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Hyder Nov 2012
Perfection
The subjection of one’s interjections
Based on the world
The world of today
Can you change what you think
What others have to say

Were interconnected but not in connection
With a convection of perfection that inhibits rejection
Or constant correction of certain parts or sections
That people fail to mention for their own protection
Believing a misconception to gain desired affection
Wasting their discretion for a false obsession
Thoughts of concession and encouraging suppression
This is just one dissection of perfection
It is but one path, one direction
But this should lead to many other questions

What about succession from the term perfection?
Is it needed to drive people to higher ascension?
Maybe one day society can undergo a social resurrection
Where creed, religion, race, freedom are not held in contention
No more crimes, no need for detention
Everyone is happy, no more thoughts of depression
Everyone can be comfortable with their own reflection

Hopefully this dissection can leave a lasting impression
And drive home the need for a universal intervention
To stop and think what it means strive for perfection
For you may have it wrong upon further inspection
Mean while the heinous and despiteful act
Of Satan, done in Paradise; and how
He, in the serpent, had perverted Eve,
Her husband she, to taste the fatal fruit,
Was known in Heaven; for what can ’scape the eye
Of God all-seeing, or deceive his heart
Omniscient? who, in all things wise and just,
Hindered not Satan to attempt the mind
Of Man, with strength entire and free will armed,
Complete to have discovered and repulsed
Whatever wiles of foe or seeming friend.
For still they knew, and ought to have still remembered,
The high injunction, not to taste that fruit,
Whoever tempted; which they not obeying,
(Incurred what could they less?) the penalty;
And, manifold in sin, deserved to fall.
Up into Heaven from Paradise in haste
The angelick guards ascended, mute, and sad,
For Man; for of his state by this they knew,
Much wondering how the subtle Fiend had stolen
Entrance unseen.  Soon as the unwelcome news
From Earth arrived at Heaven-gate, displeased
All were who heard; dim sadness did not spare
That time celestial visages, yet, mixed
With pity, violated not their bliss.
About the new-arrived, in multitudes
The ethereal people ran, to hear and know
How all befel:  They towards the throne supreme,
Accountable, made haste, to make appear,
With righteous plea, their utmost vigilance
And easily approved; when the Most High
Eternal Father, from his secret cloud,
Amidst in thunder uttered thus his voice.
Assembled Angels, and ye Powers returned
From unsuccessful charge; be not dismayed,
Nor troubled at these tidings from the earth,
Which your sincerest care could not prevent;
Foretold so lately what would come to pass,
When first this tempter crossed the gulf from Hell.
I told ye then he should prevail, and speed
On his bad errand; Man should be seduced,
And flattered out of all, believing lies
Against his Maker; no decree of mine
Concurring to necessitate his fall,
Or touch with lightest moment of impulse
His free will, to her own inclining left
In even scale.  But fallen he is; and now
What rests, but that the mortal sentence pass
On his transgression,—death denounced that day?
Which he presumes already vain and void,
Because not yet inflicted, as he feared,
By some immediate stroke; but soon shall find
Forbearance no acquittance, ere day end.
Justice shall not return as bounty scorned.
But whom send I to judge them? whom but thee,
Vicegerent Son?  To thee I have transferred
All judgement, whether in Heaven, or Earth, or Hell.
Easy it may be seen that I intend
Mercy colleague with justice, sending thee
Man’s friend, his Mediator, his designed
Both ransom and Redeemer voluntary,
And destined Man himself to judge Man fallen.
So spake the Father; and, unfolding bright
Toward the right hand his glory, on the Son
Blazed forth unclouded Deity: He full
Resplendent all his Father manifest
Expressed, and thus divinely answered mild.
Father Eternal, thine is to decree;
Mine, both in Heaven and Earth, to do thy will
Supreme; that thou in me, thy Son beloved,
Mayest ever rest well pleased.  I go to judge
On earth these thy transgressours; but thou knowest,
Whoever judged, the worst on me must light,
When time shall be; for so I undertook
Before thee; and, not repenting, this obtain
Of right, that I may mitigate their doom
On me derived; yet I shall temper so
Justice with mercy, as may illustrate most
Them fully satisfied, and thee appease.
Attendance none shall need, nor train, where none
Are to behold the judgement, but the judged,
Those two; the third best absent is condemned,
Convict by flight, and rebel to all law:
Conviction to the serpent none belongs.
Thus saying, from his radiant seat he rose
Of high collateral glory: Him Thrones, and Powers,
Princedoms, and Dominations ministrant,
Accompanied to Heaven-gate; from whence
Eden, and all the coast, in prospect lay.
Down he descended straight; the speed of Gods
Time counts not, though with swiftest minutes winged.
Now was the sun in western cadence low
From noon, and gentle airs, due at their hour,
To fan the earth now waked, and usher in
The evening cool; when he, from wrath more cool,
Came the mild Judge, and Intercessour both,
To sentence Man:  The voice of God they heard
Now walking in the garden, by soft winds
Brought to their ears, while day declined; they heard,
And from his presence hid themselves among
The thickest trees, both man and wife; till God,
Approaching, thus to Adam called aloud.
Where art thou, Adam, wont with joy to meet
My coming seen far off?  I miss thee here,
Not pleased, thus entertained with solitude,
Where obvious duty ere while appeared unsought:
Or come I less conspicuous, or what change
Absents thee, or what chance detains?—Come forth!
He came; and with him Eve, more loth, though first
To offend; discountenanced both, and discomposed;
Love was not in their looks, either to God,
Or to each other; but apparent guilt,
And shame, and perturbation, and despair,
Anger, and obstinacy, and hate, and guile.
Whence Adam, faltering long, thus answered brief.
I heard thee in the garden, and of thy voice
Afraid, being naked, hid myself.  To whom
The gracious Judge without revile replied.
My voice thou oft hast heard, and hast not feared,
But still rejoiced; how is it now become
So dreadful to thee?  That thou art naked, who
Hath told thee?  Hast thou eaten of the tree,
Whereof I gave thee charge thou shouldst not eat?
To whom thus Adam sore beset replied.
O Heaven! in evil strait this day I stand
Before my Judge; either to undergo
Myself the total crime, or to accuse
My other self, the partner of my life;
Whose failing, while her faith to me remains,
I should conceal, and not expose to blame
By my complaint: but strict necessity
Subdues me, and calamitous constraint;
Lest on my head both sin and punishment,
However insupportable, be all
Devolved; though should I hold my peace, yet thou
Wouldst easily detect what I conceal.—
This Woman, whom thou madest to be my help,
And gavest me as thy perfect gift, so good,
So fit, so acceptable, so divine,
That from her hand I could suspect no ill,
And what she did, whatever in itself,
Her doing seemed to justify the deed;
She gave me of the tree, and I did eat.
To whom the Sovran Presence thus replied.
Was she thy God, that her thou didst obey
Before his voice? or was she made thy guide,
Superiour, or but equal, that to her
Thou didst resign thy manhood, and the place
Wherein God set thee above her made of thee,
And for thee, whose perfection far excelled
Hers in all real dignity?  Adorned
She was indeed, and lovely, to attract
Thy love, not thy subjection; and her gifts
Were such, as under government well seemed;
Unseemly to bear rule; which was thy part
And person, hadst thou known thyself aright.
So having said, he thus to Eve in few.
Say, Woman, what is this which thou hast done?
To whom sad Eve, with shame nigh overwhelmed,
Confessing soon, yet not before her Judge
Bold or loquacious, thus abashed replied.
The Serpent me beguiled, and I did eat.
Which when the Lord God heard, without delay
To judgement he proceeded on the accused
Serpent, though brute; unable to transfer
The guilt on him, who made him instrument
Of mischief, and polluted from the end
Of his creation; justly then accursed,
As vitiated in nature:  More to know
Concerned not Man, (since he no further knew)
Nor altered his offence; yet God at last
To Satan first in sin his doom applied,
Though in mysterious terms, judged as then best:
And on the Serpent thus his curse let fall.
Because thou hast done this, thou art accursed
Above all cattle, each beast of the field;
Upon thy belly groveling thou shalt go,
And dust shalt eat all the days of thy life.
Between thee and the woman I will put
Enmity, and between thine and her seed;
Her seed shall bruise thy head, thou bruise his heel.
So spake this oracle, then verified
When Jesus, Son of Mary, second Eve,
Saw Satan fall, like lightning, down from Heaven,
Prince of the air; then, rising from his grave
Spoiled Principalities and Powers, triumphed
In open show; and, with ascension bright,
Captivity led captive through the air,
The realm itself of Satan, long usurped;
Whom he shall tread at last under our feet;
Even he, who now foretold his fatal bruise;
And to the Woman thus his sentence turned.
Thy sorrow I will greatly multiply
By thy conception; children thou shalt bring
In sorrow forth; and to thy husband’s will
Thine shall submit; he over thee shall rule.
On Adam last thus judgement he pronounced.
Because thou hast hearkened to the voice of thy wife,
And eaten of the tree, concerning which
I charged thee, saying, Thou shalt not eat thereof:
Cursed is the ground for thy sake; thou in sorrow
Shalt eat thereof, all the days of thy life;
Thorns also and thistles it shall bring thee forth
Unbid; and thou shalt eat the herb of the field;
In the sweat of thy face shalt thou eat bread,
Till thou return unto the ground; for thou
Out of the ground wast taken, know thy birth,
For dust thou art, and shalt to dust return.
So judged he Man, both Judge and Saviour sent;
And the instant stroke of death, denounced that day,
Removed far off; then, pitying how they stood
Before him naked to the air, that now
Must suffer change, disdained not to begin
Thenceforth the form of servant to assume;
As when he washed his servants feet; so now,
As father of his family, he clad
Their nakedness with skins of beasts, or slain,
Or as the snake with youthful coat repaid;
And thought not much to clothe his enemies;
Nor he their outward only with the skins
Of beasts, but inward nakedness, much more.
Opprobrious, with his robe of righteousness,
Arraying, covered from his Father’s sight.
To him with swift ascent he up returned,
Into his blissful ***** reassumed
In glory, as of old; to him appeased
All, though all-knowing, what had passed with Man
Recounted, mixing intercession sweet.
Mean while, ere thus was sinned and judged on Earth,
Within the gates of Hell sat Sin and Death,
In counterview within the gates, that now
Stood open wide, belching outrageous flame
Far into Chaos, since the Fiend passed through,
Sin opening; who thus now to Death began.
O Son, why sit we here each other viewing
Idly, while Satan, our great author, thrives
In other worlds, and happier seat provides
For us, his offspring dear?  It cannot be
But that success attends him; if mishap,
Ere this he had returned, with fury driven
By his avengers; since no place like this
Can fit his punishment, or their revenge.
Methinks I feel new strength within me rise,
Wings growing, and dominion given me large
Beyond this deep; whatever draws me on,
Or sympathy, or some connatural force,
Powerful at greatest distance to unite,
With secret amity, things of like kind,
By secretest conveyance.  Thou, my shade
Inseparable, must with me along;
For Death from Sin no power can separate.
But, lest the difficulty of passing back
Stay his return perhaps over this gulf
Impassable, impervious; let us try
Adventurous work, yet to thy power and mine
Not unagreeable, to found a path
Over this main from Hell to that new world,
Where Satan now prevails; a monument
Of merit high to all the infernal host,
Easing their passage hence, for *******,
Or transmigration, as their lot shall lead.
Nor can I miss the way, so strongly drawn
By this new-felt attraction and instinct.
Whom thus the meager Shadow answered soon.
Go, whither Fate, and inclination strong,
Leads thee; I shall not lag behind, nor err
The way, thou leading; such a scent I draw
Of carnage, prey innumerable, and taste
The savour of death from all things there that live:
Nor shall I to the work thou enterprisest
Be wanting, but afford thee equal aid.
So saying, with delight he snuffed the smell
Of mortal change on earth.  As when a flock
Of ravenous fowl, though many a league remote,
Against the day of battle, to a field,
Where armies lie encamped, come flying, lured
With scent of living carcasses designed
For death, the following day, in ****** fight:
So scented the grim Feature, and upturned
His nostril wide into the murky air;
Sagacious of his quarry from so far.
Then both from out Hell-gates, into the waste
Wide anarchy of Chaos, damp and dark,
Flew diverse; and with power (their power was great)
Hovering upon the waters, what they met
Solid or slimy, as in raging sea
Tost up and down, together crouded drove,
From each side shoaling towards the mouth of Hell;
As when two polar winds, blowing adverse
Upon the Cronian sea, together drive
Mountains of ice, that stop the imagined way
Beyond Petsora eastward, to the rich
Cathaian coast.  The aggregated soil
Death with his mace petrifick, cold and dry,
As with a trident, smote; and fixed as firm
As Delos, floating once; the rest his look
Bound with Gorgonian rigour not to move;
And with Asphaltick slime, broad as the gate,
Deep to the roots of Hell the gathered beach
They fastened, and the mole immense wrought on
Over the foaming deep high-arched, a bridge
Of length prodigious, joining to the wall
Immoveable of this now fenceless world,
Forfeit to Death; from hence a passage broad,
Smooth, easy, inoffensive, down to Hell.
So, if great things to small may be compared,
Xerxes, the liberty of Greece to yoke,
From Susa, his Memnonian palace high,
Came to the sea: and, over Hellespont
Bridging his way, Europe with Asia joined,
And scourged with many a stroke the indignant waves.
Now had they brought the work by wonderous art
Pontifical, a ridge of pendant rock,
Over the vexed abyss, following the track
Of Satan to the self-same place where he
First lighted from his wing, and landed safe
From out of Chaos, to the outside bare
Of this round world:  With pins of adamant
And chains they made all fast, too fast they made
And durable!  And now in little space
The confines met of empyrean Heaven,
And of this World; and, on the left hand, Hell
With long reach interposed; three several ways
In sight, to each of these three places led.
And now their way to Earth they had descried,
To Paradise first tending; when, behold!
Satan, in likeness of an Angel bright,
Betwixt the Centaur and the Scorpion steering
His zenith, while the sun in Aries rose:
Disguised he came; but those his children dear
Their parent soon discerned, though in disguise.
He, after Eve seduced, unminded slunk
Into the wood fast by; and, changing shape,
To observe the sequel, saw his guileful act
By Eve, though all unweeting, seconded
Upon her husband; saw their shame that sought
Vain covertures; but when he saw descend
The Son of God to judge them, terrified
He fled; not hoping to escape, but shun
The present; fearing, guilty, what his wrath
Might suddenly inflict; that past, returned
By night, and listening where the hapless pair
Sat in their sad discourse, and various plaint,
Thence gathered his own doom; which understood
Not instant, but of future time, with joy
And tidings fraught, to Hell he now returned;
And at the brink of Chaos, near the foot
Of this new wonderous pontifice, unhoped
Met, who to meet him came, his offspring dear.
Great joy was at their meeting, and at sight
Of that stupendious bridge his joy encreased.
Long he admiring stood, till Sin, his fair
Enchanting daughter, thus the silence broke.
O Parent, these are thy magnifick deeds,
Thy trophies! which thou viewest as not thine own;
Thou art their author, and prime architect:
For I no sooner in my heart divined,
My heart, which by a secret harmony
Still moves with thine, joined in connexion sweet,
That thou on earth hadst prospered, which thy looks
Now also evidence, but straight I felt,
Though distant from thee worlds between, yet felt,
That I must after thee, with this thy son;
Such fatal consequence unites us three!
Hell could no longer hold us in our bounds,
Nor this unvoyageable gulf obscure
Detain from following thy illustrious track.
Thou hast achieved our liberty, confined
Withi
Of Man’s first disobedience, and the fruit
Of that forbidden tree whose mortal taste
Brought death into the World, and all our woe,
With loss of Eden, till one greater Man
Restore us, and regain the blissful seat,
Sing, Heavenly Muse, that, on the secret top
Of Oreb, or of Sinai, didst inspire
That shepherd who first taught the chosen seed
In the beginning how the heavens and earth
Rose out of Chaos: or, if Sion hill
Delight thee more, and Siloa’s brook that flowed
Fast by the oracle of God, I thence
Invoke thy aid to my adventurous song,
That with no middle flight intends to soar
Above th’ Aonian mount, while it pursues
Things unattempted yet in prose or rhyme.
And chiefly thou, O Spirit, that dost prefer
Before all temples th’ upright heart and pure,
Instruct me, for thou know’st; thou from the first
Wast present, and, with mighty wings outspread,
Dove-like sat’st brooding on the vast Abyss,
And mad’st it pregnant: what in me is dark
Illumine, what is low raise and support;
That, to the height of this great argument,
I may assert Eternal Providence,
And justify the ways of God to men.
  Say first—for Heaven hides nothing from thy view,
Nor the deep tract of Hell—say first what cause
Moved our grand parents, in that happy state,
Favoured of Heaven so highly, to fall off
From their Creator, and transgress his will
For one restraint, lords of the World besides.
Who first seduced them to that foul revolt?
  Th’ infernal Serpent; he it was whose guile,
Stirred up with envy and revenge, deceived
The mother of mankind, what time his pride
Had cast him out from Heaven, with all his host
Of rebel Angels, by whose aid, aspiring
To set himself in glory above his peers,
He trusted to have equalled the Most High,
If he opposed, and with ambitious aim
Against the throne and monarchy of God,
Raised impious war in Heaven and battle proud,
With vain attempt. Him the Almighty Power
Hurled headlong flaming from th’ ethereal sky,
With hideous ruin and combustion, down
To bottomless perdition, there to dwell
In adamantine chains and penal fire,
Who durst defy th’ Omnipotent to arms.
  Nine times the space that measures day and night
To mortal men, he, with his horrid crew,
Lay vanquished, rolling in the fiery gulf,
Confounded, though immortal. But his doom
Reserved him to more wrath; for now the thought
Both of lost happiness and lasting pain
Torments him: round he throws his baleful eyes,
That witnessed huge affliction and dismay,
Mixed with obdurate pride and steadfast hate.
At once, as far as Angels ken, he views
The dismal situation waste and wild.
A dungeon horrible, on all sides round,
As one great furnace flamed; yet from those flames
No light; but rather darkness visible
Served only to discover sights of woe,
Regions of sorrow, doleful shades, where peace
And rest can never dwell, hope never comes
That comes to all, but torture without end
Still urges, and a fiery deluge, fed
With ever-burning sulphur unconsumed.
Such place Eternal Justice has prepared
For those rebellious; here their prison ordained
In utter darkness, and their portion set,
As far removed from God and light of Heaven
As from the centre thrice to th’ utmost pole.
Oh how unlike the place from whence they fell!
There the companions of his fall, o’erwhelmed
With floods and whirlwinds of tempestuous fire,
He soon discerns; and, weltering by his side,
One next himself in power, and next in crime,
Long after known in Palestine, and named
Beelzebub. To whom th’ Arch-Enemy,
And thence in Heaven called Satan, with bold words
Breaking the horrid silence, thus began:—
  “If thou beest he—but O how fallen! how changed
From him who, in the happy realms of light
Clothed with transcendent brightness, didst outshine
Myriads, though bright!—if he whom mutual league,
United thoughts and counsels, equal hope
And hazard in the glorious enterprise
Joined with me once, now misery hath joined
In equal ruin; into what pit thou seest
From what height fallen: so much the stronger proved
He with his thunder; and till then who knew
The force of those dire arms? Yet not for those,
Nor what the potent Victor in his rage
Can else inflict, do I repent, or change,
Though changed in outward lustre, that fixed mind,
And high disdain from sense of injured merit,
That with the Mightiest raised me to contend,
And to the fierce contentions brought along
Innumerable force of Spirits armed,
That durst dislike his reign, and, me preferring,
His utmost power with adverse power opposed
In dubious battle on the plains of Heaven,
And shook his throne. What though the field be lost?
All is not lost—the unconquerable will,
And study of revenge, immortal hate,
And courage never to submit or yield:
And what is else not to be overcome?
That glory never shall his wrath or might
Extort from me. To bow and sue for grace
With suppliant knee, and deify his power
Who, from the terror of this arm, so late
Doubted his empire—that were low indeed;
That were an ignominy and shame beneath
This downfall; since, by fate, the strength of Gods,
And this empyreal sybstance, cannot fail;
Since, through experience of this great event,
In arms not worse, in foresight much advanced,
We may with more successful hope resolve
To wage by force or guile eternal war,
Irreconcilable to our grand Foe,
Who now triumphs, and in th’ excess of joy
Sole reigning holds the tyranny of Heaven.”
  So spake th’ apostate Angel, though in pain,
Vaunting aloud, but racked with deep despair;
And him thus answered soon his bold compeer:—
  “O Prince, O Chief of many throned Powers
That led th’ embattled Seraphim to war
Under thy conduct, and, in dreadful deeds
Fearless, endangered Heaven’s perpetual King,
And put to proof his high supremacy,
Whether upheld by strength, or chance, or fate,
Too well I see and rue the dire event
That, with sad overthrow and foul defeat,
Hath lost us Heaven, and all this mighty host
In horrible destruction laid thus low,
As far as Gods and heavenly Essences
Can perish: for the mind and spirit remains
Invincible, and vigour soon returns,
Though all our glory extinct, and happy state
Here swallowed up in endless misery.
But what if he our Conqueror (whom I now
Of force believe almighty, since no less
Than such could have o’erpowered such force as ours)
Have left us this our spirit and strength entire,
Strongly to suffer and support our pains,
That we may so suffice his vengeful ire,
Or do him mightier service as his thralls
By right of war, whate’er his business be,
Here in the heart of Hell to work in fire,
Or do his errands in the gloomy Deep?
What can it the avail though yet we feel
Strength undiminished, or eternal being
To undergo eternal punishment?”
  Whereto with speedy words th’ Arch-Fiend replied:—
“Fallen Cherub, to be weak is miserable,
Doing or suffering: but of this be sure—
To do aught good never will be our task,
But ever to do ill our sole delight,
As being the contrary to his high will
Whom we resist. If then his providence
Out of our evil seek to bring forth good,
Our labour must be to pervert that end,
And out of good still to find means of evil;
Which ofttimes may succeed so as perhaps
Shall grieve him, if I fail not, and disturb
His inmost counsels from their destined aim.
But see! the angry Victor hath recalled
His ministers of vengeance and pursuit
Back to the gates of Heaven: the sulphurous hail,
Shot after us in storm, o’erblown hath laid
The fiery surge that from the precipice
Of Heaven received us falling; and the thunder,
Winged with red lightning and impetuous rage,
Perhaps hath spent his shafts, and ceases now
To bellow through the vast and boundless Deep.
Let us not slip th’ occasion, whether scorn
Or satiate fury yield it from our Foe.
Seest thou yon dreary plain, forlorn and wild,
The seat of desolation, void of light,
Save what the glimmering of these livid flames
Casts pale and dreadful? Thither let us tend
From off the tossing of these fiery waves;
There rest, if any rest can harbour there;
And, re-assembling our afflicted powers,
Consult how we may henceforth most offend
Our enemy, our own loss how repair,
How overcome this dire calamity,
What reinforcement we may gain from hope,
If not, what resolution from despair.”
  Thus Satan, talking to his nearest mate,
With head uplift above the wave, and eyes
That sparkling blazed; his other parts besides
Prone on the flood, extended long and large,
Lay floating many a rood, in bulk as huge
As whom the fables name of monstrous size,
Titanian or Earth-born, that warred on Jove,
Briareos or Typhon, whom the den
By ancient Tarsus held, or that sea-beast
Leviathan, which God of all his works
Created hugest that swim th’ ocean-stream.
Him, haply slumbering on the Norway foam,
The pilot of some small night-foundered skiff,
Deeming some island, oft, as ****** tell,
With fixed anchor in his scaly rind,
Moors by his side under the lee, while night
Invests the sea, and wished morn delays.
So stretched out huge in length the Arch-fiend lay,
Chained on the burning lake; nor ever thence
Had risen, or heaved his head, but that the will
And high permission of all-ruling Heaven
Left him at large to his own dark designs,
That with reiterated crimes he might
Heap on himself damnation, while he sought
Evil to others, and enraged might see
How all his malice served but to bring forth
Infinite goodness, grace, and mercy, shewn
On Man by him seduced, but on himself
Treble confusion, wrath, and vengeance poured.
  Forthwith upright he rears from off the pool
His mighty stature; on each hand the flames
Driven backward ***** their pointing spires, and,rolled
In billows, leave i’ th’ midst a horrid vale.
Then with expanded wings he steers his flight
Aloft, incumbent on the dusky air,
That felt unusual weight; till on dry land
He lights—if it were land that ever burned
With solid, as the lake with liquid fire,
And such appeared in hue as when the force
Of subterranean wind transprots a hill
Torn from Pelorus, or the shattered side
Of thundering Etna, whose combustible
And fuelled entrails, thence conceiving fire,
Sublimed with mineral fury, aid the winds,
And leave a singed bottom all involved
With stench and smoke. Such resting found the sole
Of unblest feet. Him followed his next mate;
Both glorying to have scaped the Stygian flood
As gods, and by their own recovered strength,
Not by the sufferance of supernal Power.
  “Is this the region, this the soil, the clime,”
Said then the lost Archangel, “this the seat
That we must change for Heaven?—this mournful gloom
For that celestial light? Be it so, since he
Who now is sovereign can dispose and bid
What shall be right: farthest from him is best
Whom reason hath equalled, force hath made supreme
Above his equals. Farewell, happy fields,
Where joy for ever dwells! Hail, horrors! hail,
Infernal world! and thou, profoundest Hell,
Receive thy new possessor—one who brings
A mind not to be changed by place or time.
The mind is its own place, and in itself
Can make a Heaven of Hell, a Hell of Heaven.
What matter where, if I be still the same,
And what I should be, all but less than he
Whom thunder hath made greater? Here at least
We shall be free; th’ Almighty hath not built
Here for his envy, will not drive us hence:
Here we may reigh secure; and, in my choice,
To reign is worth ambition, though in Hell:
Better to reign in Hell than serve in Heaven.
But wherefore let we then our faithful friends,
Th’ associates and co-partners of our loss,
Lie thus astonished on th’ oblivious pool,
And call them not to share with us their part
In this unhappy mansion, or once more
With rallied arms to try what may be yet
Regained in Heaven, or what more lost in Hell?”
  So Satan spake; and him Beelzebub
Thus answered:—”Leader of those armies bright
Which, but th’ Omnipotent, none could have foiled!
If once they hear that voice, their liveliest pledge
Of hope in fears and dangers—heard so oft
In worst extremes, and on the perilous edge
Of battle, when it raged, in all assaults
Their surest signal—they will soon resume
New courage and revive, though now they lie
Grovelling and prostrate on yon lake of fire,
As we erewhile, astounded and amazed;
No wonder, fallen such a pernicious height!”
  He scare had ceased when the superior Fiend
Was moving toward the shore; his ponderous shield,
Ethereal temper, massy, large, and round,
Behind him cast. The broad circumference
Hung on his shoulders like the moon, whose orb
Through optic glass the Tuscan artist views
At evening, from the top of Fesole,
Or in Valdarno, to descry new lands,
Rivers, or mountains, in her spotty globe.
His spear—to equal which the tallest pine
Hewn on Norwegian hills, to be the mast
Of some great ammiral, were but a wand—
He walked with, to support uneasy steps
Over the burning marl, not like those steps
On Heaven’s azure; and the torrid clime
Smote on him sore besides, vaulted with fire.
Nathless he so endured, till on the beach
Of that inflamed sea he stood, and called
His legions—Angel Forms, who lay entranced
Thick as autumnal leaves that strow the brooks
In Vallombrosa, where th’ Etrurian shades
High over-arched embower; or scattered sedge
Afloat, when with fierce winds Orion armed
Hath vexed the Red-Sea coast, whose waves o’erthrew
Busiris and his Memphian chivalry,
While with perfidious hatred they pursued
The sojourners of Goshen, who beheld
From the safe shore their floating carcases
And broken chariot-wheels. So thick bestrown,
Abject and lost, lay these, covering the flood,
Under amazement of their hideous change.
He called so loud that all the hollow deep
Of Hell resounded:—”Princes, Potentates,
Warriors, the Flower of Heaven—once yours; now lost,
If such astonishment as this can seize
Eternal Spirits! Or have ye chosen this place
After the toil of battle to repose
Your wearied virtue, for the ease you find
To slumber here, as in the vales of Heaven?
Or in this abject posture have ye sworn
To adore the Conqueror, who now beholds
Cherub and Seraph rolling in the flood
With scattered arms and ensigns, till anon
His swift pursuers from Heaven-gates discern
Th’ advantage, and, descending, tread us down
Thus drooping, or with linked thunderbolts
Transfix us to the bottom of this gulf?
Awake, arise, or be for ever fallen!”
  They heard, and were abashed, and up they sprung
Upon the wing, as when men wont to watch
On duty, sleeping found by whom they dread,
Rouse and bestir themselves ere well awake.
Nor did they not perceive the evil plight
In which they were, or the fierce pains not feel;
Yet to their General’s voice they soon obeyed
Innumerable. As when the potent rod
Of Amram’s son, in Egypt’s evil day,
Waved round the coast, up-called a pitchy cloud
Of locusts, warping on the eastern wind,
That o’er the realm of impious Pharaoh hung
Like Night, and darkened all the land of Nile;
So numberless were those bad Angels seen
Hovering on wing under the cope of Hell,
‘Twixt upper, nether, and surrounding fires;
Till, as a signal given, th’ uplifted spear
Of their great Sultan waving to direct
Their course, in even balance down they light
On the firm brimstone, and fill all the plain:
A multitude like which the populous North
Poured never from her frozen ***** to pass
Rhene or the Danaw, when her barbarous sons
Came like a deluge on the South, and spread
Beneath Gibraltar to the Libyan sands.
Forthwith, form every squadron and each band,
The heads and leaders thither haste where stood
Their great Commander—godlike Shapes, and Forms
Excelling human; princely Dignities;
And Powers that erst in Heaven sat on thrones,
Though on their names in Heavenly records now
Be no memorial, blotted out and rased
By their rebellion from the Books of Life.
Nor had they yet among the sons of Eve
Got them new names, till, wandering o’er the earth,
Through God’s high sufferance for the trial of man,
By falsities and lies the greatest part
Of mankind they corrupted to forsake
God their Creator, and th’ invisible
Glory of him that made them to transform
Oft to the image of a brute, adorned
With gay religions full of pomp and gold,
And devils to adore for deities:
Then were they known to men by various names,
And various idols through the heathen world.
  Say, Muse, their names then known, who first, who last,
Roused fr
Jordan May 2013
Radness

