why we worth a try
And who knows we might just meant to be.


Mentally this is troublesome to me.
But the steps that I've decided to be taking-maybe-hasty and result to a chest that's empty.
But then again with that said I've given my heart away--to you.
May it remain safe.
PH Apr 2015
perpetual expeditions amidst this hazy twilight,
periwinkled vistas ensnaring me in

buzzzzzzzzzzzz
the sound penetrates my ear drum

black and yellow rabble-rouser
this rambunctious little menace

a pomegranate
eternally ripe, giving me life

gilled, scaled, underwater creature
emerging from the deep, boundless rift

two tantalizing tigers
troublesome, treacherous

and she laid there—
undisturbed, unaware

jabbed in her side by a M1903 Springfield
soothed state rattled, shattered

wincing from the poke of the blunt end of the gun
the sleeping lady slept no more

poor fellows,
how were they supposed to hold on to it without opposable thumbs?
  
the distressed damsel appeared grotesque,
flailing and fidgeting at the sight of her surroundings

surface rocking beneath my feat,
my trusty elephant’s weak ankles shattering my already shattered stability

i had no more time for such nonsenses
buzzing sounds burned deep into my psyche

the soft-spoken horizon called out to me
calling for me to continue on into the enigmatic expanse
Colleen Brown Oct 2014
When two people, so different in taste, look at each other from across the dance floor, a secret sparks out of their eyes like electric rays of romantic notation. Words have yet to be exchanged, but the slow steps towards one another make time slow to an unearthly crawl. Those dancing are nothing more than hues of grey, for the two ash-stricken lovers cannot see more than those they are attracted to. Hearts pound to a rhythm that can no longer be found within the upbeats of the swaying samba. As she longs to be in his arms, he stops only inches in front, his breath caught in his throat. The increasing amount of love being released from just his simplistic gaze makes her want to run as far as she can. With him of course, though it is not a realistic approach to the turmoil surrounding their troublesome secret. A secret that increases as he gently slides his fingers against her cheek, resting the palm of his hand on the back of her neck. Feeling the contrasting temperatures of the cool evening and her racing heartbeat, her head begins to get foggy with the vision of love that is shortly about to engulf her every fiber. The kiss, so gentle and sweet, brings back the times of innocence that was not thwarted by the interruption of time and changed lives. If only they could run away…
I feel like discussing the movie that inspired this would desensitize the raw emotions behind it. Nevertheless, it is The Great Gatsby. The movie that has my feelings wrapped around every line, regardless of how many times I've seen it.
Every single madness is in my soul,
and fires like t'ose of a tempestuous sea-
are but raging within me;
scratching and tearing
t'is faith of mine so badly
Behind t'ese livid; and torpid
Dull afternoon airs.
Ah, stupid reasons, please go away-
and stun thy own flimsy day
But leave every one of thy bright promise
about thee;
Oh, just here-yet eternally-
everything t'at is as superb
as t'is often-hated hysterical world.
But only th' ones with humbleness!
And before thou retreat-imbue my soul
with silky greatness once more;
As I shalt salute thy carelessness
No matter what shalt happen
But steal not my love out of me;
let him stay like t'at and sleep by me
Until our tales come and greet
Unmarred evenness
And I; dare to spread my sore heart lazily
Under yon distant umbrella
of our oblivious heavens.

I hath the volition to touch th' stars,
And perhaps dream, dream highly
all over again
Of regaining thy love,
and rolling suspiciously
about and into thy waiting arms,
under our liberated celestial blankets
of clouds and its surfaceless haze.
Which might now and then smirk at us;
But before our ignorance rigidly
retreat away; and vanish pallidly into
its own threads
of prim; but unforgivable vanity.
Ah! I shalt but forever dream again
of all yon awesomeness,
and insist on devouring th' tasteful
Ye' immortal madness of thy princedom.
I imagine thy touches-and t'ose feverish scents
of thy fingers, and lavish hands
Free of boredom, but tainted with wisdom
And being sunk deeply in thy justice
Which insofar as it hath been enabled-
been hovering deafeningly in and about me.
Ah! I shalt be th' first one, and maiden
Who maketh thy irresoluteness decisive,
and turneth thy doubtful precisions
once more submissive!
I shalt become thy torch, and lips,
and guiding star!
I shalt bear thy ******,
and be thy own earthly phantom;
Be with me shalt be thy candlelight;
which is as strong as envious daylight
and by whom I shalt remove thy fright
As far as my dreams go with th' night
And visit and fend for thee
In thy portrait
and thy invigorating dreams.
I shalt be thy surprise;
and be a companion to thy delight
As how I shalt seek
and glory in thy pleasure;
Be lost in thy pride
and feel merciful to be thy treasure
I shalt deprave thy greed of its life
and make to thy grave,
one most beloved, and conspicuous wife.
Ah, thou art too striking!
Thy stunning voice fills me with madness-
and shakes my spines from head to toe,
But kills my sorrow and burns my sadness,
cleanses up my sins and blesses me anew.
Thou befriendeth my pride;
and my atrocious passion;
thou listeneth to my heart
and rinseth tears off its horizon.