The Philosopher’s Stone is not just a spiritual metaphor but an actual substance that can transmute lead or mercury into gold. The Stone is a product of Alchemy. Unlike chemistry, which only deals with physical matter and energy, Alchemy makes use of etheric and astral energies to reconfigure matter at the quantum level. Alchemy is to chemistry what a cube is to the square; it is a superset of chemistry and is capable of so much more.

How Etheric Energy Overrides Physical Laws

Alchemical achievements require successfully gathering, concentrating, and multiplying etheric energy. When this energy reaches a critical threshold, it overpowers the normal laws of physics and allows seemingly miraculous processes to take place. I believe it does this by biasing probability. By amplifying the probability of minor quantum effects, which are normally limited to the subatomic scale, they manifest on the larger atomic scale. In this way, one element spontaneously transforms into another.

The world around us is made of subatomic particles that regularly undergo unpredictable jumps, teleportation, bilocation, superposition, and other strange quantum behaviors. Why don’t everyday solid objects do likewise? Because the random quantum jittering of their subatomic particles collectively average out to zero. Think of a large crowd of people; seen from the air, the crowd as a whole is stationary, even though individuals within the crowd move in seemingly random directions. It’s because their movements are random and uncoordinated that they average to zero net movement on the whole.

The world we see around us is merely a crowd of subatomic particles whose individual quantum jumps aren’t apparent because they average to collective stillness. Physical laws that govern our everyday world, known as the deterministic laws of classical physics, are merely the laws of the crowd. These laws are what’s left of quantum physics after the unpredictability is removed through statistical averaging. They are not absolute laws; they are just the most probable manner in which matter and energy behave.

Physical laws can be bent. While the probability is incredibly low that enough coordination and coherence develops among the quantum jitters to manifest on a collective scale, that is exactly what etheric energy does. It alters probability and thereby skews the laws of thermodynamics, gravity, electromagnetism, and chemistry.

Alchemy does not violate the laws of physics, nor does it always follow them, rather it bends them as needed. It operates upon the quantum foundation from which these laws arise in the first place, via etheric energy affecting the probability of quantum events.
http://montalk.net/gnosis/174/the-philosopher-s-stone
Muse of the many-twinkling feet! whose charms
Are now extended up from legs to arms;
Terpsichore!—too long misdeemed a maid—
Reproachful term—bestowed but to upbraid—
Henceforth in all the bronze of brightness shine,
The least a Vestal of the ****** Nine.
Far be from thee and thine the name of *****:
Mocked yet triumphant; sneered at, unsubdued;
Thy legs must move to conquer as they fly,
If but thy coats are reasonably high!
Thy breast—if bare enough—requires no shield;
Dance forth—sans armour thou shalt take the field
And own—impregnable to most assaults,
Thy not too lawfully begotten “Waltz.”

  Hail, nimble Nymph! to whom the young hussar,
The whiskered votary of Waltz and War,
His night devotes, despite of spur and boots;
A sight unmatched since Orpheus and his brutes:
Hail, spirit-stirring Waltz!—beneath whose banners
A modern hero fought for modish manners;
On Hounslow’s heath to rival Wellesley’s fame,
Cocked, fired, and missed his man—but gained his aim;
Hail, moving muse! to whom the fair one’s breast
Gives all it can, and bids us take the rest.
Oh! for the flow of Busby, or of Fitz,
The latter’s loyalty, the former’s wits,
To “energise the object I pursue,”
And give both Belial and his Dance their due!

  Imperial Waltz! imported from the Rhine
(Famed for the growth of pedigrees and wine),
Long be thine import from all duty free,
And Hock itself be less esteemed than thee;
In some few qualities alike—for Hock
Improves our cellar—thou our living stock.
The head to Hock belongs—thy subtler art
Intoxicates alone the heedless heart:
Through the full veins thy gentler poison swims,
And wakes to Wantonness the willing limbs.

  Oh, Germany! how much to thee we owe,
As heaven-born Pitt can testify below,
Ere cursed Confederation made thee France’s,
And only left us thy d—d debts and dances!
Of subsidies and Hanover bereft,
We bless thee still—George the Third is left!
Of kings the best—and last, not least in worth,
For graciously begetting George the Fourth.
To Germany, and Highnesses serene,
Who owe us millions—don’t we owe the Queen?
To Germany, what owe we not besides?
So oft bestowing Brunswickers and brides;
Who paid for ******, with her royal blood,
Drawn from the stem of each Teutonic stud:
Who sent us—so be pardoned all her faults—
A dozen dukes, some kings, a Queen—and Waltz.

  But peace to her—her Emperor and Diet,
Though now transferred to Buonapartè’s “fiat!”
Back to my theme—O muse of Motion! say,
How first to Albion found thy Waltz her way?

  Borne on the breath of Hyperborean gales,
From Hamburg’s port (while Hamburg yet had mails),
Ere yet unlucky Fame—compelled to creep
To snowy Gottenburg-was chilled to sleep;
Or, starting from her slumbers, deigned arise,
Heligoland! to stock thy mart with lies;
While unburnt Moscow yet had news to send,
Nor owed her fiery Exit to a friend,
She came—Waltz came—and with her certain sets
Of true despatches, and as true Gazettes;
Then flamed of Austerlitz the blest despatch,
Which Moniteur nor Morning Post can match
And—almost crushed beneath the glorious news—
Ten plays, and forty tales of Kotzebue’s;
One envoy’s letters, six composer’s airs,
And loads from Frankfort and from Leipsic fairs:
Meiners’ four volumes upon Womankind,
Like Lapland witches to ensure a wind;
Brunck’s heaviest tome for ballast, and, to back it,
Of Heynè, such as should not sink the packet.

  Fraught with this cargo—and her fairest freight,
Delightful Waltz, on tiptoe for a Mate,
The welcome vessel reached the genial strand,
And round her flocked the daughters of the land.
Not decent David, when, before the ark,
His grand Pas-seul excited some remark;
Not love-lorn Quixote, when his Sancho thought
The knight’s Fandango friskier than it ought;
Not soft Herodias, when, with winning tread,
Her nimble feet danced off another’s head;
Not Cleopatra on her Galley’s Deck,
Displayed so much of leg or more of neck,
Than Thou, ambrosial Waltz, when first the Moon
Beheld thee twirling to a Saxon tune!

  To You, ye husbands of ten years! whose brows
Ache with the annual tributes of a spouse;
To you of nine years less, who only bear
The budding sprouts of those that you shall wear,
With added ornaments around them rolled
Of native brass, or law-awarded gold;
To You, ye Matrons, ever on the watch
To mar a son’s, or make a daughter’s match;
To You, ye children of—whom chance accords—
Always the Ladies, and sometimes their Lords;
To You, ye single gentlemen, who seek
Torments for life, or pleasures for a week;
As Love or ***** your endeavours guide,
To gain your own, or ****** another’s bride;—
To one and all the lovely Stranger came,
And every Ball-room echoes with her name.

  Endearing Waltz!—to thy more melting tune
Bow Irish Jig, and ancient Rigadoon.
Scotch reels, avaunt! and Country-dance forego
Your future claims to each fantastic toe!
Waltz—Waltz alone—both legs and arms demands,
Liberal of feet, and lavish of her hands;
Hands which may freely range in public sight
Where ne’er before—but—pray “put out the light.”
Methinks the glare of yonder chandelier
Shines much too far—or I am much too near;
And true, though strange—Waltz whispers this remark,
“My slippery steps are safest in the dark!”
But here the Muse with due decorum halts,
And lends her longest petticoat to “Waltz.”

  Observant Travellers of every time!
Ye Quartos published upon every clime!
0 say, shall dull Romaika’s heavy round,
Fandango’s wriggle, or Bolero’s bound;
Can Egypt’s Almas—tantalising group—
Columbia’s caperers to the warlike Whoop—
Can aught from cold Kamschatka to Cape Horn
With Waltz compare, or after Waltz be born?
Ah, no! from Morier’s pages down to Galt’s,
Each tourist pens a paragraph for “Waltz.”

  Shades of those Belles whose reign began of yore,
With George the Third’s—and ended long before!—
Though in your daughters’ daughters yet you thrive,
Burst from your lead, and be yourselves alive!
Back to the Ball-room speed your spectred host,
Fool’s Paradise is dull to that you lost.
No treacherous powder bids Conjecture quake;
No stiff-starched stays make meddling fingers ache;
(Transferred to those ambiguous things that ape
Goats in their visage, women in their shape;)
No damsel faints when rather closely pressed,
But more caressing seems when most caressed;
Superfluous Hartshorn, and reviving Salts,
Both banished by the sovereign cordial “Waltz.”

  Seductive Waltz!—though on thy native shore
Even Werter’s self proclaimed thee half a *****;
Werter—to decent vice though much inclined,
Yet warm, not wanton; dazzled, but not blind—
Though gentle Genlis, in her strife with Staël,
Would even proscribe thee from a Paris ball;
The fashion hails—from Countesses to Queens,
And maids and valets waltz behind the scenes;
Wide and more wide thy witching circle spreads,
And turns—if nothing else—at least our heads;
With thee even clumsy cits attempt to bounce,
And cockney’s practise what they can’t pronounce.
Gods! how the glorious theme my strain exalts,
And Rhyme finds partner Rhyme in praise of “Waltz!”
Blest was the time Waltz chose for her début!
The Court, the Regent, like herself were new;
New face for friends, for foes some new rewards;
New ornaments for black-and royal Guards;
New laws to hang the rogues that roared for bread;
New coins (most new) to follow those that fled;
New victories—nor can we prize them less,
Though Jenky wonders at his own success;
New wars, because the old succeed so well,
That most survivors envy those who fell;
New mistresses—no, old—and yet ’tis true,
Though they be old, the thing is something new;
Each new, quite new—(except some ancient tricks),
New white-sticks—gold-sticks—broom-sticks—all new sticks!
With vests or ribands—decked alike in hue,
New troopers strut, new turncoats blush in blue:
So saith the Muse: my——, what say you?
Such was the time when Waltz might best maintain
Her new preferments in this novel reign;
Such was the time, nor ever yet was such;
Hoops are  more, and petticoats not much;
Morals and Minuets, Virtue and her stays,
And tell-tale powder—all have had their days.
The Ball begins—the honours of the house
First duly done by daughter or by spouse,
Some Potentate—or royal or serene—
With Kent’s gay grace, or sapient Gloster’s mien,
Leads forth the ready dame, whose rising flush
Might once have been mistaken for a blush.
From where the garb just leaves the ***** free,
That spot where hearts were once supposed to be;
Round all the confines of the yielded waist,
The strangest hand may wander undisplaced:
The lady’s in return may grasp as much
As princely paunches offer to her touch.
Pleased round the chalky floor how well they trip
One hand reposing on the royal hip!
The other to the shoulder no less royal
Ascending with affection truly loyal!
Thus front to front the partners move or stand,
The foot may rest, but none withdraw the hand;
And all in turn may follow in their rank,
The Earl of—Asterisk—and Lady—Blank;
Sir—Such-a-one—with those of fashion’s host,
For whose blest surnames—vide “Morning Post.”
(Or if for that impartial print too late,
Search Doctors’ Commons six months from my date)—
Thus all and each, in movement swift or slow,
The genial contact gently undergo;
Till some might marvel, with the modest Turk,
If “nothing follows all this palming work?”
True, honest Mirza!—you may trust my rhyme—
Something does follow at a fitter time;
The breast thus publicly resigned to man,
In private may resist him—if it can.

  O ye who loved our Grandmothers of yore,
Fitzpatrick, Sheridan, and many more!
And thou, my Prince! whose sovereign taste and will
It is to love the lovely beldames still!
Thou Ghost of Queensberry! whose judging Sprite
Satan may spare to peep a single night,
Pronounce—if ever in your days of bliss
Asmodeus struck so bright a stroke as this;
To teach the young ideas how to rise,
Flush in the cheek, and languish in the eyes;
Rush to the heart, and lighten through the frame,
With half-told wish, and ill-dissembled flame,
For prurient Nature still will storm the breast—
Who, tempted thus, can answer for the rest?

  But ye—who never felt a single thought
For what our Morals are to be, or ought;
Who wisely wish the charms you view to reap,
Say—would you make those beauties quite so cheap?
Hot from the hands promiscuously applied,
Round the slight waist, or down the glowing side,
Where were the rapture then to clasp the form
From this lewd grasp and lawless contact warm?
At once Love’s most endearing thought resign,
To press the hand so pressed by none but thine;
To gaze upon that eye which never met
Another’s ardent look without regret;
Approach the lip which all, without restraint,
Come near enough—if not to touch—to taint;
If such thou lovest—love her then no more,
Or give—like her—caresses to a score;
Her Mind with these is gone, and with it go
The little left behind it to bestow.

  Voluptuous Waltz! and dare I thus blaspheme?
Thy bard forgot thy praises were his theme.
Terpsichore forgive!—at every Ball
My wife now waltzes—and my daughters shall;
My son—(or stop—’tis needless to inquire—
These little accidents should ne’er transpire;
Some ages hence our genealogic tree
Will wear as green a bough for him as me)—
Waltzing shall rear, to make our name amends
Grandsons for me—in heirs to all his friends.
Classy J Nov 2018
Intro: You know, I don’t care what you’re saying about me.
For I’m not an insecure ***** like you but I do got to thank thee.
For if it weren’t for thy vile venom spitting I wouldn’t have a reason to enact my lyrical terrorism!
So, you only have yourself to blame for this ****, so don’t say I didn’t warn ya.

Verse 1
Uh, yeah let’s talk about it!
Can’t contemplate, the vicious state that contrary to popular belief I’m not a basket case!
Can’t misuse the time I got so here I go to vanquish these fraudulent thots!
Started an unfocused freight train that charged towards the lucid dream because I couldn’t assimilate!
In that time, I was so focused on changing everyone’s snot ridden hypocrisy about reality being Camelot.
I know I’ve also ****** up a lot but that’s something I had to face!
It’s not any of your business so stop ripping off my skin then rubbing in the salt!
I still have a goal in mind to destroy discrimination that incriminates my people,
by putting em on the hot seat.
So now that every one is up in arms I got my chance to aim at the sweet spot!
Everyone is hungry to be the fittest but not everyone has time to think how to be the smartest.
To strike will the fire’s hot or wait for the embers to spark and settle is the true test for an artist.
Who cares about the lines when it was never rightfully drawn in the first place?
Who cares about what spot or space is for you when it’s all been delegated to the privilege of a certain race?
I can only undergo so much disgrace So, sorry but I’m not willing to have my people’s history erased!
Free speech is going to be a ***** for some and a tool for others, I guess it all depends on that person’s poker face.
Inequality is frequent not just in Canada or The United States but every country, province, and common place.

Verse 2
You want the real, raw, unfiltered Classy J well here you go!
Uh, Tell Trudeau to kiss my *** and stop ******* Trump’s ****!
While you’re at it can you tell your father that he’s a ******* stupid *****!
Also, totally forgot but can you tell Kim Jon un when he’s shafting you that he’s a ******* Buffoon!
But’s that’s enough about ******* politics let’s talk about ******* rap artist’s who think they’re hot but really, they so tacky and obsolete like the Zune.
To mister bi-racial we get it you’re into being superficial but’s honestly with you being so focused on being a ****** your delivery showcases the truth that you’re really a cringy ******.
Just face the fact dude that people will only see ya as a juggaloed Dolph Ziggler.
Uh, Now on to the next!
Dear mister Young moolah imma be front, you look like diseased uvula with the lyrical skill comparative to that of an elementary grade schooler.
Now to address the biggest flacky ***** in the game the not so slim shady.  
Here’s the matter Mr. Mather’s you look like a hobo who ***** guys off around the corner,
maybe that’s why you always diss homos.
Because youse a **** trapped in your mommas’ closet,
and if wasn’t for Dre’s hand up so far up your *** you wouldn’t be as popular of a puppet.
Oh ****, Shady you so focused on Doctor Dre and acclaim to fame that you forgot about Hallie.
****, and speaking of Hallie, I feel for you girl because just like you I also didn’t have a dad there for me.
I’m a man of war so every rapper got to get their **** together and better be prepared to me seriously.
For Imma slit their throats and turn em inside out rigorously, and I make sure those tardy cats will rule the day they ever had curiosity.

Verse 3
Just remember my people were here before you, and will be here after you!
And I’ll be here to destroy any of you who dare to pursue native issues!
Or if I’m just bored and feeling like killing you!
However, if I forget about dealing with you, I’m just to busy to properly give a **** about you!
It’s not just revenge, I see it as using justice by retorting with my wordplay to cleanse ya like shampoo!
But I’ve spent enough time dissing freeloaders, for it gives their ego’s too must **** exposure!
I won’t coaster to these composers, for a chauffeur can’t gain an advantage over a soldier!
I wont lower myself to these grouchy Oscar’s, who hunt for Grammy’s;
or as I refer to these events as pedantic half ***’d statements for excepting grandiose toasters.
Why bother, for it’s so annoyingly stupid that I would rather waste my time watching a movie featuring Adam *******.
So, **** this glass ceiling that defines and dictates what makes up a talented rapper.
I may not be a ******* goat but at least I’m confident enough to go out in my birthday suit and retain my composure for being dapper.
That’s the synopsis of my classy brain, and though it may be insane I’m willing to ride this hurricane!
To make sure you know my name, but yet not let myself get engulfed in the flames.
See daily thy not occupies nourished the seeming child mind;
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A poetic drama (One Scene)

( Egypt’s parliamentary farce)

(The spokesperson on the presidium strikes the table with a wooden hammer and asks for order. Participants become quiet.
Raise your hands and reflect your views on today’s point of argument— The Grand Ethiopian Renaissance Dam (GERD ) on Blue Nile. Various people representatives raise hands,
The spokesman says let us start with Mr. Hydrologist over there.)

Egypt’s globally
Topmost voluminous
Underground
Reserve of water
We could use later.
So via our media outlets
It is better
We dupe
The global community with
Much-touted chatter
“To Egyptians
Demand of water
To cater
Blue Nile is
A life and
Death matter!
As thicker than blood
Is water! ”

Of course,
From the Mediterranean
Or Red Sea
We could extract, desalinate
And use water,
But why should
We talk about that?
We better
Ask on Blue Nile
A farfetched exclusive right.

Though hydropower dam
Has no significant harm
We shall flout it
In a way it runs
Out of charm.
As  the Nobel peace winner
Premier  Abiy Ahmed put it
"Almost all Egyptians
Enjoy the supply of electricity,
While over half of Ethiopians
Are thirsty of such necessity.

Tragically, to date
Using a lamp
Covers most of Ethiopia's map.

For the rational,
It is a source of worry
Innumerable Ethiopian mothers
Still on their backs carry
Backbreaking firewood
So that go to school
Their children could.
What we say
Is if you  are remiss to help
don't stand on our way
While we're flapping wings
From fettering poverty
To break away!"


Also via a conduit
Diverting Blue Nile
Across the Sahara desert
A financial return
Egypt could get
That delights its heart.
The water from
Upstream countries
We do not buy
But paradoxically sell it
We shouldn’t why?

Like Israel
Using drip irrigation
Must not
Draw our attention.
We shall be extravagant
For Blue Nile’s water
Is abundant.
Unchecked lavishly
It must flow!
Pertaining to that
We have to remain adamant.

Also, the
Silt accumulation
In Aswan dam
Could be disastrous
The outcome,
Yet we have
To cry foul
This challenge-averting
GERD must not soon
Generate region-
much-needed power!

Though it is 50 % of the
Annual trans boundary
Water outflow
Other water-generating countries
Are willing to let go
Unwilling anything below,
Kind Ethiopia ventures
Holding only 13% of
The yearly flow to follow,
However, ingratitude
Must feature our attitude.
This may
Provoke a  dismay
But attention
We shall not pay.

(A tumultuous applause shook the parliament. Once more the spokesman asks for order. Then he invites a former diplomat saying “ it is your turn.”)

Once, by famine hit
When Ethiopia   asked
“Help me not why?”,
While others extended help,
Mocking, we did turn
A blind eye.

As our former bent
Whenever Ethiopia
Seeks  grant
From international
Development Institutions
On grounds of
Fighting poverty and drought,
Greasing palms  
We shall bring
Ethiopia’s plans to harness
Blue Nile to naught!
Use we shall
Many a phony diplomat
With a tongue of honey
And a heart of gall.

Tact we do not lack
So cautiously,
Our sanctimonious mask
Our targets
May not hack,
All out
We shall engage in
Self-selling talk!

From all things that fall
In the technical matrices
We shall make a sham politics.

(He sits enjoying a standing ovation. The spokesman invites a representative with a military background.)

We shall blow our
Trumpet in the air
“In lieu of
The reasonable 3 years,
Cooperatively,
From 4 to 6 years
To fill the dam
If Ethiopians dare,
War on it
We shall declare!
Barefacedly claiming
Fifteen to 20 years
Is what is fair!

In such infeasible way
Before it sees the day’s light
GERD will suffer blight.”

(He hiccups and continues)

“With a bellicose bent
To remind ourselves
Deliberately we shall fail
So many times Ethiopia
Chased out every
Egypt’s invading army
Between its legs
Shoveled its tail.
(Ex. Isma'il Pasha/ 1874 –1876
Gundet &Gura March 7–9, 1876)
But why should we care
Arsenal support
Hypocrites, who want to exploit
In the Middle East
Egypt’s political purport,
Will bring to our port.
The current catchphrase
"I can't breathe"
Demonstrates hypocrites'
Justice has no teeth!

We shall
Continue to brag
About GERD’s full actualization
Foot to drag.
I’m afraid
If we strike GERD,
On Aswan dam
Ethiopia will certainly inflict
A similar harm.
Its infantry
Acid-tested hero
Within finger-counted days
Will march into Cairo.

Its top official or
One from its mob
Cold blow up in Egypt a bomb.

We have to understand
As its former PM
Meles put it
“It is not
Its football squad
Ethiopia will deploy
On the terrain rough
When the going
Gets tough!”

We shouldn't worry
We have no history
Of battle front victory.
Poking our nose here and there
(Sudan, Somalia, Yemen,
Libiya, Palestine, Israel)
We shall make political trouble
As we are averse to self
-politics burgeoning dabble.

(He sat after enjoying a heartwarming laughter from the audience. The spokesman himself could not help unzipping his lips and invites a hoary headed historian.)

Subjects of colonization
It is our
Historic right
For the hanging-over
Mentality of predators
To fight
“Gobbling down
All resources
Is our right!”
We shall espouse
Unjust and inequitable deal
“Ethiopia fairly
GERD must not fill!”
We must gamble
Regarding the water division
There has to be a deal
That serves our colonial
Legacy a sign and seal.

There is nothing we hate
Than the following sentiment
Pan Africanists activate.
"We have to get
Behind our back
Days dark!"

(He sits accompanied by an affirmative nods. The spokesman invited Miss Environmentalist "it is your turn." "Thank you for the opportunity,"  she said and  standing she scanned the congregants
before speaking)

In parrying evaporation
GRERD being built in a gorge
Than Aswan Dam
In the desert
Draws better attention.
Though logical,
This we do not wish to hear
So we shall turn a deaf ear
Saying
“Your nuisance
We no longer bear!”

Of course
To avoid siltation
In GERD
Also to ensure
The continuous flow of water
Towards Green development
Ethiopia is making an unprecedented &
Unflagging movement.

Yes , Yes
Green development
Draws rain
Though that is
To our gain
From expressing
Appreciation to
Ethiopia’s timely move
We shall refrain.

From the voice of
Sagacious leaders of
Africa
It is better
To heed a hypocrite
From America;
That could not be a shame
In the political game.

(She takes a seat enjoying a high five. The spokesman invites a parliamentarian who is a member of the Arab league.)

As Sudan poses
A rational gait
Its voice has weight.
Our sugar-coated talk
It may not buy
Hence, the fuel-intoxicated
Gluttonous Arab League
Its voice
Needs to raise high.
White supremacists
Must try hard
To sweet talk Sudan
To our side.
Otherwise
Creating political heat
In to two its people
We have to split
To unseat
Its incumbent president
Popular support that ride.
This  insidious tide
From Sudanese mob
We have to hide!

We have a toy League
That doesn’t ask itself
“ Why
War-fleeing Arabs ,
Shunned by Arabs,
Seek a safe haven
Under Ethiopia’s sky?
Why  of all
In Prophet Mohammed's eyes
Ethiopia stands tall?”
That no one could deny
But we must
Neither wonder  nor ponder
“Why
For own advantage
Arabs-eating-Arabs
That commit  
Political suicide
Could not
Stand by
The reasonable
Ones’ side?”

Creating this and  
That pretext
We shall derail
The all-out task
To bring GERD’s to end,
At long last
To make it
As good as dead.

Why should we care?
If Ethiopia or the region is
Thirsty of hydropower
In so far as
Our conceited
Pride remains
In glory tower.


Moreover if soured
Pushed to the end or angry
Reflect  we must not
Ethiopians could tame
Its this or that tributary.

(When a wealthy merchant raised his hand the spokesman gave him a green light to speak.)

Pampering with money
Fifth columnists cruel
Let us keep on using
In Ethiopia
As runs the adage
Divide and rule,
Along ethnic
And religious lines
To  drive a wedge
So that Ethiopians will not
Come to the same page,
While turmoil in their country
Opts to rage.

We could ignore the fact
Ethiopians soon display
Unity and solidarity
When threatened gets
Nation’s  sovereignty.
In Ethio-Somali war
Ethiopians Karamara’s Victory
Talks loud such history.

I'm afraid
Our  divisive action could
Bring together Ethiopians,
Be it on left or right end,
Their sovereignty to defend.


Robbed of
Their alluvial soil
By a prodigal river
Ethiopia’s  farmers
Undergo a hard toil
If we are asked for that
Compensation to pay
“No!”
We  have  to say.

Note that
Using industrialization
Like Japan
Develop we can
Than irrigating  
A- scorching-sun
-smoldered land
Full of sand.

As the  jealously insane
What should worry Egypt
Must not  be what  it could lose
But  Ethiopia gain.
What I fear
In the diplomatic arena
With GERD Ethiopia
Will come forth
Shifting gear.
When Ethiopians' development
Proceeds apace
Ethiopia could Egypt displace.
So on its development
We  have to pose a roadblock
Or a spoke.
.

(This much  farce is enough for today .Parliament is dismissed says the spokesman.)////////
Science-based approach visa-vis politics- based approach. Colonial legacy has no room in the 21th century
Jessica Lima Mar 2017
30 YEARS AGO
*******************­*****

He could no longer smell lead in the air when he opened his eyes. He had somehow survived the war, but couldn't tell how long he had been passed out for. "Long enough I bet" He said to himself on a tone so low, he wondered if he had truly spoken or just imagined it. Doing a quick assessment of his surroundings his heart grew sad. Nothing moved. His friends, his foes... all dead, piled on top of each other.

Oscar slowly moved the weight of his body onto his forearms, trying to get a better view of the carnage that surrounded him. His body hurt quite a lot, but his legs, stretched out before him didn't. Not at all. For a second he allowed himself to smile. He would be able to walk out of there and get help. He moved the bodies that lay on top of his lower body to assess the real damage on his legs but nothing could have prepared him for what he saw. Oscar had lost both legs from the knee down, and rats ate at what was left of his upper leg. He screamed and his eco was heard across the field.

*****************­******

The next time Oscar opened his eyes he lay on a hospital bed. His mother sat next to him, holding his hand; Her small face puffed up from crying.

"My son" She tried to speak further but her tears threaten to drown her.

"Mother" Oscar calmed his voice, trying to comfort the sobbing woman "I am alright" He smiled at her but it did not reach his eyes.

"They say they can fix you" she said rapidly, barely stopping to breathe. "They say they can make you whole again! Give you back your legs, and full function of your body. They even said they can make you stronger. Better. Smarter." She stopped then. Let go of her son's hand, and started to pace the room. "Not that I think you aren't fine as you are" she added.

"They? Who are you talking about mother?

"The doctor. We are in the military hospital. You have been honorably discharged due to the nature of your injuries. If you refuse the deal, you'll be moved to a civilian hospital next week. If you accept, then you'll undergo the enhancement right away."

The door opened, and a  young man walked in. His intelligent, metallic gray eyes scanned the room, till they landed on Oscar.

"Hello Oscar" He paused as if expecting a reply. Upon receiving none, he continued. " I am Michael Black-Hunter"

"Mr. Black-Hunter is the doctor I've been telling you about son" Oscar's eyes met his mother's. He saw hope there.

"Please Ellen, call me Mike"

Oscar cleared his throat. "I'll do it." Startled by the notion that he would not have to do any persuasion that particular day Mike grinned to himself.

"Very good, very good. First things first. I must rid you of any weakness" Mike quickly  snapped his fingers and mumbled in a language unknown to anyone else in the room. A second goes by, then a minute. Suddenly time had lost its grip on Oscar and Ellen.

"Ellen dear" Mike approached the woman, turned her body to face Oscar "Can you tell me who the gentleman on the hospital bed is?"

Ellen seem puzzled by the question, but she replied regardless. "Mr. Black-Hunter why do you mock me? You are well aware I do not know this man."

"And you Oscar? Who is Ellen to you?"

Oscar made an impatient sound. "I have no time for this Mike, the woman said we don't know each other!"

"How perfect." Pleased with his work, Michael Black-Hunter walked a confused Ellen out of the hospital room.

******************­******
                                        PRESENT DAY

Brooke faced Oscar. Anger radiated from her tiny frame like angry ocean waves during a storm.

"I don't need you. I can do this on my own, I always have." Brooke proceeded to step away from Mike, unaware of a new agent charging with intent towards her. Within seconds the agent's knife made contact with Brooke's skull. She collapsed on Oscar's arms.

"I thought she would dodge that" The agent screamed as Oscar held her up by the throat with one hand. "Its part of the training to go against one of the best, you know that." Tears fell from her eyes but Oscar could not find a **** to give. He broke the agents neck. Her name tag fell from her breast at the same time life left her body. Oscar caught the tag in his hand then read the name out loud. 'Ellen' it said. That made him feel funny, but he couldn't be sure why.

"You failed" Oscar dumped her body on the ground. Then carried Brooke inside to get patched up. "You can't die Brooke. I actually need you" He whispered to her passed out form. After dropping her off with the nurse he went back outside to light the cigarette he had been craving. The new agent's body was gone.




to be continued....
Nicole Whitticar Jan 2018
I find myself changing as nature does- recklessly and suddenly without notice, and nature is what I come back to in order to heal.

Fires are often looked at as destructive forces,
And they surely can be, but they can also
Rejuvenate. Contrary to popular belief, fires most
Often leave a beautiful aftermath. Some examples
Being that certain plant seeds only germinate after
A fire, new growth is accessible to animals for food,
minerals are returned to the soil, and
Although many animals are stripped of their
Homes- this vacancy creates suitable areas for
New species to settle. Similar to how a fire
Cleanses the land it nearly destroys, a traumatic life
Experience allows an individual to undergo a necessary
Amount of growth and change. Whether what we take
From a situation leaves us aching or allows us to reflect,
We will always unknowingly benefit from the pain. I do
My best to keep this at the forefront of my memory when
Reminded of the baggage I carry. My healing will continue. and I will make a promise to myself that for every new fire that disseminates through/over my life, I will make amends with it
And allow for it to change me in the best way possible.
I will bring fire to thee.

Euripides.—’Androm’.

‘Eiros’.

Why do you call me Eiros?

‘Charmion’.

So henceforward will you always be called. You must forget,
too, my earthly name, and speak to me as Charmion.

‘Eiros’.

This is indeed no dream!

‘Charmion’.

Dreams are with us no more;—but of these mysteries
anon. I rejoice to see you looking life-like and rational.
The film of the shadow has already passed from off your
eyes. Be of heart, and fear nothing. Your allotted days of
stupor have expired, and to-morrow I will myself induct you
into the full joys and wonders of your novel existence.

‘Eiros’.

True—I feel no stupor—none at all. The wild
sickness and the terrible darkness have left me, and I hear
no longer that mad, rushing, horrible sound, like the “voice
of many waters.” Yet my senses are bewildered, Charmion,
with the keenness of their perception of the new.

‘Charmion’.

A few days will remove all this;—but I fully
understand you, and feel for you. It is now ten earthly
years since I underwent what you undergo—yet the
remembrance of it hangs by me still. You have now suffered
all of pain, however, which you will suffer in Aidenn.

‘Eiros’.

In Aidenn?

‘Charmion’.

In Aidenn.

‘Eiros’.

O God!—pity me, Charmion!—I am overburthened
with the majesty of all things—of the unknown now
known—of the speculative Future merged in the august
and certain Present.

‘Charmion’.

Grapple not now with such thoughts. To-morrow we will speak
of this. Your mind wavers, and its agitation will find
relief in the exercise of simple memories. Look not around,
nor forward—but back. I am burning with anxiety to
hear the details of that stupendous event which threw you
among us. Tell me of it. Let us converse of familiar things,
in the old familiar language of the world which has so
fearfully perished.

‘Eiros’.

Most fearfully, fearfully!—this is indeed no dream.

‘Charmion’.

Dreams are no more. Was I much mourned, my Eiros?

‘Eiros’.

Mourned, Charmion?—oh, deeply. To that last hour of
all there hung a cloud of intense gloom and devout sorrow
over your household.

‘Charmion’.

And that last hour—speak of it. Remember that, beyond
the naked fact of the catastrophe itself, I know nothing.
When, coming out from among mankind, I passed into Night
through the Grave—at that period, if I remember
aright, the calamity which overwhelmed you was utterly
unanticipated. But, indeed, I knew little of the speculative
philosophy of the day.

‘Eiros’.

The individual calamity was, as you say, entirely
unanticipated; but analogous misfortunes had been long a
subject of discussion with astronomers. I need scarce tell
you, my friend, that, even when you left us, men had agreed
to understand those passages in the most holy writings which
speak of the final destruction of all things by fire as
having reference to the orb of the earth alone, But in
regard to the immediate agency of the ruin, speculation had
been at fault from that epoch in astronomical knowledge in
which the comets were divested of the terrors of flame. The
very moderate density of these bodies had been well
established. They had been observed to pass among the
satellites of Jupiter without bringing about any sensible
alteration either in the masses or in the orbits of these
secondary planets. We had long regarded the wanderers as
vapory creations of inconceivable tenuity, and as altogether
incapable of doing injury to our substantial globe, even in
the event of contact. But contact was not in any degree
dreaded; for the elements of all the comets were accurately
known. That among them we should look for the agency
of the threatened fiery destruction had been for many years
considered an inadmissible idea. But wonders and wild
fancies had been of late days strangely rife among mankind;
and, although it was only with a few of the ignorant that
actual apprehension prevailed, upon the announcement by
astronomers of a new comet, yet this announcement was
generally received with I know not what of agitation and
mistrust.

The elements of the strange orb were immediately calculated,
and it was at once conceded by all observers that its path,
at perihelion would bring it into very close proximity with
the earth. There were two or three astronomers of secondary
note who resolutely maintained that a contact was
inevitable. I cannot very well express to you the effect of
this intelligence upon the people. For a few short days they
would not believe an assertion which their intellect, so
long employed among worldly considerations, could not in any
manner grasp. But the truth of a vitally important fact soon
makes its way into the understanding of even the most
stolid. Finally, all men saw that astronomical knowledge
lies not, and they awaited the comet. Its approach was not
at first seemingly rapid, nor was its appearance of very
unusual character. It was of a dull red, and had little
perceptible train. For seven or eight days we saw no
material increase in its apparent diameter, and but a
partial alteration in its color. Meantime, the ordinary
affairs of men were discarded, and all interest absorbed in
a growing discussion instituted by the philosophic in
respect to the cometary nature. Even the grossly ignorant
aroused their sluggish capacities to such considerations.
The learned now gave their intellect—their
soul—to no such points as the allaying of fear, or to
the sustenance of loved theory. They sought—they
panted for right views. They groaned for perfected
knowledge. Truth arose in the purity of her strength
and exceeding majesty, and the wise bowed down and adored.