Ah! So no wonder now
My madness loses its pride-
Overriding pride, t'at at times
becomes pregnant with such arrogance
So t'at despised it is, even by divine spies
sent down to t'is earth by majestic Lord.
What a delight within me it is to see thee-
and watch another brimful
of thy laughter-ah; thou art as captivating
as a little red-cheeked boy
Who sanguinely greeted me
Down th' farms
With a flow of madly auburn hair,
and smiles as agreeable
as t'at morn's bashful sunny air.
Ah, thou, who art even more adorable
than t'is lurid poem of mine;
stained with th' red colour-as it is,
of my own madness-and a tenacious judgment
of my senses,
T'ese merry dreams of thee are but too vicious
As they make me sweet-unbearably sweet,
in th' entire course
Of yon upcoming flirtatious night;
and tease me most whenst I'm awake
with loving chills so painstakingly crafted
about my face.
O, my lover!
My equanimious, long-sought, and
Sagitarius lover!
Thy naive, but sweet-spirited soul,
is as cheerful and frank;
but troublesome and scanty still
And within one terrific; yet ubiquitous
blink of th' hungered eye
Thou shalt sweep and slay away again;
my rigid; whilst disconcerted, charms.
And so how is at heart I am dreamily-
ye' desperately dedicated to thee;
Though far I am from thee-
as how thou defiantly-from me;
And so never may we sing-or argue in unison;
To utter neither choruses; nor grouped ballads
of marriage;
Dreams are but our sole tower and maze;
And morns all over th' earth, our single haste.

And such! Such a gaze of thine
Is addictive to me like white whine
For 'tis forever my melancholy tyranny;
In my selfish world-full of picturesque indignation
And its dearest remorse
and tranquil superfluity.
Birds t'at never fly;
And lilies t'at might not die-
ah, so after all cautious,
but in every way immortal-like thee;
Snoring and aging in thy deathless foreverness;
In which there art profoundly thou and I-
And I with my repentant dead soul
Unfreed yet of its cherry-like buds
Reeking of fascinated; yet disheartened
Longings; and horrors t'at
Unrevealed love canst soullessly take
Out its mortal mouth and sunless tongue-
From which my dissatisfied spirit
ain't bound ever to jump and awake.

Ah, but after all-all t'is suffering
and disruptive madness,
My corrupted freedom all along
shalt find justice
And whole confidentiality
In thy soul;
So t'at let me feel lethargic on thy shoulder
And rest my dishevelled mind for a while.
Perhaps, thou could let me sing t'at silent song
Whilst our dear God fixes everything
t'at hath gone wrong;
and imaginations and joy
t'at have been thrown away
shalt find every single way back of theirs
Into th' secure cage of love, within our souls.
Ah, and betwixt thy indolence
Shalt I laugh again;
For th' at length victories and images
so startling,
and pictures I am thankful of;
for they were formed so adequately
by thy stupendous name.
Ah, and immortality-yes, so which
shalt always be thy name;
With such frame and glory
trapped so idly within whose frame-
Like an odd; but fruitful summer game;
Within which I shalt ever thrive,
and civilly flourish;
Just like in thy love I shalt grow and live
And to our very last breath, rejoice.
Mike Hauser Apr 2013
My Mamma cried
When she'd heard what I'd done
My Daddy went back inside
And he grabbed his gun

I'd met a ******* the other side of town
Of course I am white and of course she is brown
I don't rightly care cause we're both in love
And I ain't gonna let her suffer none

We's from Birmingham
Down South Birmingham Alabama you see
If'in you must know the year
I'd say a shameful 1963

There was unrest amongst the people
Which was bad enough
But it was doubly troublesome
On our taboo love

Deep segregation kept our worlds apart
Something the youth of the day couldn't see
Outside color don't matter, it's what's in the heart
That's the hold she has over me

Not really sure things have changed all that much
Though it's our nature to want to pretend
I'm not much into caring what others might think
Sometimes you gotta stand up like a man

I'm telling this tale from my front porch swing
As I listen to my Grandchildren's playful screams
While holding hands rocking back and forth
My lovely brown skinned beauty and me

— The End —