That material injury to our globe or to its inhabitants
would result from the apprehended contact was an opinion
which hourly lost ground among the wise; and the wise were
now freely permitted to rule the reason and the fancy of the
crowd. It was demonstrated that the density of the comet’s
nucleus was far less than that of our rarest gas; and
the harmless passage of a similar visitor among the
satellites of Jupiter was a point strongly insisted upon,
and which served greatly to allay terror. Theologists, with
an earnestness fear-enkindled, dwelt upon the biblical
prophecies, and expounded them to the people with a
directness and simplicity of which no previous instance had
been known. That the final destruction of the earth must be
brought about by the agency of fire, was urged with a spirit
that enforced everywhere conviction; and that the comets
were of no fiery nature (as all men now knew) was a truth
which relieved all, in a great measure, from the
apprehension of the great calamity foretold. It is
noticeable that the popular prejudices and ****** errors in
regard to pestilences and wars—errors which were wont
to prevail upon every appearance of a comet—were now
altogether unknown, as if by some sudden convulsive exertion
reason had at once hurled superstition from her throne. The
feeblest intellect had derived vigor from excessive
interest.

What minor evils might arise from the contact were points of
elaborate question. The learned spoke of slight geological
disturbances, of probable alterations in climate, and
consequently in vegetation; of possible magnetic and
electric influences. Many held that no visible or
perceptible effect would in any manner be produced. While
such discussions were going on, their subject gradually
approached, growing larger in apparent diameter, and of a
more brilliant lustre. Mankind grew paler as it came. All
human operations were suspended.

There was an epoch in the course of the general sentiment
when the comet had attained, at length, a size surpassing
that of any previously recorded visitation. The people now,
dismissing any lingering hope that the astronomers were
wrong, experienced all the certainty of evil. The chimerical
aspect of their terror was gone. The hearts of the stoutest
of our race beat violently within their bosoms. A very few
days suffered, however, to merge even such feelings in
sentiments more unendurable. We could no longer apply to the
strange orb any accustomed thoughts. Its
historical attributes had disappeared. It oppressed us
with a hideous novelty of emotion. We saw it not as
an astronomical phenomenon in the heavens, but as an incubus
upon our hearts and a shadow upon our brains. It had taken,
with unconceivable rapidity, the character of a gigantic
mantle of rare flame, extending from horizon to horizon.

Yet a day, and men breathed with greater freedom. It was
clear that we were already within the influence of the
comet; yet we lived. We even felt an unusual elasticity of
frame and vivacity of mind. The exceeding tenuity of the
object of our dread was apparent; for all heavenly objects
were plainly visible through it. Meantime, our vegetation
had perceptibly altered; and we gained faith, from this
predicted circumstance, in the foresight of the wise. A wild
luxuriance of foliage, utterly unknown before, burst out
upon every vegetable thing.

Yet another day—and the evil was not altogether upon
us. It was now evident that its nucleus would first reach
us. A wild change had come over all men; and the first sense
of pain was the wild signal for general lamentation
and horror. The first sense of pain lay in a rigorous
construction of the breast and lungs, and an insufferable
dryness of the skin. It could not be denied that our
atmosphere was radically affected; the conformation of this
atmosphere and the possible modifications to which it might
be subjected, were now the topics of discussion. The result
of investigation sent an electric thrill of the intensest
terror through the universal heart of man.

It had been long known that the air which encircled us was a
compound of oxygen and nitrogen gases, in the proportion of
twenty-one measures of oxygen and seventy-nine of nitrogen
in every one hundred of the atmosphere. Oxygen, which was
the principle of combustion, and the vehicle of heat, was
absolutely necessary to the support of animal life, and was
the most powerful and energetic agent in nature. Nitrogen,
on the contrary, was incapable of supporting either animal
life or flame. An unnatural excess of oxygen would result,
it had been ascertained, in just such an elevation of the
animal spirits as we had latterly experienced. It was the
pursuit, the extension of the idea, which had engendered
awe. What would be the result of a total extraction of
the nitrogen? A combustion irresistible, all-devouring,
omni-prevalent, immediate;—the entire fulfilment, in
all their minute and terrible details, of the fiery and
horror-inspiring denunciations of the prophecies of the Holy
Book.

Why need I paint, Charmion, the now disenchained frenzy of
mankind? That tenuity in the comet which had previously
inspired us with hope, was now the source of the bitterness
of despair. In its impalpable gaseous character we clearly
perceived the consummation of Fate. Meantime a day again
passed—bearing away with it the last shadow of Hope.
We gasped in the rapid modification of the air. The red
blood bounded tumultuously through its strict channels. A
furious delirium possessed all men; and with arms rigidly
outstretched towards the threatening heavens, they trembled
and shrieked aloud. But the nucleus of the destroyer was now
upon us;—even here in Aidenn I shudder while I speak.
Let me be brief—brief as the ruin that overwhelmed.
For a moment there was a wild lurid light alone, visiting
and penetrating all things. Then—let us bow down,
Charmion, before the excessive majesty of the great
God!—then, there came a shouting and pervading sound,
as if from the mouth itself of HIM; while the whole
incumbent mass of ether in which we existed, burst at once
into a species of intense flame, for whose surpassing
brilliancy and all-fervid heat even the angels in the high
Heaven of pure knowledge have no name. Thus ended all.
Aresha Gordon Mar 2021
In a world with human rights
human trafficking victims have none
if they try to scream, if they try to fight back
they’ll be so lucky if they’re not shot by a gun

Depression, a best friend of theirs
mental and emotional health consequences
often visits them
but who cares?

Just an ordinary girl or an ordinary boy
who had undergo a serious trauma
feeling hopeless, coldheartedness and loveless
even from their Mama

Memory loss, anger
isolation
they also feel shame, fear
And feel like a new person

Cause the person they once were
they aren’t no more
due to the given circumstances
they had to explore

Stolen, beaten, *****
enduring the unspeakable
leaving them with psychological effects
and other effects that are unthinkable

Praying, wishing, hoping
for someone to come to rescue them
but even the ones that try to help
seems they are not a friend

Consumed with hatred
a fire the never seems to go warm
human trafficking victims
might easily self harm

In a world where we have rights
unfortunately the victims of human trafficking have none
We just have to pray for their health
and freedom!
Sing a song of Tajmahal
a fine nazm or a ghazal
Of this landmark for lovers
Ah, a lover's edifice
Complete with medieval bowers
It's a Mecca for tourists!
Tis sensational, tis exceptional
tis truly a touristy place.

Watch the shimmer of its magnificent marbled dome
Moonlight or sunlight, it glimmers of imperial chrome
It's ironical then
that though Indian-Arabian I am
I haven't yet been to this touristy place

It is truly as they must say, a lover's shrine
a place where hearts duly incline
They find it steamy
I find it dreamy
Oh, I've got to see for myself this touristy place.

Each of the marbled minarets
conceal such romantic secrets
for lovers to silently explore
to admire and to adore
A place human lovebirds couldn't ignore.
Ah you've got to visit this touristy place!

Two famed lovers lie in the legendary vault below
and the stream too it has a romantic flow
It's a lovers haven and paradise on earth
Even dead passions there undergo a rebirth
Ah, rekindle my love for you in this touristy place!

Extol I may this awesome imposing edifice
A greed for pure love is perhaps better than avarice
Löng live the legend of Shah jahan and Mumtaz mahal
Long live love and love like a Moghul
so forever we have this monumental grace!
Yeah take me my luv to this touristy place!
Celebrating Muslim architecture in my motherland India
You once told me how you were captivated with photos, how it fills you with satisfaction capturing a picture perfect portrait of a moment, memory, or even a mere mortal. I almost always never understood this addiction of yours on why and how you’re more than determined to collect snips of your life in a paper inked by dozens and dozens of color to paint a single picture. It is somewhat a kind of a waste but you never thought of it like that.

“What is it with you and photographs?” a question I finally got to ask you after harboring enough courage. Yet you merely answered with a shrug and looked away, away from my prying eyes, away from the echoes of what I just asked you. I was on the verge of giving up on you when you suddenly held my hand tighter than usual. “Because…,” you muttered in between huge gulps of breath. I wrapped my arms around you hoping to shield you from your turmoil. For minutes we sat there, still and not making any sound while I let you hold on to me as if I was your lifeline. Anchored back to the present, you told me, “I’m just scared that’s all.” I waited for you to continue, to go on with what you were saying, but you just did not. I turned to look at you only to find you staring at the far distance, looking lost, gone.

I yanked my hand out of your hold but you were still transfixed far, far away from me, far from this reality. Your stare just did not falter at the slightest even as you told me the words which bugged me for the most of my hours, days, or weeks even. Those times following your passing that is. Yes, you left me. You left me hanging and alone without knowing the reason why you ended your life just like that. I’ve always been blinded by the pretense that you were more that okay amidst it all. Probably it comes with the denial of your loss. But if there’s any consolation, I finally know you aren’t okay at all, now when it’s all a little too later that I should have known.

But now as I lay here, I come to think of the last thing you told me. *“If a picture is worth a thousand words, then as to what worth would a million photographs be?”


As I recall you saying it that night, hours before you pulled the trigger over your head, I assumed it was merely rhetorical. I merely thought you were playing Socrates in order to halt me from bombarding you with any more questions. It kept me up all night staring at the ceiling only to receive a phone call at 3:00 A.M. on how you were rushed to the hospital and how the doctors shook their head in the inability to save you.

Until now, I’m still kept awake not of the distraught on your sudden death but because of that question you took me by surprise. I answered nothing then but I am afraid I do know the answer now. You did not capture those sunrises and the blossoming of flowers out of sheer creativity. Instead, it gave you a glimpse of a new beginning that this life failed to give you. You did not capture the candid smiles of random individuals out of a coincidence but because your heart yearns for this kind of happiness to be instilled deep within you. You did not capture the city lights just for the vivid imagination it fueled your satisfaction. It was the colors which brought light to every impending doom you have yet to undergo. You did not capture the landscapes and skyscrapers out of nothing more than an appreciation of abstract art. Rather, it gave you the leeway to live in a fantasy as the surrealism in these photos fuels your unwavering resolve to escape the trap this reality caged you in.

Darling, you weren’t just collecting photographs out of a hobby, out of a custom. And now, I know why you told me you were scared that time I asked you about this obsession of yours. *You were scared to find out that your life is a meaningless pit, like a hollow chasm with nothing but a void.
In search of yourself, you found fragments of ‘you’ in these ink-stained scraps of print. It was how you defined your existence: in shots of images of the existence of others. Some might not understand, but you are brave and brilliant to this all. Brave for facing all your demons alone, no matter how I would have wanted to save you from your distress, and brilliant for discovering that our lives are merely a collection of lives complementing each other.

So, darling, maybe this is the end of the line for you, the brink of your voyage to obtain a million photographs. And to answer your question, if a picture is worth a thousand words, then a million photographs would be worth a life. These million photographs are all you. These photographs are what make you whole, flawlessly complete. You will realize you always were as opposed to what the world let you believe in. And then maybe, just maybe, as you finally lay to rest, far-off from the tragedy this realm of this cruel dimension, you can be finally be at peace and eventually manage to realize that you lived not just a portfolio of photographs but a masterpiece.


*(k.p.)
Molecules of two elements, nitrogen and oxygen, comprise about 99 percent of the air. The remaining hoity toity 1% includes small amounts celestial seasoning luxurious riches as argon and carbon dioxide. (Other gases such as neon, helium, and methane are present in trace amounts.) Oxygen is the life-giving element in the air.

Earth's atmosphere is 78% nitrogen, 21% oxygen, 0.9% argon, and 0.03% carbon dioxide with very small percentages of other elements. Our atmosphere also contains water vapor. In addition, Earth's atmosphere contains traces of dust particles, pollen, plant grains and other solid particles.

Even when the air seems to be completely clear, it is full of atmospheric particles - invisible solid and semisolid bits of matter, including dust, smoke, pollen, spores, bacteria and viruses. Some atmospheric particles are so large that you will feel them if they strike you. However, particles this large rarely travel far before they fall to the ground. Finer particles may be carried many miles before settling during a lull in the wind, while still tinier specks may remain suspended in the air indefinitely. The finest particles are jostled this way and that by moving air molecules and drift with the slightest currents. Only rain and snow can wash them out of the atmosphere. These tiny particles are so small that scientists measure their dimensions in microns - a micron is about one 25-thousandth of an inch. They include pollen grains, whose diameters are sometimes less than 25 microns; bacteria, which range from about 2 to 30 microns across; individual virus particles, measuring a very small fraction of a micron; and carbon smoke particles, which may be as tiny as two hundredths of a micron.

Particles are frequently found in concentrations of more than a million per cubic inch of air. A human being's daily intake of air is about 450,000 cubic inches. This means that we inhale an astronomical numbers of foreign bodies. Particles larger than about 5 microns are generally filtered from the air in the nasal passages. Other large particles are caught by hairlike protuberances in the air passages leading to the lungs and are swept back toward the mouth. Most of the extremely fine particles that do reach the lungs are exhaled again - although some of this matter is deposited in the minute air sacs within the lungs. From these air sacs, particles may go into solution and pass through the lung walls into the bloodstream. If the material is toxic, harmful reactions may occur when it enters the blood. Fine particles retained in the lungs can cause permanent tissue damage, as with Coal workers' pneumoconiosis (black lung disease), caused by buildup of coal dust in the lungs, and with silicosis, which is caused by the buildup of silicon dust.

If the air is still, given sufficient time, all but the smallest airborne particles will settle to the ground under their own weight. Their rate of fall is closely proportional to particle size and density.
For example, vast amounts of fine volcanic ash were thrown into the air by the eruption of the Indonesian volcano Krakatoa, in 1883, and again by the Alaskan volcano Katmai, in 1912. In both instances, the finer dust reached the stratosphere and spread around the world high above the rains and storms that tend to cleanse the lower atmosphere. In fact, many years elapsed before these volcanic dusts entirely disappeared from the atmosphere. Since a two-micron dust particle may require about four years to fall 17 miles in the atmosphere, the lingering effect is not in the least surprising.
Dust storms are also prolific producers of airborne debris. Europe is sometimes showered with dust originating in the Sahara. In March 1901, for instance, an estimated total of two million tons of Sahara dust fell on North Africa and the Europe. Two years later, in February 1903, Britain received a deposit estimated at ten million tons. On many occasions, Sahara dust has fallen in muddy rain and reddish snow over much of southwestern Europe. During North America's droughts of the 1930s, dust storms blew ten million tons of dust at a time aloft in the heart of the continent. Occasionally, high winds swept the dust eastward 1800 miles to darken skies along the continent's Atlantic coast.

When the wind strikes the crest of an ocean wave, or a calm sea is agitated by rain or by air bubbles bursting at the surface, the finer droplets that enter the air quickly evaporate, leaving tiny salt crystals suspended in the air. Winds carry these salt crystals over all the Earth. Normally, airborne salt particles from the sea are less than a micron in diameter. It would take a million of them to weigh a pound.
Salt particles play an important part in weather processes because they are hygroscopic - they absorb water. Raindrops usually form around tiny particles that act as nuclei for condensation. Generally, each fog and cloud droplet also collects around a particle of some type at its center. Tiny crystals of sea salt make better condensation nuclei than other natural particles found in the air. Thus, salt particles in the air help make rain.

Dust from meteor showers may occasionally affect world rainfall. When the Earth encounters a swarm of meteors, those meteors that get to the upper reaches of the Earth's atmosphere are vaporized by heat from friction. The resulting debris is a fine smoke or powder. This fine dust then floats down into the cloud system of the lower atmosphere, where it can readily serve as nuclei around which ice crystals or raindrops can form. Increases in world rainfall come about a month after the Earth encounters meteor systems in space. The delay of a month allows sufficient time for the meteoric dust to fall through the upper atmosphere. Occasionally, large meteors leave visible trains of dust. Most often their trails disappear rapidly, but in a few witnessed cases a wake of dust has remained visible for an hour or so.
In one extreme instance-a great meteor that broke up in the sky over Siberia in 1908-the dust cloud traveled all the way around the world before it dissipated.

Large forest fires are among the more spectacular producers of foreign particles in the atmosphere.
Because these fires create violent updrafts, smoke particles are carried to great heights, and, being small, are spread over vast distances by high altitude winds. In the autumn of 1950, forest fires in Alberta, Canada produced smoke that drifted east over North America on the prevailing wind and crossed the North Atlantic, reaching Britain and continental Europe. The light-scattering properties of this dense smoke made the Sun look indigo and the Moon blue to observers in Scotland and other northern lands.

Wind-pollinated plants are the most prolific sources of foreign particles in the air. This is a problem for people with allergies.

Spores are closely related to pollens. Spores are the reproductive bodies of fungi, which include molds, yeasts, rusts, mildews, puffballs and mushrooms. Tiny spores are adrift everywhere in the air, even over the oceans. Although they resemble pollens in general appearance, spores are not fertilizing agents. Instead, they are like seeds, and give rise to new organisms wherever they take hold. Spores have been found as high as 14 miles in the air over the entire globe. Most fungi depend on the wind for spore dissemination. Once airborne, spores are carried easily by the slightest air currents.

Once, physicians were taught that infectious microorganisms quickly settle out of the air and die. Today, the droplets ejected, say, by a sneeze, are known to evaporate almost immediately, leaving whatever microorganisms they contain to drift through the air. Only a relatively small fraction of microorganism’s human beings breathe cause disease. In fact, most bacteria are actually helpful. Some, for example, convert atmospheric nitrogen into usable plant food. Pathogenic, or disease-producing, microorganisms, however, can be very dangerous. Most propagate by subdivision-each living cell splits into two cells. Each of the new cells then grows and divides again into two more cells. Provided with ideal conditions, populations multiply quickly. Fortunately microorganisms do not thrive very well in the air. Unless there is enough humidity in the air, many desiccate and die. Short exposure to the ultraviolet radiation of the Sun also kills most microorganisms. Low temperatures greatly decrease their activity, and elevated temperatures destroy them rapidly. Still, many microorganisms survive in the air, despite these hazards. Among the tiniest of airborne particles are viruses, which are on the borderline between living matter and lifeless chemical substances.

Earth is the only planet we know of that can support life. This is an amazing fact, considering that it is made out of the same matter as other planets in our solar system, was formed at the same time and through the same processes as every other planet, and gets its energy from the sun. To a universal traveler, Earth may seem to be a harmless little planet in the far reaches of one of billions of spiral galaxies in the universe. It has an average size star of average brightness and is joined by seven other planets — which support no known life forms — in its solar system. While this may be fitting for a passage from The Hitchhikers Guide to the Galaxy, by Douglas Adams, in the grand scheme of the universe, it would be a fairly accurate description. However, Earth is a planet teeming with vitality and is home to billions of plants and animals that share a common evolutionary track. How and why did we get here? What processes had to take place for this to happen? And where do we go from here? The fact is, no one has been able to come close to knowing exactly what led to the origins of life, and we may never know. After 5 billion years of Earth’s formation and evolution, the evidence may have been lost. But scientists have made significant progress in understanding what chemical processes that may have led to the origins of life. There are many theories, but most have the same general perspective of how things came to be the way they are. Following is an account of life’s beginnings based on some of the leading research and theories related to the subject, and of course, fossil records dating back as far as 3.5 billion years ago.

The solar system was created from gas clouds and dust that remained from the Sun's formation some 6-7 billion years ago. This material contained only about .2% of the solar system's mass with the Sun holding the rest. Earth began to form over 4.6 billion years ago from the same cloud of gas (mostly hydrogen and helium) and interstellar dust that formed our sun, the rest of the solar system and even our galaxy. In fact, Earth is still forming and cooling from the galactic implosion that created the other stars and planetary systems in our galaxy. This process began about 13.6 billion years ago when the Milky Way Galaxy began to form. As our solar system began to come together, the sun formed within a cloud of dust and gas that continued to shrink in upon itself by its own gravitational forces. This caused it to undergo the fusion process and give off light, heat and other radiation. During this process, the remaining clouds of gas and dust that surrounded the sun began to form into smaller lumps called planetesimals, which eventually formed into the planets we know today.

A large number of small objects, called planetesimals, began to form around the Sun early in the formation of the solar system. These objects were the building blocks for the planets that exist today. The Earth went through a period of catastrophic and intense formation during its earliest beginnings 4.6-4.4 billion years ago. By 3.8 to 4.1 billion years ago, Earth had become a planet with an atmosphere (not like our atmosphere today) and an ocean. This period of Earth’s formation is referred to as the Precambrian Period. The Precambrian is divided into three parts: the Hadean, Archean and Proterozoic Periods.

The Earth formed under so much heat and pressure that it formed as a molten planet. For nearly the first billion years of formation (4.5 to 3.8 billion years ago) — called the Hadean Period (or hellish period) — Earth was bombarded continuously by the remnants of the dust and debris — like asteroids, meteors and comets — until it formed into a solid sphere, pulled into orbit around the sun and began to cool down. Earth's early atmosphere most likely resembled that of Jupiter's atmosphere, which contains hydrogen, helium, methane and ammonia, and is poisonous to humans. (Photo: NASA, from Voyager 1). As Earth began to take solid form, it had no free oxygen in its atmosphere. It was so hot that the water droplets in its atmosphere could not settle to form surface water or ice. Its first atmosphere was also so poisonous, comprised of helium and hydrogen, that nothing would have been able to survive.
Earth’s second atmosphere was formed mostly from the outgassing of such volatile compounds as water vapor, carbon monoxide, methane, ammonia, nitrogen, carbon dioxide, nitrogen, hydrochloric acid and sulfur produced by the constant volcanic eruptions that besieged the Earth. It had no free oxygen. About 4.1 billion years ago, the Earth’s surface — or crust — began to cool and stabilize, creating the solid surface with its rocky terrain. Clouds formed as the Earth began to cool, producing enormous volumes of rainwater that formed the oceans. For the next 1.3 billion years (3.8 to 2.5 billion years ago), the Archean Period, first life began to appear and the world’s land masses began to form. Earth’s initial life forms were bacteria, which could survive in the highly toxic atmosphere that existed during this time. Toward the end of the Archean Period and at the beginning of the Proterozoic Period, about 2.5 billion years ago, oxygen-forming photosynthesis began to occur. The first fossils were a type of blue-green algae that could photosynthesize.

Earth's atmosphere was first supplied by the gasses expelled from the massive volcanic eruptions of the Hadean Era. These gases were so poisonous, and the world was so hot, that nothing could survive. As the planet began to cool, its surface solidified as a rocky terrain, much like Mars' surface (center photo) and the oceans began to form as the water vapor condensed into rain. First life came from the oceans. Some of the most exciting events in Earth’s history and life occurred during this time, which spanned about two billion years until about 550 million years ago. The continents began to form and stabilize, creating the supercontinent Rodinia about 1.2 billion years ago. Although Rodinia is composed of some of the same land fragments as the more popular supercontinent, Pangea, they are two different supercontinents. Pangea formed some 225 million years ago and would evolve into the seven continents we know today. Free oxygen began to build up around the middle of the Proterozoic Period — around 1.8 billion years ago — and made way for the emergence of life as we know it today. This increased oxygen created conditions that would not allow most of the existing life to survive and thus made way for the more oxygen-dependent life forms. By the end of the Proterozoic Period, Earth was well along in its evolutionary processes leading to our current period, the Holocene Period,  or Anthropocene Period, also known as the Age of Man. Thus, about 525 million years ago, the Cambrian Period began. During this period, life “exploded,” developing almost all of the major groups of plants and animals in a relatively short time. It ended with the massive extinction of most of the existing species about 500 million years ago, making room for the future appearance and evolution of new plant and animal species. About 498 million years later — 2.2 million years ago — the first modern human species emerged.

Did You Know? The first modern human being was called **** habilis, the first of the **** genus. This species developed stone tools for use in daily life. **** habilis means “Handy Man.” He existed from about 2.2 to 1.5 million years ago. There are earlier species related to modern man, called hominids. The images show the skull shape and probable appearance of **** habilis.

The PreCambrian Period — accounts for about 90 percent of Earth’s history. It lasted for about four billion years until about 550 million years ago. About 70 percent of the world’s land masses were created in the Archean Era, between 3.8 and 2.5 million years ago. Rodinia, widely recognized as the first supercontinent, formed during the Proterozoic Era, about 2.5 billion years ago. It is believed that the oldest human family member was discovered in Ethiopia and lived 4.4 million years ago. It was named “Ardi,” short for Ardipithecus ramidus.
cgembry Aug 2016
I watched my neighborhood park
undergo a transformation
on a warm autumn morning
that carried the smell of dew and maple
the sun peeked through the trees
reflecting off the yellows reds and oranges
illuminating them
till you could swear they had caught fire
crisp air threw amber leaves skyward
raining down like golden confetti
to be collected for jumping into
by the laughing children
Lia Frenae Jan 2017
Chocolate is great
It's really neat
But, to be the color, it's bittersweet
This is the experience of a lifetime that Hersheys must undergo
To read, to be told, to hear
That it's almost good enough
Almost pretty enough, almost smart enough
Too reserved and mannered to be this and that
Tears down almost all confidence that Hershey has
It takes away it's natural state
Like a Hershey left in the heat
It takes a while for that Hershey to find beauty again within itself, to find a true acceptance to who it really is, and the discover it's identity
To understand that it won't always make ends meet
But that Hershey will overcome this phase
That made it's life a living maze
The Hershey will wake up
Look in the mirror and see they are somebody
with a cocked up head
will forget what everyone said
and the microaggression that became so macro will soon be irrelevant
That Hershey will see it's real identity to see a girl named Aliah
Ted Rufflepuff Jan 2015
I wished, I tried, I cried,
But lied,
That's the reason why I virtually died,
She left me cold, when I needed her the most,
But to let her go was the only decision I could undergo.

She respected, she understood, she misunderstood, she laughed,
Leaving me behind all the friend roles,
I loved, I love, and will love her to the core,
But to let her go was the only decision I could undergo.
My very first poetry, I'm not good at it at all. C&C; appreciated.
Icarus M Jul 2013
Superimposing marks
On red, swollen lips
Bit and bled from chattering teeth
That tolls nervous as a cuckoo clock chirps.

A bumpy road with
Spidered cracks
Like a well dried jerky strip
Wrinkled, and tough.
Bit and chewed
With no bones underneath
And no guts to go forward.

Warning skies
Of red in the morning.
And thunderstorming nights
That flash with lighting so intense
You'd think an old-age photo party was commenced way up high.
And rain so furious
You'd think the clouds were tearing themselves to pieces.*
--------------------------------------------------------­-----------------------------------------------------------------­-------------

As a cloud,
I think I should add
That we aren't all fluffy and white
Nor scary and dark.

Our seasons do not come easily
For we undergo much
To make it "rain."

And even more to keep it calm.

Thunder is not a weathering crash,
It is yelling from another room.
And the lightning flash,
rage,
That leads to liquid pain.

The hard pressed wind that tosses your hair
Are witheld screams
until tolerance level reaches maximum,
And snaps. Like that old willow's trunk,
Wrenched from the earth,
Because the sky is powerful
And we are only along for the ride.

But, there is sunshine that warms our tops
While the bottoms are in shadow,
wrought in darkness that writhe along uneven surfaces.
But, there is moonlight that makes us gleam,
Like silver was sewn into sides.
But she is not always there,
And as her light fades
So
Do
We.
A work in progress, but I wanted to share what I already have. I hope you enjoy. Any tips are welcomed. © copy right protected
If I get Cancer
and undergo Chemotherapy
and begin to lose my hair,
I'm certainly getting
a badass scalp tattoo.
Really, same goes for any other reason for going bald. I love my hair long, if I lost it, something else would have to go there.
Nat Lipstadt Nov 2013
Dump: A Commissioned Poem

Someone commissioned me to write a poem about the word, dump.  Not a pretty word, but a workingman's word, full of possibilities and mystifications.  Gratefully accepted.

so many, endlessly endless.
bringing paper, cans, compacted
words,
all in need of special disposal,
special handling,
individuation of caring.

I split myself into multiple personas.
blue, green and some other color,
divine myself into receptacles for the sounds
you write, that must be read aloud, slowly,
in order to properly, allocate,
to dispose,
of.

sustainability.
not the planet,
something smaller,
more
man-ageable,
man-agreeable.

your verse!
you in verse is multidimensional,
yet unified,
one theme,
single answer to a questioned couched
a thousand different ways,
a thousand different poem titles!

how can I sustain myself?

sustain
— verb (used with object)
to support, hold, or bear up from below; bear the weight of, as a structure.
to bear (a burden, charge, etc.).
to undergo, experience, or suffer (injury, loss, etc.); endure without giving way or yielding.
to keep (a person, the mind, the spirits, etc.) from giving way, as under trial or affliction.
to keep up or keep going, as an action or process: to sustain a conversation.
to supply with food, drink, and other necessities of life.
to provide for by furnishing means or funds.
to support (a cause or the like) by aid or approval.
to uphold as valid, just, or correct, as a claim or the person making it


you are in the dictionary,
did you know that?

now I will answer in a free man's verse,
written without hesitation but with plenty of
tears and tissues
and rememberings of his own
wasted days, major successes,
bathtub ships,
righted
and passengers saved.

Words written in a single breath,
no exhalation just simple purity,
best wishes that any man can have,
if daring, he reaches inside and,
rips himself open,
saying it's ok, and meaning it,.

so here I am
standing looking you in the eye,
sitting with both arms draped
over your body,
saying
dump,
dump it all on me.

Cause I got a billion words that rhyme with
comfort.
Bring me the past and the future uncertain.

I already told you
never read a poem I did not like.

got slots for cans paper and compost,
got slots for fear, heartache and a big ole wide one for
pain.

got a heart shaped dump
that never closes.

The city council complains,
your name ain't Moses,
you are a city boy,
why you hanging in the wilderness for forty more,
didn't you do your time?
ex wife that brutalized your soul.
two sons who barely speak to you.
let someone else take over,
and I smile saying exactly,
I got experience,
I got Kleenex,
don't know nobody else better
Boy Scout
Be Prepared.

See,
even you can dump on me
effortlessly.

So.
ask not what you will bring.
cause I got an opening for anything you can
dump,
and land fill of me that has so much space,
billions of acres and neurons that will lay fallow,
until your poems, plaints, sailings and wailings
fill them.

so that is my poem,
dump,
even,
I like it.

May even dump some of mine on someone
like you.
after all
who in this world cannot use some
sustaining.
Next word, please
Zedler Dec 2013
Started off in the [clouds]
and after falling and crashing down,
touched the roots of a redwood.

Now with the help of giraffes
I scale it's back as I'm looking
to climb my way up the trunk.

Branch after branch,
contact causing
****, hoping no one
stops my conquest
and burns this tree to ash.

Talking to fauna,
birds chirp, to attempt
continuing this saga,
after she left I reduced to
nothing but a larva, as I now
undergo the metamorphosis,
similar to that of Kafka's.

Trauma induces this  
determination, of being reunited
in clouds with her creation,
and if up there nothing for me
is waiting, then abort mission,
swing towards a new notion,
and from the the clouds
I'm perched upon, jump
and plummet into the [ocean].

25 hours pass before
the tip of the tree is reached
and as the sun rises, I realize
I'm above the horizon and
on clouds perched I instantly
recognize the eyes hidden
under eyelids.

Finally we've met again,
tragic ending as I reach for
her to grab my hand.
Unstably standing on this branch
and as she hands me hers, she
retreats and pulls back.

Slipping, she let me fall
and midair I hear my heart
crack, falling thousands of feet,
I'm thinking of the love she couldn't
keep, and before the impact a thought passes my head; so honest.
Humans like myself, too ambitious in their conquest,
meant to stay at trunk of trees, and clouds, strictly homes for a goddess.
Calla Fuqua Apr 2019
Louder than Monsters
By: Calla Fuqua

I can’t unhear your ignorance, I can’t unsee your belligerence,
The potential difference you swore you’d make, and the carnivorous path
You chose to take.
You are louder than monsters.

Heaven must scare you and your desire to dissipate,
Your chance to incriminate, the problems you exacerbate,
I can’t articulate your need to intoxicate.
Your laughter is louder than monsters.

You fabricat your pity you pretend to give, as you wait for me to forgive,
That night I have to relive when I dream, of our short lived view of how happiness seemed.
Back then how could I have known that you were louder than monsters.

Your grip on me becomes tighter, the more your desire for me expires,
The more you secretly become a liar, and the more I ask myself why her?
Her voicemails are louder than monsters.

I end up on the floor, after you hit me and you swore,
You don’t say I love you anymore, the way you used to before,
And now I’m just your little *****, you pretend to love as if it’s a chore.
Your silence is louder than monsters.

I pray for you and the guilt you must feel, screaming out our window,
frantic to appeal, for the pain you caused solely so you could heal.
Your lies are louder than monsters.

You laugh when I say no, giving me a messed up world you pretend to know,
Now it’s my turn to outgrow you and your plateau, the one you promised
To let go. While I undergo the pain you overflow.
My screams are louder than monsters.

I still tell myself you love me after you throw your fists, holding tight to my wrists,
As I keep allowing the crimes you commit, to become imprints from the pain you inflict.
This pain is louder than monsters.

Now, nobody seems sincere, every scar is like a souvenir, You leave me speechless, when you sip your beer, like you didn’t just make my whole world disappear,          
You say you are not louder than monsters.

All I can do now is reminisce, look back on moments like our first kiss,
Before you led me into this abyss, before I was unable to dismiss the thought,
“What kind of monster does this?”
Someone who doesn’t know he is louder than monsters.

I dream about the day I can throw out your ashtray, The day
I can cast away you whole, no more arms to control my body’s soul,
A day where I no longer have to be your wife,
A day where I can play a character in my own life.
A day where love is louder than monsters
T daniels Nov 2018
Undergo
move to a new location.

Rave inside the spiral
EgoFeeder May 2013
To prolong such an absence of vexatious jove
Denying the will of instinct to arouse elation
Self-inflicted desolation in which we all strove
To create an empty shell like a fronted castration
All the while being comforted by a depressing superiority
As the uniqueness of our struggle blends in with conformity

Yearning for our relations to meet with a tragic end
Anticipating the consequence of a self-appointed woe
Glorifying our character as we passionately pretend
To endure an exclusive emotion that we all undergo
This proclamation of individuality through insipid gloom
Conveys nothing but the relative depiction of what I assume
XXXVII

Pardon, oh, pardon, that my soul should make,
Of all that strong divineness which I know
For thine and thee, an image only so
Formed of the sand, and fit to shift and break.
It is that distant years which did not take
Thy sovranty, recoiling with a blow,
Have forced my swimming brain to undergo
Their doubt and dread, and blindly to forsake
Thy purity of likeness and distort
Thy worthiest love to a worthless counterfeit:
As if a shipwrecked Pagan, safe in port,
His guardian sea-god to commemorate,
Should set a sculptured porpoise, gills a-snort
And vibrant tail, within the temple-gate.
Julian Delia Mar 2018
Picture –
The ancient slave
On one knee, hands in chains
From his dreams, he refrains
A soul destined
To follow his master
Like a beaten dog tied to a post.
The few who rebelled
Either died, or were expelled,
Outcasts for life,
Labelled as heretics, agents of strife.

The ancient slave
Was born a slave, a captive soul
Animated as a shadow, not a whole.
No freedom, no choice –
A voice
With its chords tied,
Its right to speak denied
Because slavers and a bill of sale said so.

Visualise –
The modern slave
The one who is born
Not with bonds made of chains
But of laws,
Of the systemic corruption
The incessant drive for consumption
And the illusion of freedom.
It is the modern slave
Who lives the greatest lie –
A purposeless drone who will die
Thinking he has lived
Because he had an affair with life.

A life fully savoured
Cannot be just this.
Working 40 – 60 hour weeks
A system that just reeks
Of exploitation,
Of the horrible foundation
On which everything we know is built.

Most of us
Work to eat, to provide,
No secret accounts to hide;
Most of us
Make enough to get by,
Maybe enjoy the weekend
When given the leave to do so.
Most of us
Have this affair with life
Living freely for a few hours
Like rain when it’s just summer showers
Brief flickers, drops of rain
Sprinkled onto an otherwise barren field of crops
Of which the main harvest is pain.



A few of us, however,
Endlessly profit and plunder;
The modern slave
Differs from his ancestor
For he chooses his master
And loves him.
He is conned
Into thinking his masters care
Allegiances are laid bare
Hands are cast in adulation
Rights undergo strangulation
And nobody bats an eyelid.

The modern slave
Caresses his chains,
Wears them like a badge of office
Distaste for dissidence of the state
Pouring out of every orifice.
The modern slave
Could learn and understand
Confront the shimmering illusion, the shifting sand
That is the realm of made men,
But doesn’t.

Rather than fight back
We consume the great lie like crack;
These made men
Will run our planet into the ground
Until it is no longer a home
But a graveyard made for us, by us.
These made men
Spin lies, smear the truth
Force them to mingle and interchange
Like mismatched lovers in a diner booth.
Reality has shifted
It has become unbelievably twisted,
Our perceptions are suffering.
Towards each other, we direct our hostility
Unable to grasp the possibility
Of a better way.

The modern slave
Is cosy in his prison cell;
The reality of the world outside
Is a structured, engineered hell
To be avoided.
So, we just build our own bubble
Outside of which
Our only, primary concern
Is how to get rich.

Life isn’t meant to be an affair;
Life shouldn’t be
Something we are given permission for
But a free pursuit of happiness,
A learning experience.
So, with this I will conclude –
Raise your fists in the air
If you are tired of living bare,
Resist
If you’re tired of a world that does not care.
To Matthieu, my ex French boyfriend



I'm smoking my last
In an empty room
I will watch the past
Seal and shake my doom.

I'm breathing my last
As I crawl under
Under the thunder
Welcoming the blast,

I shall undergo
In an empty room.
And deeper I go
Deeper in the gloom

I'm looking around
Trudging on the ground
I have come to nuke
To repel and puke,

This mild monochrome
Displaying your smile
I will hate your isle
From Sparta to Rome

To grab your image
Your ****** leverage
Going far further
Than before earlier


The road down below
Is dangerous, I fell
Is painful and slow
The road out of hell

Will be bright and pure.
I did **** and mure
Your mild monochrome
And now to my home,

I shall soon return
Far from you lost love
Yes, is gone the dove
Your paper will burn

Ashes, melting fast
Burning monochrome
Blasted monochrome
I'm smoking my last

July 19, 2013
Chambéry, France
Michael R Burch Apr 2020
The Making of a Poet
by Michael R. Burch

I have a nice resume:

Michael R. Burch is one of the world's most-published poets, with over 11,500 publications (including poems that have gone viral but not self-published poems). Burch's poems have been published by hundreds of literary journals, taught in high schools and colleges, translated into 22 languages, incorporated into three plays and four operas, and set to music, from swamp blues to classical, 74 times by 33 composers. Burch is also a longtime editor, publisher and translator of Jewish Holocaust poetry as well as poems about the Trail of Tears, Hiroshima, Ukraine, the Nakba and school shootings.

But how did it all begin?

I like to think it started with an early poem quite appropriately titled "Poetry" and written to the Muse of lyric poetry, Erato.

While I don’t consider “Poetry” to be my best poem—I wrote the first version in my teens—it’s a poem that holds special meaning for me. I consider it my Ars Poetica. Here’s how I came to write “Poetry” as a teenager ...

When I was eleven years old, my father, a staff sergeant in the US Air Force, was stationed in Wiesbaden, Germany. We were forced to live off-base for two years, in a tiny German village where there were no other American children to play with, and no English radio or TV stations. To avoid complete boredom, I began going to the base library, checking out eight books at a time (the limit), reading them in a few days, then continually repeating the process. I quickly exhausted the library’s children’s fare and began devouring adult novels along with a plethora of books about history, science and nature.

In the fifth grade, I tested at the reading level of a college sophomore and was put in a reading group of one. I was an incredibly fast reader: I flew through books like crazy. I was reading Austen, Dickens, Hardy, et al, while my classmates were reading … whatever one normally reads in grade school. My grades shot through the roof and from that day forward I was always the top scholar in my age group, wherever I went.

But being bright and well-read does not invariably lead to happiness. I was tall, scrawny, introverted and socially awkward. I had trouble making friends. I began to dabble in poetry around age thirteen, but then we were finally granted base housing and for two years I was able to focus on things like marbles, quarters, comic books, baseball, basketball and football. And, from an incomprehensible distance, girls.

When I was fifteen my father retired from the Air Force and we moved back to his hometown of Nashville. While my parents were looking for a house, we lived with my grandfather and his third wife. They didn’t have air-conditioning and didn’t seem to believe in hot food—even the peas and beans were served cold!—so I was sweaty, hungry, lonely, friendless and miserable. It was at this point that I began to write poetry seriously. I’m not sure why. Perhaps because my options were so limited and the world seemed so impossibly grim and unfair.

Writing poetry helped me cope with my loneliness and depression. I had feelings of deep alienation and inadequacy, but suddenly I had found something I could do better than anyone around me. (Perhaps because no one else was doing it at all?)

However, I was a perfectionist and poetry can be very tough on perfectionists. I remember becoming incredibly frustrated and angry with myself. Why wasn’t I writing poetry like Shelley and Keats at age fifteen? I destroyed all my early poems in a fit of pique. Fortunately, I was able to reproduce most of the better poems from memory, but two in particular were lost forever and still haunt me.

Heir on Fire
by Michael R. Burch

I wanted to be Shelley’s heir,
Just fourteen years old, and consumed by desire.
Why wouldn’t my Muse play fair?

I went to work—pale, laden with care:
why wouldn’t the words do as I aspired,
when I wanted to Keats’s heir?

My "verse" seemed neither here nor there.
How the hell did Sappho tune her lyre?
And why wouldn’t my Muse play fair?

The journals laughed at my childish fare.
Had I bitten off more than eagles dare
when I wanted to be Byron’s heir?

My words lacked Rimbaud’s savoir faire.
My prospects were looking quite dire!
Why wouldn’t my Muse play fair?

At fifteen I committed my poems to the fire,
calling each goddess a liar.
I just wanted to be Shakespeare’s heir.
Why wouldn’t my Muse play fair?

In the tenth grade, at age sixteen, I had a major breakthrough. My English teacher gave us a poetry assignment. We were instructed to create a poetry booklet with five chapters of our choosing. I still have my booklet, a treasured memento, banged out on a Corona typewriter with cursive script, which gave it a sort of elegance, a cachet. My chosen chapters were: Rock Songs, English Poems, Animal Poems, Biblical Poems, and ta-da, My Poems! Audaciously, alongside the poems of Shakespeare, Burns and Tennyson, I would self-publish my fledgling work!

My teacher wrote “This poem is beautiful” beside one my earliest compositions, “Playmates.” Her comment was like rocket fuel to my stellar aspirations. Surely I was next Keats, the next Shelley! Surely immediate and incontrovertible success was now fait accompli, guaranteed!

Of course I had no idea what I was getting into. How many fifteen-year-old poets can compete with the immortal bards? I was in for some very tough sledding because I had good taste in poetry and could tell the difference between merely adequate verse and the real thing. I continued to find poetry vexing. Why the hell wouldn’t it cooperate and anoint me its next Shakespeare, pronto?

Then I had another breakthrough. I remember it vividly. I working at a McDonald’s at age seventeen, salting away money for college because my parents had informed me they didn’t have enough money to pay my tuition. Fortunately, I was able to earn a full academic scholarship, but I still needed to make money for clothes, dating (hah!), etc. I was sitting in the McDonald’s break room when I wrote a poem, “Reckoning” (later re-titled “Observance”), that sorta made me catch my breath. Did I really write that? For the first time, I felt like a “real poet.” This was the best of my early poems to be completed.

Observance
by Michael R. Burch

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

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

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

Another early poem, “Infinity,” written around age eighteen, again made me feel like a real poet.



Infinity
by Michael R. Burch

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

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

Now, two “real poems” in two years may not seem like a big deal to non-poets. But they were very big deals to me. I would go off to college feeling that I was, really, a real poet, with two real poems under my belt. I felt like someone, at last. I had, at least, potential.

But I was in for another rude shock. Being a good reader of poetry—good enough to know when my own poems were falling far short of the mark—I was absolutely floored when I learned that impostors were controlling Poetry’s fate! These impostors were claiming that meter and rhyme were passé, that honest human sentiment was something to be ridiculed and dismissed, that poetry should be nothing more than concrete imagery, etc.

At first I was devastated, but then I quickly became enraged. I knew the difference between good poetry and bad. I could feel it in my flesh, in my bones. Who were these impostors to say that bad poetry was good, and good was bad? How dare they? I was incensed! I loved Poetry. I saw her as my savior because she had rescued me from depression and feelings of inadequacy. So I made a poetic pledge to help save my Savior from the impostors. "Poetry" was another early poem, written at age 18...



Poetry
by Michael R. Burch

Poetry, I found you where at last they chained and bound you;
with devices all around you to torture and confound you,
I found you—shivering, bare.

They had shorn your raven hair and taken both your eyes
which, once cerulean as Gogh’s skies, had leapt with dawn to wild surmise
of what was waiting there.

Your back was bent with untold care; there savage brands had left cruel scars
as though the wounds of countless wars; your bones were broken with the force
with which they’d lashed your flesh so fair.

You once were loveliest of all. So many nights you held in thrall
a scrawny lad who heard your call from where dawn’s milling showers fall—
pale meteors through sapphire air.

I learned the eagerness of youth to temper for a lover’s touch;
I felt you, tremulant, reprove each time I fumbled over-much.
Your merest word became my prayer.

You took me gently by the hand and led my steps from boy to man;
now I look back, remember when—you shone, and cannot understand
why here, tonight, you bear their brand.

I will take and cradle you in my arms, remindful of the gentle charms
you showed me once, of yore;
and I will lead you from your cell tonight—back into that incandescent light
which flows out of the core of a sun whose robes you wore.
And I will wash your feet with tears for all those blissful years . . .
my love, whom I adore.

Originally published by The Lyric

I consider "Poetry" to be my Ars Poetica. However, the poem has been misinterpreted as the poet claiming to be Poetry's  sole "savior." The poet never claims to be a savior or hero, but more like a member of a rescue operation. The poem says that when Poetry is finally freed, in some unspecified way, the poet will be there to take her hand and watch her glory be re-revealed to the world. The poet expresses love for Poetry, and gratitude, but never claims to have done anything heroic himself. This is a poem of love, compassion and reverence. Poetry is the Messiah, not the poet. The poet washes her feet with his tears, like Mary Magdalene.



These are other early poems of mine...



EARLY POEMS: HIGH SCHOOL AND COLLEGE, PART I

These are juvenilia (early poems) of Michael R. Burch, written in high school and college…



Bound
by Michael R. Burch, circa age 14-15

Now it is winter—the coldest night.
And as the light of the streetlamp casts strange shadows to the ground,
I have lost what I once found
in your arms.

Now it is winter—the coldest night.
And as the light of distant Venus fails to penetrate dark panes,
I have remade all my chains
and am bound.

This poem appeared in my high school journal, the Lantern, in 1976. It was originally titled "Why Did I Go?"



Am I
by Michael R. Burch, circa age 14-15

Am I inconsequential;
do I matter not at all?
Am I just a snowflake,
to sparkle, then to fall?

Am I only chaff?
Of what use am I?
Am I just a feeble flame,
to flicker, then to die?

Am I inadvertent?
For what reason am I here?
Am I just a ripple
in a pool that once was clear?

Am I insignificant?
Will time pass me by?
Am I just a flower,
to live one day, then die?

Am I unimportant?
Do I matter either way?
Or am I just an echo—
soon to fade away?

“Am I” is one of my very early poems; if I remember correctly, it was written the same day as “Time,” the poem below. The refrain “Am I” is an inversion of the biblical “I Am” supposedly given to Moses as the name of God. I was around 14 or 15 when I wrote the two poems.



Time
by Michael R. Burch, circa age 14-15

Time,
where have you gone?
What turned out so short,
had seemed like so long.

Time,
where have you flown?
What seemed like mere days
were years come and gone.

Time,
see what you've done:
for now I am old,
when once I was young.

Time,
do you even know why
your days, minutes, seconds
preternaturally fly?

"Time" is a companion piece to "Am I." It appeared in my high school sophomore project notebook "Poems" along with "Playmates."



Stars
by Michael R. Burch, circa age 22

Though night has come,
I'm not alone,
for stars appear
—fierce, faint and far—
to dance until they disappear.

They reappear
as clouds roll by
in stormy billows
past bent willows;
sometimes they almost seem to sigh.

And time rolls on,
on past the willows,
on past the stormclouds as they billow,
on to the stars
so faint and far . . .

on to the stars
so faint and far.



The Communion of Sighs
by Michael R. Burch, circa age 18

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

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

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

aaa


Liquid Assets
by Michael R. Burch, circa age 19

And so I have loved you, and so I have lost,
accrued disappointment, ledgered its cost,
debited wisdom, credited pain …
My assets remaining are liquid again.

I wrote this poem in college after my younger sister decided to major in accounting. In fact, the poem was originally titled “Accounting.” At another point I titled it “Liquidity Crisis.”



absinthe sea
by Michael R. Burch, circa age 18-19

i hold in my hand a goblet of absinthe
the bitter green liqueur
reflects the dying sunset over the sea
and the darkling liquid froths
up over the rim of my cup
to splash into the free,
churning waters of the sea
i do not drink
i do not drink the liqueur,
for I sail on an absinthe sea
that stretches out unendingly
into the gathering night
its waters are no less green
and no less bitter,
nor does the sun strike them with a kinder light
they both harbor night,
and neither shall shelter me
neither shall shelter me
from the anger of the wind
or the cruelty of the sun
for I sail in the goblet of some Great God
who gazes out over a greater sea,
and when my life is done,
perhaps it will be because
He lifted His goblet and sipped my sea.

I seem to remember writing this poem in college, just because I liked the sound of the word “absinthe.”



Ambition
by Michael R. Burch, circa age 18-19

Men speak of their “ambition”
and I smile to hear them say
that within them burns such fire,
such a longing to be great ...

But I laugh at their “Ambition”
as their wistfulness amasses;
I seek Her tongue’s indulgence
and Her parted legs’ crevasses.

I was very ambitious about my poetry, even as a teenager.



as Time walked by
by Michael R. Burch, circa age 16

yesterday i dreamed of us again,
when
the air, like honey,
trickled through cushioning grasses,
softly flowing, pouring itself upon the masses
of dreaming flowers ...

then the sly, impish Hours
were tentative, coy and shy
while the sky
swirled all its colors together,
giving pleasure to the appreciative eye
as Time walked by.

sunbright, your smile
could fill the darkest night
with brilliant light
or thrill the dullest day
with ecstasy
so long as Time did not impede our way;
until It did,
It did.

for soon the summer hid
her sunny smile ...
the honeyed breaths of wind
became cold,
biting to the bone
as Time sped on,
fled from us
to be gone
Forevermore.

this morning i awakened to the thought
that you were near
with honey hair and happy smile
lying sweetly by my side,
but then i remembered—you were gone,
that u’d been toppled long ago
like an orchid felled by snow
as the bloom called “us” sank slowly down to die
and Time roared by.



Gentry
by Michael R. Burch, circa age 18

The men shined their shoes
and the ladies chose their clothes;
the rifle stocks were varnished
till they were untarnished
by a speck of dust.

The men trimmed their beards;
the ladies rouged their lips;
the horses were groomed
until the time loomed
for them to ride.

The men mounted their horses,
the ladies did the same;
then in search of game they went,
a pleasant time they spent,
and killed the fox.

"Gentry” was published in my college literary journal, Homespun,  along with "Smoke" and four other poems of mine. I have never been a fan of hunting, fishing, or inflicting pain on other creatures.



Of You
by Michael R. Burch, circa age 16

There is little to write of in my life,
and little to write off, as so many do ...
so I will write of you.

You are the sunshine after the rain,
the rainbow in between;
you are the joy that follows fierce pain;
you are the best that I've seen
in my life.

You are the peace that follows long strife;
you are tranquility.
You are an oasis in a dry land
and
you are the one for me!

You are my love; you are my life; you are my all in all.
Your hand is the hand that holds me aloft ...
without you I would fall.

This was the first poem of mine that appeared in my high school journal, the Lantern, and thus it was my first poem to appear on a printed page. A fond memory.

bbb


Burn, Ovid
by Michael R. Burch

“Burn Ovid”—Austin Clarke

Sunday School,
Faith Free Will Baptist, 1973:
I sat imaging watery folds
of pale silk encircling her waist.
Explicit *** was the day’s “hot” topic
(how breathlessly I imagined hers)
as she taught us the perils of lust
fraught with inhibition.

I found her unaccountably beautiful,
rolling implausible nouns off the edge of her tongue:
adultery, fornication, *******, ******.
Acts made suddenly plausible by the faint blush
of her unrouged cheeks,
by her pale lips
accented only by a slight quiver,
a trepidation.

What did those lustrous folds foretell
of our uncommon desire?
Why did she cross and uncross her legs
lovely and long in their taupe sheaths?
Why did her ******* rise pointedly,
as if indicating a direction?

“Come unto me,
(unto me),”
together, we sang,
cheek to breast,
lips on lips,
devout, afire,
my hands
up her skirt,
her pants at her knees:
all night long,
all night long,
in the heavenly choir.

This poem is set at Faith Christian Academy, which I attended for a year during the ninth grade, in 1972-1973. While the poem definitely had its genesis there, I believe I revised it more than once and didn't finish it till 2001, nearly 28 years later, according to my notes on the poem. The next poem, "*** 101," was also written about my experiences at FCA that year.



*** 101
by Michael R. Burch

That day the late spring heat
steamed through the windows of a Crayola-yellow schoolbus
crawling its way up the backwards slopes
of Nowheresville, North Carolina ...
Where we sat exhausted
from the day’s skulldrudgery
and the unexpected waves of muggy,
summer-like humidity ...

Giggly first graders sat two abreast
behind senior high students
sprouting their first sparse beards,
their implausible bosoms, their stranger affections ...

The most unlikely coupling—
Lambert, 18, the only college prospect
on the varsity basketball team,
the proverbial talldarkhandsome
swashbuckling cocksman, grinning ...

Beside him, Wanda, 13,
bespectacled, in her primproper attire
and pigtails, staring up at him,
fawneyed, disbelieving ...

And as the bus filled with the improbable musk of her,
as she twitched impaled on his finger
like a dead frog jarred to life by electrodes,
I knew ...

that love is a forlorn enterprise,
that I would never understand it.



Paradise
by Michael R. Burch, circa age 15

There’s a sparkling stream
And clear blue lake
A home to ******,
Duck and drake

Where the waters flow
And the winds are soft
And the sky is full
Of birds aloft

Where the long grass waves
In the gentle breeze
And the setting sun
Is a pure cerise

Where the gentle deer
Though timid and shy
Are not afraid
As we pass them by

Where the morning dew
Sparkles in the grass
And the lake’s as clear
As a looking glass

Where the trees grow straight
And tall and green
Where the air is pure
And fresh and clean

Where the bluebird trills
Her merry song
As robins and skylarks
Sing along

A place where nature
Is at her best
A place of solitude
Of quiet and rest

This is one of my very earliest poems, written as a song. It was “published” in a high school assignment poetry notebook.



All My Children
by Michael R. Burch, circa age 14-16

It is May now, gentle May,
and the sun shines pleasantly
upon the blousy flowers
of this backyard cemet'ry,
upon my children as they sleep.

Oh, there is Hank in the daisies now,
with a mound of earth for a pillow;
his face as hard as his monument,
but his voice as soft as the wind through the willows.

And there is Meg beside the spring
that sings her endless sleep.
Though it’s often said of stiller waters,
sometimes quicksilver streams run deep.

And there is Frankie, little Frankie,
tucked in safe at last,
a child who weakened and died too soon,
but whose heart was always steadfast.

And there is Mary by the bushes
where she hid so well,
her face as dark as their berries,
yet her eyes far darker still.

And Andy ... there is Andy,
sleeping in the clover,
a child who never saw the sun
so soon his life was over.

And Em'ly, oh my Em'ly ...
the prettiest of all ...
now she's put aside her dreams
of lovers dark and tall
for dreams dreamed not at all.

It is May now, merry May
and the sun shines pleasantly
upon these ardent gardens,
on the graves of all my children ...
But they never did depart;
they still live within my heart.



Dance With Me
by Michael R. Burch, circa age 18

Dance with me
to the fiddles’ plaintive harmonies.

Enchantingly,
each highstrung string,
each yearning key,
each a thread within the threnody,
whispers "Waltz!"
then sets us free
to wander, dancing aimlessly.

Let us kiss
beneath the stars
as we slowly meet ...
we'll part
laughing gaily as we go
to measure love’s arpeggios.

Yes, dance with me,
enticingly;
press your lips to mine,
then flee.

The night is young,
the stars are wild;
embrace me now,
my sweet, beguiled,
and dance with me.

The curtains are drawn,
the stage is set
—patterned all in grey and jet—
where couples in such darkness met
—careless airy silhouettes—
to try love's timeless pirouettes.

They, too, spun across the lawn
to die in shadowy dark verdant.

But dance with me.
Sweet Merrilee,
don't cry, I see
the ironies of all the years
within the moonlight on your tears,
and every ****** has her fears ...

So laugh with me
unheedingly;
love's gaiety is not for those
who fail to heed the music's flow,
but it is ours.

Now fade away
like summer rain,
then pirouette ...
the dance of stars
that waltz among night's meteors
must be the dance we dance tonight.

Then come again—
like winter wind.

Your slender body as you sway
belies the ripeness of your age,
for a woman's body burns tonight
beneath your gown of ****** white—
a woman's ******* now rise and fall
in answer to an ancient call,
and a woman's hips—soft, yet full—
now gently at your garments pull.

So dance with me,
sweet Merrilee ...
the music bids us,
"Waltz!"
Don't flee.

Let us kiss
beneath the stars.
Love's passing pains will leave no scars
as we whirl beneath false moons
and heed the fiddle’s plaintive tunes ...

Oh, Merrilee,
the curtains are drawn,
the stage is set,
we, too, are stars beyond night's depths.
So dance with me.

I distinctly remember writing this poem my freshman year in college.


Dance With Me (II)
by Michael R. Burch, circa age 18-19

While the music plays
remembrance strays
toward a grander time ...
Let's dance.

Shadows rising, mute and grey,
obscure those fervent yesterdays
of youth and gay romance,
but time is slipping by, and now
those days just don't seem real, somehow ...
Why don't we dance?

This music is a memory,
for it's of another time ...
a slower, stranger time.

We danced—remember how we danced?—
uncaring, merry, wild and free.
Remember how you danced with me?
Cheek to cheek and breast to breast,
your ******* hard against my chest,
we danced
and danced
and danced.

We cannot dance that way again,
for the years have borne away the flame
and left us only ashes,
but think of all those dances,
and dance with me.

I believe I wrote this poem around the same time as the original “Dance With Me,” this time from the perspective of the same lovers many years later.


Impotent
by Michael R. Burch, circa age 19-21

Tonight my pen
is barren
of passion, spent of poetry.

I hear your name
upon the rain
and yet it cannot comfort me.

I feel the pain
of dreams that wane,
of poems that falter, losing force.

I write again
words without end,
but I cannot control their course ...

Tonight my pen
is sullen
and wants no more of poetry.

I hear your voice
as if a choice,
but how can I respond, or flee?

I feel a flame
I cannot name
that sends me searching for a word,

but there is none
not over-done,
unless it's one I never heard.



Lullaby
by Michael R. Burch, age 21

Frail bit of elfin magic
with eyes of brightest blue,
sleep now lines your lashes,
the sandman beckons you …
please don't fight—
it's all right.

My newborn son, cease sighing,
softly, slowly close your eyes,
purse your tiny lips
and kiss the crisp, cool night
a warm goodbye.

Fierce yet gentle fragment,
the better part of me,
why don't you dream a dream
deep as eternity,
until sunrise?

Frail bit of elfin magic
with eyes of brightest blue,
sleep now lines your lashes,
the sandman beckons you …
please don't fight —
it's all right.



Say You Love Me
by Michael R. Burch, circa age 20

Joy and anguish surge within my soul;
contesting there, they cannot be controlled,
for grinding yearnings grip me like a vise.
Stars are burning;
it's almost morning.

Dreams of dreams of dreams that I have dreamed
dance before me, forming formless scenes;
and now, at last, the feeling grows
as stars, declining,
bow to morning.

And you are music echoing through dreams,
rising from some far-off lyric spring;
oh, somewhere in the night I hear you sing.
Stars on fire
form a choir.

Now dawn's fierce brightness burns within your eyes;
you laugh at me as dancing embers die.
You touch me so and still I don't know why ...
But say you love me.
Say you love me.


With my daughter, by a waterfall
by Michael R. Burch, circa age 18

By a fountain that slowly shed
its rainbows of water, I led
my youngest daughter.

And the rhythm of the waves
that casually lazed
made her sleepy as I rocked her.

By that fountain I finally felt
fulfillment of which I had dreamt
feeling May’s warm breezes pelt
petals upon me.

And I held her close in the crook of my arm
as she slept, breathing harmony.

By a river that brazenly rolled,
my daughter and I strolled
toward the setting sun,
and the cadence of the cold,
chattering waters that flowed
reminded us both of an ancient song,
so we sang it together as we walked along
—unsure of the words, but sure of our love—
as a waterfall sighed and the sun died above.

This poem was published by my college literary journal, Homespun 1976-1977.


Sea Dreams
by Michael R. Burch, circa age 18

I.
In timeless days
I've crossed the waves
of seaways seldom seen.
By the last low light of evening
the breakers that careen
then dive back to the deep
have rocked my ship to sleep,
and so I've known the peace
of a soul at last at ease
there where Time's waters run
in concert with the sun.

With restless waves
I've watched the days’
slow movements, as they hum
their antediluvian songs.
Sometimes I've sung along,
my voice as soft and low
as the sea's, while evening slowed
to waver at the dim
mysterious moonlit rim
of dreams no man has known.

In thoughtless flight,
I've scaled the heights
and soared a scudding breeze
over endless arcing seas
of waves ten miles high.

I've sheared the sable skies
on wings as soft as sighs
and stormed the sun-pricked pitch
of sunset’s scarlet-stitched,
ebullient dark demise.

I've climbed the sun-cleft clouds
ten thousand leagues or more
above the windswept shores
of seas no man has sailed
—great seas as grand as hell's,
shores littered with the shells
of men's "immortal" souls—
and I've warred with dark sea-holes
whose open mouths implored
their depths to be explored.

And I've grown and grown and grown
till I thought myself the king
of every silver thing ...
But sometimes late at night
when the sorrowing wavelets sing
sad songs of other times,
I taste the windborne rime
of a well-remembered day
on the whipping ocean spray,
and I bow my head to pray ...

II.
It's been a long, hard day;
sometimes I think I work too hard.
Tonight I'd like to take a walk
down by the sea—
down by those salty waves
brined with the scent of Infinity,
down by that rocky shore,
down by those cliffs I'd so often climb
when the wind was **** with the tang of lime
and every dream was a sailor's dream.

Then small waves broke light,
all frothy and white,
over the reefs in the ramblings of night,
and the pounding sea
—a mariner’s dream—
was bound to stir a boy's delight
to such a pitch
that he couldn't desist,
but was bound to splash through the surf in the light
of ten thousand stars, all shining so bright.

Christ, those nights were fine,
like a well-aged wine,
yet more scalding than fire
with the marrow’s desire.
Then desire was a fire
burning wildly within my bones,
fiercer by far than the frantic foam ...
and every wish was a moan.

Oh, for those days to come again!
Oh, for a sea and sailing men!
Oh, for a little time!

It's almost nine
and I must be back home by ten,
and then ... what then?
I have less than an hour to stroll this beach,
less than an hour old dreams to reach ...
And then, what then?

Tonight I'd like to play old games—
games that I used to play
with the somber, sinking waves.

When their wraithlike fists would reach for me,
I'd dance between them gleefully,
mocking their witless craze
—their eager, unchecked craze—
to batter me to death
with spray as light as breath.

Oh, tonight I'd like to sing old songs—
songs of the haunting moon
drawing the tides away,
songs of those sultry days
when the sun beat down
till it cracked the ground
and the sea gulls screamed
in their agony
to touch the cooling clouds.

The distant cooling clouds!

Then the sun shone bright
with a different light
over different lands,
and I was always a pirate in flight.

Oh, tonight I'd like to dream old dreams,
if only for a while,
and walk perhaps a mile
along this windswept shore,
a mile, perhaps, or more,
remembering those days,
safe in the soothing spray
of the thousand sparkling streams
that rush into this sea.

I like to slumber in the caves
of a sailor's dark sea-dreams ...
oh yes, I'd love to dream,
to dream
and dream
and dream.

“Sea Dreams” was one of my more ambitious early poems. The next poem, "Son," is a companion piece to “Sea Dreams” that was written around the same time.



Son
by Michael R. Burch, circa age 18

An island is bathed in blues and greens
as a weary sun settles to rest,
and the memories singing
through the back of my mind
lull me to sleep as the tide flows in.

Here where the hours pass almost unnoticed,
my heart and my home will be till I die,
but where you are is where my thoughts go
when the tide is high.

[etc., in the handwritten version, the father laments abandoning his son]

So there where the skylarks sing to the sun
as the rain sprinkles lightly around,
understand if you can
the mind of a man
whose conscience so long ago drowned.



The People Loved What They Had Loved Before
by Michael R. Burch, circa age 21

We did not worship at the shrine of tears;
we knew not to believe, not to confess.
And so, ahemming victors, to false cheers,
we wrote off love, we gave a stern address
to things that we disapproved of, things of yore.
And the people loved what they had loved before.

We did not build stone monuments to stand
six hundred years and grow more strong and arch
like bridges from the people to the Land
beyond their reach. Instead, we played a march,
pale Neros, sparking flames from door to door.
And the people loved what they had loved before.

We could not pipe of cheer, or even woe.
We played a minor air of Ire (in E).
The sheep chose to ignore us, even though,
long destitute, we plied our songs for free.
We wrote, rewrote and warbled one same score.
And the people loved what they had loved before.

At last outlandish wailing, we confess,
ensued, because no listeners were left.
We built a shrine to tears: our goddess less
divine than man, and, like us, long bereft.
We stooped to love too late, too Learned to *****.
And the people loved what they had loved before.



Have I been too long at the fair?
by Michael R. Burch, circa age 15

Have I been too long at the fair?
The summer has faded,
the leaves have turned brown;
the Ferris wheel teeters ...
not up, yet not down.
Have I been too long at the fair?

This is one of my very earliest poems, written around age 15 when we were living with my grandfather in his house on Chilton Street, within walking distance of the Nashville fairgrounds. “Have I been too long at the fair?” was published in my high school literary journal, the Lantern.



hey pete
by Michael R. Burch, circa age 18

for Pete Rose

hey pete,
it's baseball season
and the sun ascends the sky,
encouraging a schoolboy's dreams
of winter whizzing by;

go out, go out and catch it,
put it in a jar,
set it on a shelf
and then you'll be a Superstar.

When I was a boy, Pete Rose was my favorite baseball player; this poem is not a slam at him, but rather an ironic jab at the term "superstar."



Earthbound
by Michael R. Burch, circa age 19

Tashunka Witko, better known as Crazy Horse, had a vision of a red-tailed hawk at Sylvan Lake, South Dakota. In his vision he saw himself riding a floating and crazily-dancing spirit horse through a storm as the hawk flew above him, shrieking. When he awoke, a red-tailed hawk was perched near his horse.

Earthbound,
and yet I now fly
through the clouds that are aimlessly drifting ...
so high
that no sound
echoing by
below where the mountains are lifting
the sky
can be heard.

Like a bird,
but not meek,
like a hawk from a distance regarding its prey,
I will shriek,
not a word,
but a screech,
and my terrible clamor will turn them to clay—
the sheep,
the earthbound.



Huntress
by Michael R. Burch, circa age 20

after Baudelaire

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


Flying
by Michael R. Burch, circa age 15-16

i shall rise
and try the ****** wings of thought
ten thousand times
before i fly ...

and then i'll sleep
and waste ten thousand nights
before i dream;
but when at last ...

i soar the distant heights of undreamt skies
where never hawks nor eagles dared to go,
as i laugh among the meteors flashing by
somewhere beyond the bluest earth-bound seas ...

if i'm not told
i’m just a man,
then i shall know
just what I am.

This is one of my early "I Am" poems, written around age 15-16.



Love Unfolded Like a Flower
by Michael R. Burch, circa age 19-20

for Christy

Love unfolded
like a flower;
Pale petals pinked and blushed to see the sky.

I came to know you
and to trust you
in moments lost to springtime slipping by.

Then love burst outward,
leaping skyward,
and untamed blossoms danced against the wind.

All I wanted
was to hold you;
though passion tempted once, we never sinned.

Now love's gay petals
fade and wither,
and winter beckons, whispering a lie.

We were friends,
but friendships end …
yes, friendships end and even roses die.



Cameo
by Michael R. Burch, circa age 19

Breathe upon me the breath of life;
gaze upon me with sardonyx eyes.
Here, where times flies
in the absence of light,
all ecstasies are intimations of night.

Hold me tonight in the spell I have cast;
promise what cannot be given.
Show me the stairway to heaven.
Jacob's-ladder grows all around us;
Jacob's ladder was fashioned of onyx.

So breathe upon me the breath of life;
gaze upon me with sardonic eyes …
and, if in the morning I am not wise,
at least then I'll know if this dream we call life
was worth the surmise.

Published by Borderless Journal (Singapore)



Analogy
by Michael R. Burch, circa age 19

Our embrace is like a forest
lying blanketed in snow;
you, the lily, are enchanted
by each shiver trembling through;
I, the snowfall, cling in earnest
as I press so close to you.
You dream that you now are sheltered;
I dream that I may break through.

Published by Borderless Journal (Singapore)


Flight
by Michael R. Burch, circa age 16

Eagle, raven, blackbird, crow …
What you are I do not know.
Where you go I do not care.
I'm unconcerned whose meal you bear.
But as you mount the sun-splashed sky,
I only wish that I could fly.
I only wish that I could fly.

Robin, hawk or whippoorwill …
Should men care that you hunger still?
I do not wish to see your home.
I do not wonder where you roam.
But as you scale the sky's bright stairs,
I only wish that I were there.
I only wish that I were there.

Sparrow, lark or chickadee …
Your markings I disdain to see.
Where you fly concerns me not.
I scarcely give your flight a thought.
But as you wheel and arc and dive,
I, too, would feel so much alive.
I, too, would feel so much alive.



Freedom
by Michael R. Burch, circa age 19-20

Freedom is not so much an idea as a feeling
of open roads,
of the hobo's call,
of autumn leaves in brisk breeze reeling
before a demon violently stealing
all vestiges of the beauty of fall,
preparing to burden bare tree limbs with the heaviness of her icy loads.

And freedom is not so much a letting go as a seizing
of forbidden pleasure,
of ***** sport,
of all that is delightful and pleasing,
each taken totally within its season
and exploited to the fullness of its worth
though it last but a moment and repeat itself never.

Oh, freedom is not so much irresponsibility as a desire
to accept all the credit and all the blame
for one's deeds,
to achieve success or failure on one's own, to require
either or both as a consequence of an inner fire,
not to shirk one's duty, but to see
one's duty become himself—himself to tame.



Childhood's End
by Michael R. Burch, circa age 20-22

How well I remember
those fiery Septembers:
dry leaves, dying embers of summers aflame,
lay trampled before me
and fluttered, imploring
the bright, dancing rain to descend once again.

Now often I've thought on
the meaning of autumn,
how the rainbows' enchantments defeated dark clouds
while robins repeated
ancient songs sagely heeded
so wisely when winters before they'd flown south.

And still, in remembrance,
I've conjured a semblance
of childhood and how the world seemed to me then;
but early this morning,
when, rising and yawning,
I found a gray hair … it was all beyond my ken.


Easter, in Jerusalem
by Michael R. Burch, circa age 16

The streets are hushed from fervent song,
for strange lights fill the sky tonight.
A slow mist creeps
up and down the streets
and a star has vanished that once burned bright.

Oh Bethlehem, Bethlehem,
who tends your flocks tonight?
"Feed my sheep,"
"Feed my sheep,"
a Shepherd calls
through the markets and the cattle stalls,
but a fiery sentinel has passed from sight.

Golgotha shudders uneasily,
then wearily settles to sleep again,
and I wonder how they dream
who beat him till he screamed,
"Father, forgive them!"

Ah Nazareth, Nazareth,
now sunken deep into dark sleep,
do you heed His plea
as demons flee,
"Feed my sheep,"
"Feed my sheep."

The temple trembles violently,
a veil lies ripped in two,
and a good man lies
on a mountainside
whose heart was shattered too.

Galilee, oh Galilee,
do your waters pulse and froth?
"Feed my sheep,"
"Feed my sheep,"
the waters creep
to form a starlit cross.

“Easter, in Jerusalem” was published in my college literary journal, Homespun.



Gone
by Michael R. Burch, circa age 14

Tonight, it is dark
and the stars do not shine.

A man who is gone
was a good friend of mine.

We were friends.

And the sky was the strangest shade of orange on gold
when I awoke to find him gone ...

"Gone" is actually gone, destroyed in a moment of frustration along with other poems I have not been able to recreate from memory. At some point between age 14 and 15, I destroyed all the poems I had written, out of frustration. I was able to recreate some of the poems from memory, but not all.



Canticle: an Aubade
by Michael R. Burch, circa age 15-16

Misty morning sunlight hails the dawning of new day;
dreams drift into drowsiness before they fade away.
Dew drops on the green grass speak of splendor in the sun;
the silence lauds a songstress and the skillful song she's sung.
Among the weeping willows the mist clings to the leaves;
and, laughing in the early light among the lemon trees,
there goes a brace of bees!

Dancing in the depthless blue like small, bright bits of steel,
the butterflies flock to the west and wander through dawn's fields.
Above the thoughtless traffic of the world, intent on play,
a flock of mallard geese in v's dash onward as they race.
And dozing in the daylight lies a new-born collie pup,
drinking in bright sunlight through small eyes still tightly shut.

And high above the meadows, blazing through the warming air,
a shaft of brilliant sunshine has started something there …
it looks like summer.

I distinctly remember writing this poem in Ms. Davenport's class at Maplewood High School. It's not a great poem, but the music is pretty good for a beginner.



Eternity beckons ...
by Michael R. Burch, circa age 18

Eternity beckons ...
the wine becomes fire in my veins.

You are a petal,
unfolding,
cajoling.
I am your sun.

I will shine with the fierceness of my desire;
touched, you will burst into flame.

I will shine and again shine and again shine.
I will shine. I will shine.

You will burn and again burn and again burn.
You will burn. You will burn.

We will extinguish ourselves in our ecstasy;
We will sigh like the wind.

We will ebb into darkness, our love become ashes . . .
never speaking of sin.

Never speaking of sin.



Every Man Has a Dream
by Michael R. Burch, circa age 23

lines composed at Elliston Square

Every man has a dream that he cannot quite touch ...
a dream of contentment, of soft, starlit rain,
of a breeze in the evening that, rising again,
reminds him of something that cannot have been,
and he calls this dream love.

And each man has a dream that he fears to let live,
for he knows: to succumb is to throw away all.
So he curses, denies it and locks it within
the cells of his heart and he calls it a sin,
this madness, this love.

But each man in his living falls prey to his dreams,
and he struggles, but so he ensures that he falls,
and he finds in the end that he cannot deny
the joy that he feels or the tears that he cries
in the darkness of night for this light he calls love.



Every time I think of leaving …
by Michael R. Burch, circa age 18

Every time I think of leaving …
I see my mother's eyes
staring at me in despair,
and I feel the old scar
throbbing again.

Then I think of the father
that I never knew;
I remember how,
as a child,
I could never understand
not having a father.

And when the tears start falling,
running slowly down my cheeks,
I think of our two sons
and all their many dreams—
dreams no better than dust
the day that I leave.

And when my hands start shaking,
when my eyes will not adjust,
when I know there's no tomorrow
for the two of us,
then I think of our young daughter
who prays, eyes tightly shut,
not to lose her mother or father …
and I know that I can't leave.

Every time I think of going,
I close my eyes and see
the days we spent together
when love was all we dreamed,
and I wish that I could find
(how I wish that I could find!)
a reason to believe.



Go down to the ***-down
by Michael R. Burch, circa age 21

Go down
to the ***-down.

Pause in the pungent,
moonless night,
watching the partners as they dance;
go down ...
don’t you know ...
it's your only chance?

Go down
to the ***-down.

Go down
to the ***-down,
and whirl as you dance
through a dream of wine,
through a world once your world,
through a world without time,
through a world rich and rhythmic,
through a world full of rhyme.

O, go down
to the ***-down.

Go down.
As they slow down,
the couples will whirl
to a reel of romance,
for the music has called them,
and so they must dance.
Go down, don't you know
that this is your chance?

Go down
to the ***-down.



Sappho’s Lullaby
by Michael R. Burch, circa age 21

for Jeremy

Hushed yet melodic, the hills and the valleys
sleep unaware of the nightingale's call
while the dew-laden lilies lie
listening,
glistening ...
this is their night, the first night of fall.

Son, tonight, a woman awaits you;
she is more vibrant, more lovely than spring.
She'll meet you in moonlight,
soft and warm,
all alone ...
then you'll know why the nightingale sings.

Just yesterday the stars were afire;
then how desire flashed through my veins!
But now I am older;
night has come,
I’m alone ...
for you I will sing as the nightingale sings.



Belfast's Streets
by Michael R. Burch, circa age 14

Belfast's streets are strangely silent,
deserted for a while,
and only shadows wander
her alleys, slick and vile
with children's darkening blood.

Her sidewalks sigh and her cobblestones
clack in misery
beneath my booted feet,
longing to be free
from their legacy of blood,
and yet there's no relief,
for it seems that there's no God.

Her sirens scream and her PAs plead
and her shops and churches sob,
but the city throbs
—her heart the mobs
that are also her disease—
and still there's no relief,
for it seems there is no God.

I listen to a radio
and men who seem to feel
that only "right" is real.
"We can't give in
to men like them,
for we have an ideal
and God is on our side!"
one angrily replies,
but the sidewalks seem to chide,
clicking like snapped teeth.
And if God is on our side,
then where is God's relief?
And if there is a God,
then why is there no love
and why is there no peace?

"Sweet innocence! this land was wild
and better wild again
than torn apart beneath the feet
of ‘educated' men!"
The other screams in rage and hate,
and a war's begun that will not end
till the show goes off at ten.

Now a little girl is singing,
walking t'ward me 'cross the street,
her voice so high and sweet
it hangs upon the air,
and her eyes are Irish eyes,
and her hair is Irish hair,
all red and wild and fair,
and she wears a Catholic cross,
but she doesn't really care.

She's singing to a puppy
and hugging him between
the verses of her hymn.

Now here's a little love
and here's a little peace,
and maybe here's our Maker,
present though unseen,
on Belfast's dreary streets.

This is one of my earliest poems, as indicated by the occasional use of archaisms.



Hills
by Michael R. Burch, circa age 17

For many years I have fought
the rocks and the sand and the weeds,
the frost and the floods and the trees
of these hills
to build myself a home.

Now it seems I will fight no longer,
but it’s a hard thing
for an old warrior to give up.

Here in these hills let them lay down my bones
where the sun settles wearily to rest,
and let my spirit dream in its endless sleep
that someday it also shall rise
to kiss the morning clouds.

This wall of stone that I built
of rock hewn by my own hands
shall not stand long
through the passage of time,
and when it lies in cakes of dust
and its particles kiss my bones,
then the battle that these hills and I fought
will finally have been won.

But mother Gaia will not shun
her wayward son for long;
she will take me and cradle me in her mud,
cover me with a blanket of snow,
then sing me to sleep with a nightingale’s song.

Now the night grows cold within me;
no more summers shall I see …
but, nevertheless, when June comes,
my spirit shall wander the paths through the trees
that lead to these hills,
these ******, lovely hills,
and then I shall be free.



All the young sailors
by Michael R. Burch, circa age 20

All the young sailors
follow the sea,
leaving their lovers
to live and be free,
to brave violent tempests,
to ride out wild storms,
to dream of new lovers
seductive and warm,
to drink until sunset
then stretch out at dawn
in the dew of emotions
they don't understand,
to follow the sunlight,
to flee from the rain,
to live out their longings
though often in pain,
to dream of the children
they never shall see
while bucking the waves
of an unending sea
till, racked by harsh coughing,
his lungs almost gone,
straining to catch one last glimpse of the sun,
the last of the sailors finally succumbs,
for all the young sailors
die young.


Hush, my darling
by Michael R. Burch, circa age 19

Hush, my darling; all your tears
will never bring again
that which Time has taken.

And though you’re so ****** lovely
that a god might wish to make you his,
Time cares not for loveliness;
he takes what he will take.

Sleep now darling, don’t awaken
till the dream is over.
Dream of fields of clover
dancing in an autumn wind.

Lie down at my side
and let sleep's soothing tide
carry you into an ocean deep.

Be silent, world; let her sleep.
Do not disturb a child
upon her journey mild
into the realm of dreams.

Sleep, carry her to that sweet state
where little girls need not know Fate
dismembers the dreams of men.



Amora’s Complaint
by Michael R. Burch, circa age 19

Will you walk with me tonight?
for the moon hangs low and travelers seldom
disturb the silence of this ghostly kingdom.
We shall not be seen
if we linger by this stream
that shimmers in the starlight.

Will you talk to me awhile?
For sounds don’t carry very far;
the interminable silence is barely marred
by the labored breathing
of the "giant" who lies sleeping
in caverns fetid and vile,
and I crave your immaculate smile.

So close to death, the final sleep,
he hastens as he lies.
Silence louder than his sighs
drifts on the languid air
toward his musty lair,
and all life that it finds, it keeps.

And though he sleeps,
in dreams content,
mistaking bile for dew,
he knows not what is true.

His eyes are worse than blind men's eyes,
for the images they “see” disguise
how swift and sure is death's descent.

His ears hear songs that are not sung;
his nostrils scent a faint perfume
permeating midnight's gloom,
when all the while his rotting flesh
heralds worms to view his death.
He festers, having long been stung.

O, once he was as you are now—
full of passion, wild and free,
majestic, formed most perfectly.

But tonight, hideously deformed,
he himself becomes a worm;
though he doesn't see that he's changed, somehow.

Why, he still calls me his “dearest friend,”
although I cannot bear to near
that stinking, dying sufferer!

He asks me why I stray so far
from the "comfort" of his arms ...
Tonight, I said, "This is the end."

O, he swore to not let me depart,
but when he couldn't even rise
to chase me as I leapt the skies,
I think he almost understood.
He frowned. His skin, like rotting wood,
seemed to come apart. He almost touched my heart.

But such a vile and leprous being
I cannot have to be my love.
So while the stars shine high above
and you and I are here alone,
help me undress; unzip my gown.
Come, sate my Desire this perfect evening.


Blue Cowboy
by Michael R. Burch, circa age 15

He slumps against the pommel,
a lonely, heartsick boy—
his horse his sole companion,
his gun his only toy
—and bitterly regretting
he ever came so far,
forsaking all home's comforts
to sleep beneath the stars,
he sighs.

He thinks about the lover
who awaits his kiss no more
till a tear anoints his lashes,
lit by uncaring stars.

He reaches to his aching breast,
withdraws a golden lock,
and kisses it in silence
as empty as his thoughts
while the wind sighs.

Blue cowboy, ride that lonesome ridge
between the earth and distant stars.
Do not fall; the scorpions
would leap to feast upon your heart.

Blue cowboy, sift the burnt-out sand
for a drop of water warm and brown.
Dream of streams like silver seams
even as you gulp it down.

Blue cowboy, sing defiant songs
to hide the weakness in your soul.
Blue cowboy, ride that lonesome ridge
and wish that you were going home
as the stars sigh.


Cowpoke
by Michael R. Burch, circa age 15

Sleep, old man...
your day has long since passed.
The endless plains,
cool midnight rains
and changeless ragged cows
alone remain
of what once was.

You cannot know
just how the Change
will **** the windswept plains
that you so loved...
and so sleep now,
O yes, sleep now...
before you see just how
the Change will come.

Sleep, old man...
your dreams are not our dreams.
The Rio Grande,
stark silver sands
and every obscure brand
of steed and cow
are sure to pass away
as you do now.

I believe “Cowpoke” was written around the same time as “Blue Cowboy,” perhaps on the same day.



If Not For Love
by Michael R. Burch, circa age 18

The little child who cries,
brushing sleep from startled eyes,
might not have awakened from her dreams
to fill the night with plaintive screams
if not for love.

The little collie pup
who tore the sofa up
and pleads here in a mournful crouch,
might not have ripped apart the couch
if not for love.

And the little flower ***
that broke and littered the rug with sod
might not have been dropped if a child had not tried
to place it at her mother's bedside—
if not for love.



Ecstasy
by Michael R. Burch, circa age 18

A soft breeze stirs the sun-drenched grass
that parts, reforms, and then is still.
Sunshine, cascading from above,
sipped by the flowers to their fill,
then bursts out in the rosy reds,
the violet blues and buttercup yellows,
bolder, more eager, given fresh birth,
somehow transformed within frail petals
into an ecstasy of colors
broadcast across the receptive land,
which now wears a cloak like Joseph’s,
nature’s brand.



EARLY POEMS: HIGH SCHOOL AND COLLEGE, PART II

i (dedicated to u)
by michael r. burch

i.
i move within myself
i see beyond the sky
and fathom with full certainty:
this lifes a lethal lie
my teachers try to tell me
that they know more than i
(and well they may
but do they know
shrewd TIME is slipping by
and leaving us all to die?)

i shout within myself
i stand up to be seen
but only my eyes
watch as i rise
and i am left between
the nightmare of “REALITY”
and sleeps soothing scenes
and both are only dreams

i cry out to my “friends”
but none of them can hear
i weep in dark frustration
but they swim beyond my tears
i reach out to assist them
but they cannot find my hand
they all believe in “GOD”
yet all of them are ******

come, my self, come with me
move within your shell
cast aside ur “enlightenment”
and let us leave this living hell

ii.
i watch the maidens play
their fickle games of love
and if this is what
life is of
then i have had enough

all my teachers tell me
to con-form to SOCIETY
yet none of them will venture
how (false) it came to be
this gaud, SOCIETY

i watch the maidens play
and though i want them much
i know the illusion of their purity
would shatter at my touch
leaving annihilated truth
to be pieced together to dispel
the lies that accompany youth

i watch the maidens play
and know that what i want
i cannot take because
then it would be gone

iii.
i watch the lovely maidens
i search their sightless eyes
i find that only darkness
lies behind each guise

i try to touch their feelings
but they have been replaced
by intelligence and manners
and tact and social grace

i want to make them love me
but they cannot love themselves
and though they seek love desperately
and care for little else
they stand little chance
of much more than romance
for a few days

i try to friend the men
but they have even less
for they want nothing more
than whatever seems “the best”

their hollow, burnt-out eyes
reveal: their souls have flown
and all that loss has left
is a strange, sad fear of debt
and a love for things of gold

iv.
ive never seen a day break
but ive seen a life shatter
it was mine
and i suppose it still is:
all ten thousand pieces

id.
id like to put it together
(someONE please tell me how!)
for i am out of the glue
called u
that held my life together

i.e.
and i wish that u
and i were thru
but whatever u do
dont say that we are!

I wrote “i (dedicated to u)” after discovering the poetry of e. e. cummings while reading independently in high school.



Ode to the Sun
by Michael R. Burch, circa age 18

Day is done ...
on, swift sun.

Follow still your silent course.
Follow your unyielding course.

On, swift sun.

Leave no trace of where you've been;
give no hint of what you've seen.
But, ever as you onward flee,
touch me, O sun,
touch me.

Now day is done ...
on, swift sun.

Go touch my love about her face
and warm her now for my embrace,
for though she sleeps so far away,
where she is not, I shall not stay.
Go tell her now I, too, shall come.

Go on, swift sun,
go on.



Perspective
by Michael R. Burch, circa age 20-22

Childhood is a summer sky —
the clouds are always passing by.
Old age is a winter storm —
the clouds are always coming on.


Recursion
by Michael R. Burch, circa age 20-22

Love is a dream the pale dreamer imagines;
the more he imagines, the less he can see;
the less he can see, the more he imagines,
for dreams lead to blindness, and blindness
—to dreams.


Sanctuary at Dawn
by Michael R. Burch, circa age 18

I have walked these thirteen miles
just to stand outside your door.
The rain has dogged my footsteps
for thirteen miles, for thirty years,
through the monsoon seasons ...
and now my tears
have all been washed away.

Through thirteen miles of rain I slogged,
I stumbled and I climbed
rainslickened slopes
that led me home
to the hope that I might find
a life I lived before.

The door is wet; my cheeks are wet,
but not with rain or tears ...
as I knock I sweat
and the raining seems
the rhythm of the years.

Now you stand outlined in the doorway
—a man as large as I left—
and with bated breath
I take a step
into the accusing light.

Your eyes are grayer
than I remembered;
your hair is grayer, too.
As the red rust runs
down the dripping drains,
our voices exclaim—
"My father!"
"My son!"



Pilgrim Mountain
by Michael R. Burch, circa age 16-18

I have come to Pilgrim Mountain
to eat icicles and to bathe in the snow.
Do not ask me why I have done this,
for I do not know …
but I had a vision of the end of time
and I feared for my soul.

On Pilgrim Mountain the rivers shriek
as they rush toward the valleys, and the rocks
creak and groan in their misery,
for they comprehend they're prey to
night and day,
and ten thousand other fallacies.

Sunlight shatters the stone,
but midnight mends it again
with darkness and a cooling flow.
This is no place for men,
and I know this, but I know
that that which has been must somehow be again.

Now here on Pilgrim Mountain
I shall gouge my eyes with stone
and tear out all my hair;
and though I die alone,
I shall not care …

for the night will still roll on
above my weary bones
and these sun-split, shattered stones
of late become their home
here, on Pilgrim Mountain.

Published by Borderless Journal (Singapore)


Playmates
by Michael R. Burch, circa age 13-14

WHEN you were my playmate and I was yours,
we spent endless hours with simple toys,
and the sorrows and cares of our indentured days
were uncomprehended ... far, far away ...
for the temptations and trials we had yet to face
were lost in the shadows of an unventured maze.

Then simple pleasures were easy to find
and if they cost us a little, we didn't mind;
for even a penny in a pocket back then
was one penny too many, a penny to spend.

Then feelings were feelings and love was just love,
not a strange, complex mystery to be understood;
while "sin" and "damnation" meant little to us,
since forbidden cookies were our only lusts!

Then we never worried about what we had,
and we were both sure—what was good, what was bad.
And we sometimes quarreled, but we didn't hate;
we seldom gave thought to the uncertainties of fate.

Hell, we seldom thought about the next day,
when tomorrow seemed hidden—adventures away.
Though sometimes we dreamed of adventures past,
and wondered, at times, why things couldn't last.

Still, we never worried about getting by,
and we didn't know that we were to die ...
when we spent endless hours with simple toys,
and I was your playmate, and we were boys.

"Playmates" was originally published by The Lyric.

This is probably the poem that "made" me, because my high school English teacher, Anne Meyers, called it "beautiful" and I took that to mean I was surely the Second Coming of Percy Bysshe Shelley! In any case, "Happiness" was my first longish poem and "Playmates" was the second, at least as far as I can remember.



The Sandman’s Song
by Michael R. Burch, circa age 18

I sing white water,
birds on the bough,
bunnies and redwoods
to sleep … to sleep …

I sing, “Wild forests,
green meadows, blue seas,
drink deep …
drink deep … drink deep …”

I whisper, “Bright robins,
please, be wise,
and wily weasels, close your eyes …
fierce eyes …”

I bid all the rivers, “Come, seek your beds!”
I bid all the children, “Off, sleepyheads!”
then softly shutter their eyes …
eyes … eyes.

I lullaby, lullaby down the plains,
echo through mountains
and moonlit hills …
hills … hills …

I murmur, “Oh, mothers,
please don’t rise;
shadows and stars,
be still … be still … be still.”

And the world sleeps.

Published by Borderless Journal



Martin Luther King Jr. was a poet in his famous "I Have A Dream" poem-sermon-speech. I recognized this as a boy in a poem I wrote in which an older Poet (with a capital "P") speaks to a younger poet (with a lower-case "p") who echoes his thoughts.

Poet to poet
by Michael R. Burch, circa age 16-18

I have a dream
…pebbles in a sparkling sand…
of wondrous things.

I see children
…variations of the same man…
playing together.

Black and yellow, red and white,
…stone and flesh, a host of colors…
together at last.

I see a time
…each small child another's cousin…
when freedom shall ring.

I hear a song
…sweeter than the sea sings…
of many voices.

I hear a jubilation
…respect and love are the gifts we must bring…
shaking the land.

I have a message,
…sea shells echo, the melody rings…
the message of God.

I have a dream
…all pebbles are merely smooth fragments of stone…
of many things.

I live in hope
…all children are merely small fragments of One…
that this dream shall come true.

I have a dream!
…but when you're gone, won't the dream have to end?…
Oh, no, not as long as you dream my dream too!

Here, hold out your hand, let's make it come true.
…i can feel it begin…
Lovers and dreamers are poets too.
…poets are lovers and dreamers too…

Published by Borderless Journal (Singapore)



Rachel Lindsey
by Michael R. Burch, age 22-26

Rachel Lindsey lives in fear
of a love she'll never know,
and she dreams of it in tears,
but she will not let it grow,
so she's building up a fortress
that will keep her feelings in.
It will have walls wide as China’s,
and higher still, and then
she'll build herself a tower
that will rise above those walls.
There she'll watch her love for hours
as he tries to climb, but falls.
And she'll sigh each time he falls,
and she'll gasp each time he makes
a little headway up her fortress,
but she need not fear—she's safe.
She wants desperately to love him,
but she will not pay love's price;
though she dreams about surrender,
she's been living out a lie.
She's no damsel in a tower;
she's a woman growing old.
She can't spare another hour
to be distant, cruel and cold.
And she knows this, but she knows
that love's a gamble: few can win.
And she cannot bear to see her heart
spin Fortune’s wheel again.
So she'll watch him as he walks,
at last, dejectedly away,
and she'll call and she will call,
but she’ll never, never say
the only words to make him stay.
She'll never say, "I love you."



Oh, my fair lady
by Michael R. Burch, circa age 18

Oh, my fair lady, where have you gone …
Over the mountains to follow the sun?
Off to the northlands to follow the snow?
Tell me, sweet lover; I'll go, oh I'll go!



Morning
by Michael R. Burch, circa age 14

It was morning
and the bright dew drenched the grasses
like tears the trembling lashes of my lover;
another day had come.

And everywhere the flowers
were turning to the sun,
just as the night before
I had turned to the one
for whom my heart yearned.

“Morning” was published in my high school literary journal.



In the Twilight of Her Tears
by Michael R. Burch, circa age 19

In the twilight of her tears
I saw the shadows of the years
that had taken with them all our joys and cares …

There in an ebbing tide’s spent green
I saw the flotsam of lost dreams
wash out into a sea of wild despair …

In the scars that marred her eyes
I saw the cataracts of lies
that had shattered all the visions we had shared …

As from a ravaged iris, tears
seemed to flood the spindrift years
with sorrows that the sea itself despaired …



impressions of a desert
by michael r. burch, circa age 16

a barren
wasteland

nothing grows

from the sky
molten gold
heats, congeals
oases vanish
or waver
,unreal,
even scorpions
languish

somber
mountains
shift and merge

dustbowl seas
at the verge
of the horizon
stretch, converge
the sky is poison
sand storms
surge

lizards
whining
curse the sky
squinting fire
from burnt eyes

slipping, squirming
rattlesnakes
quench awful
yearning
for moisture
and hate

a flower
every thousand miles
rustles
crinkles
worn and dry



As the Flame Flowers
by Michael R. Burch, circa age 18-20

As the flame flowers, a flower, aflame,
arches leaves skyward, aching for rain,
but it only encounters wild anguish and pain
as the flame sputters sparks that ignite at its stem.

Yet how this frail flower aflame at the stem
reaches through night, through the staggering pain,
for a sliver of silver that sparkles like rain,
as it flutters in fear of the flowering flame.

Mesmerized by a distant crescent-shaped gem
which glistens like water though drier than sand,
the flower extends itself, trembles, and then
dies as scorched leaves burst aflame in the wind.

The flower aflame yet entranced by the moon is, of course, a metaphor for destructive love and its passions.


Ashes
by Michael R. Burch, circa age 18-19

A fire is dying;
ashes remain …
ashes and anguish,
ashes and pain.

A fire is fading
though once it burned bright …
ashes once embers
are ashes tonight.

“Ashes” is a companion poem to “As the Flame Flowers,” written the same day, I believe.


still
by michael r. burch, circa age 21

ur eyes are bluer than midnight
—bluer, darker, more magic still—
and ur lips are sweeter than honey
—sweeter, warmer, more thrilling still—
ur touch is gentler than raindrops
—gentler, kinder, more nurturing still—
yet UR more elusive than moonlight
never once known and not still.



In dreams like these
by Michael R. Burch, age 26

In dreams like these, vexed seas engage
and, gasping, grapple—wave to wave—
while, farther off, dark storm clouds rise …
I seek affection in your eyes
and long for laughter on your lips.
I trace your cheeks with fingertips
that yearn to show you how I feel,
yet tremble that this seems so real.

In dreams like these faint stars, enraged,
decline to warm the anguished waves
while, further off, a storm ensues …
Melissa, oh my love, I use
my poetry to keep you near
when you are more than miles away
and dreams to drive away despair;
return to me, and this time, stay.

I wrote this poem during a troubled time in my first live-in relationship.



In fantasies
by Michael R. Burch, age 26

In fantasies I see you smile
a wistful smile, as though to please;
you touch my heart … I yearn and ache.
I wish that you were here with me.
In fantasies I dream of times
when you and I were all alone;
anxiety seemed distant then,
much closer now that you have gone.
In fantasies I have you now,
I kiss your lips and hold you near,
and all the world is brilliant light
commingling both joy and fear …
Return again; let dawn appear.

“In fantasies” was written the same day as “In dreams like these.”



jasbryx
by michael r. burch, circa age 16

hidden deep inside of Me
is someone else, and he is free;
he laughs aloud, yet never is heard;
he flits about, as free as a bird,
so unlike Me

silently within MySelf,
he shouts aloud and shuns the shelf
s'm'OTHERS deem to be his place;
yet SOCIETY is not disgraced,
for he is never heard
above the spoken word

"o, i am not as others are —
inhuman things devoid of fire,
for i am all i seem to be —
innocent, childlike, frolicsome, free —
and i raise no ire!"

no, he is not as others are —
keeping up with the JONESES, raising the BAR;
living his life like a lark free of CARE:
never brushing his TEETH, never parting his HAIR,
and he's no ONE's sire!

yes, he is all he seems to be —
wild, rambunctious, innocent, free,
so unlike Me

I wrote “Jasbryx” in high school, under the influence of e. e. cummings, around age 16.



The love we shared
by Michael R. Burch, circa age 20-24

The love we shared was lukewarm wine;
we drank until the cup ran dry
and then we filled it once again …
fierce passions bubbled at the brim.

And when the bottle, too, ran dry,
we stomped our hearts to brew champagne;
pale liquid love flew forth like rain …
we thought to drink worth all the pain.

And, O, the ecstasies we knew
as long as wine gleamed in the cup,
but when our spirits were consumed,
leaving not a single drop,
we tasted bitter dregs at last
and learned that love was not enough.


Lying
by Michael R. Burch, circa age 22

Lying here beside you, I cannot meet your eyes,
and yet, somehow, I still can see the tears
welling up and glistening, blue,
a part of me, a part of you . . .
a part of all we've been throughout the years.

Now the night is dark and fading into darkness deeper still,
and your body shakes beside me as you weep,
but what am I to say to you—
a pleasing lie, the painful truth?
I close my eyes and wish that I could sleep.



My grandfather's hills
by Michael R. Burch, circa age 19

My grandfather lies at the foot of an oak
far from the beaten path,
and never before has a spirit so free
lain fettered in sleep.

But though he lies and walks no more,
I see his eyes in the setting of the sun
and I hear his voice when the sap runs,
for these are an old man's hills.

Don't tell me the government "owns" them,
for the government didn't live them
and breathe them and roam them—
only he did.

Don't tell me the government "regulates" them,
when seventy years
of his sweat and his blood and his tears
flow through the waters of these hills
to nourish the trees …

No, these
are an old man's hills.

No one knew them as he did—
every hole where the woodchucks hid,
every nest where the blue jays lived—
and nobody loved them
as much as he loved them.

Only he cared when the flood waters killed
the tiny buds and the blades of grass
that grew beyond the fields.

And only he cared when the last bear died,
caught killing livestock.

"The oldest bear ever lived,"
he'd brag, "and the smartest."

Though we'd often hear it trip and crash
against the trash cans.

These are an old man's hills,
and they will never be the same
without his loving hand
gently transplanting shrubs and trees
that surely would have died
in the rocky, shopworn land.

Yes, these are an old man's hills,
and his eyes were the blue of the autumn skies
he knew so well even after he went blind.

"There's a few wispy clouds to the west today,
fadin' away, ain't they, boy?"
he'd ask me, and of course he was right.

"Sure are, 'pa," I'd reply,
and a smile would crease his face
and a warmth would pour out of his soul,
for he loved his hills.

Don't say that someday
the wind and the rain
will weather away
his mark from the land—
the well that he dug
and the wall that he built
and the fields that he planted
with his two callused hands.

A memory cannot wither away
when it’s reborn in the songs of the raucous jays
and heard within the laughing waters
of the sea's silver daughters.

An old man lives within these hills, although he walks no more;
I have often heard his voice within the winter's stormy snore;
and I’ve seen his eyes flash sometimes in the bluest summer sky;
and I’ve heard his silent laughter in my newborn baby's cry.

Published by Borderless Journal (Singapore)

I believe "My Grandfather's Hills" and "Twelve-Thirty" were written on the same day, or very close to each other.


Twelve-Thirty
by Michael R. Burch, circa age 19

How cold the nights become so quickly;
now a small fire does little to quench
the winter's thirst for warmth.

Sometimes it seems that all my life
has been an endless winter:
the longer it grew, the more of me it demanded …
and time goes slowly when a man's strength
is not enough to meet his needs.

Tonight I feel an old man
creeping into my bones,
willing to die and sleep and never dream,
and I accept him,
not because I wish to lie and live a life of peaceful ease
until I die,
but because I am too weak and too weary
to wish it otherwise …
and a man is so very close to the edge
when he lacks the strength to wish.

Long ago, when I was young,
I would run and fall and cry
and not give up.

But now it is twelve-thirty,
the darkest hour of the night,
and I am at the darkest point
that I have ever known in life.

So even as the frigid winds
pass silently across the hills,
I feel my spirit sigh within
and steal into its cell.

No longer does it venture forth
to dare new feats and find its fate,
but it lies asleep throughout the night
and does not awake except to eat
a little more of my life away.

Published by Borderless Journal (Singapore)



Clown
by Michael R. Burch, circa age 15-16

My “friends” often remind me
that I am a sluggard, a fool.
They say that I resemble a clown
and I suppose it is true
that I do.

There’s no need to mince words,
for I know how ugly I am.
And though I always tell myself
that I don’t give a ****,
I do.

How can I say that which I must
—“Embrace me. Shelter me. Be mine”—
when my appearance always
bothers me as much
as it does?

And yet with you I’m sure that I
could live my life and never mind;
just the touch of your lips in the night
could fill my troubled mind
with trust.

Just your presence at my side
could give me all the strength I need;
and your understanding touch
could help my broken heart to heal
a little each day.

But what’s the use? This cannot be
although I wish it so.
My love, you’re far too beautiful
for me to ever have or know
for even a day.

So when you send me upon my way
—a tragic, foolish clown—
you don’t have to struggle to kiss me goodbye.
Don’t give me the runaround.
Just please don’t put me down.


Laughter from Another Room
by Michael R. Burch, circa 18-19

Laughter from another room
mocks the anguish that I feel;
as I sit alone and brood,
only you and I are real.

Only you and I are real.
Only you and I exist.
Only burns that blister heal.
Only dreams denied persist.

Only dreams denied persist.
Only hope that lingers dies.
Only love that lessens lives.
Only lovers ever cry.

Only lovers ever cry.
Only sinners ever pray.
Only saints are crucified.
The crucified are always saints.

The crucified are always saints.
The maddest men control the world.
The dumb man knows what he would say;
the poet never finds the words.

The poet never finds the words.
The minstrel never hits the notes.
The minister would love to curse.
The warrior never knows his foe.

The warrior never knows his foe.
The scholar never learns the truth.
The actors never see the show.
The hangman longs to feel the noose.

The hangman longs to feel the noose.
The artist longs to feel the flame.
The proudest men are not aloof;
the guiltiest are not to blame.

The guiltiest are not to blame.
The merriest are prone to brood.
If we go outside, it rains.
If we stay inside, it floods.

If we stay inside, it floods.
If we dare to love, we fear.
Blind men never see the sun;
other men observe through tears.

Other men observe through tears
the passage of these days of doom;
now I listen and I hear
laughter from another room.

Laughter from another room
mocks the anguish that I feel.
As I sit alone and brood,
only you and I are real.



Leaden-eyed lovers
by Michael R. Burch, circa age 17

Leaden-eyed lovers, sung to sleep
by your own breathing,
don't your hear the silence despairing,
and the wind deceiving?

Have you never wondered
if there’s more to life
than a dream of love
and a fear of time?

And what if tonight you have had each other
wildly, totally, as only in love?
What if tomorrow you shall have no others—
is once ever enough?
Is anything ever enough?

Can you save enough love to last till tomorrow?
Can you make enough memories to last when you've aged?
And when you've grown old and are weary of burning,
how then will you rage,
ranging, busy seeking a continual change?

You will never rest easy
as long as you fear
the dull encroachment of the coming years.

You will never learn the meaning of love
if you imagine it fading with a gray hair.

Leaden-eyed lovers, dreams so incurious
are bound to mislead.
Open your eyes, look to each other,
pay time no heed.

Offer each other the promise of tomorrow
and perhaps you may see.


Liar
by Michael R. Burch, circa age 17

Chiller than a winter day,
quieter than the murmur of the sea in her dreams,
eyes softer than the diaphanous spray
of mist-shrouded streams,
you fill my dying thoughts.

In moments drugged with sleep
I have heard your earnest voice
leaving me no choice
save heed your hushed demands
and meet you in the sands
of an ageless arctic world.

There I kiss your lifeless lips
as we quiver in the shoals
of a sea that, endless, rolls
to meet the shattered shore.

Wild waves weep, "Nevermore,"
as you bend to stroke my hair.

That land is harsh and drear,
and that sea is bleak and wild;
only your lips are mild
as you kiss my weary eyes,
whispering lovely lies
of what awaits us there
in a land so stark and bare,
beyond all hope . . . and care.



Lincoln
by Michael R. Burch, age 20

A little child lies sleeping where the wind cannot touch him,
while a flicker from an unseen star, though very, very dim,
now and them creeps through the blinds to gently touch his eyes.
If only he would open them, their forces might comprise!
But still the storm is raging, and still sleep’s bonds hold firm;
although he tosses in his dreams, in bed he merely squirms.
And though sometimes he notices a warmth that wells within,
he cannot understand conflicting omens on the wind.
And still a single pelican he sometimes sees at dawn,
flashing through the heavens; as soon as it is gone,
he hears a strange, vague melody, a strain upon the wind
that never echoes long enough for him to comprehend.

I attended kindergarten and first grade in Lincoln, Nebraska. The pelican refers to my birth in Orlando, Florida. The use of “comprise” is intentional, as in “come together to create something larger.”


Damp Days
by Michael R. Burch, circa age 16-18

These are damp days,
and the earth is slick and vile
with the smell of month-old mud.

And yet it seldom rains;
a never-ending drizzle
drenches spring's bright buds
till they droop as though in death.

Now Time
drags out His endless hours
as though to bore to tears
His fretting, edgy servants
through the sheer length of His days
and slow passage of His years.

Damp days are His domain.

Irritation
grinds the ravaged nerves
and grips tight the gorging brain
which fills itself, through sense,
with vast morasses of clumped clay
while the temples throb in pain
at the thought of more damp days.



Embryo
by Michael R. Burch, circa age 16-17

You sail on an ocean of crystalline water
somewhere far beyond where the Hebrides part,
listening for the whispers and murmurs
of a life-giving heart.

Then you glide through the eerie, impregnable darkness
somewhere far beyond the harsh brightness of birth,
listening for a monotonous tremor
that, half-forgotten,
you now remember.

You rest on the surface of silver-tongued waters
somewhere far beyond a life that is lost,
listening to a voice gently calling
you to the coast.

Then you dive through the depths’ strange, unfathomable darkness,
caught somewhere between the beginning and end,
listening for a sound through the stillness,
with a stubborn willfulness,
wondering when.

You laze on a surface of shimmering clearness,
trapped somewhere between fiery sunset and night,
listening for a trumpet to sound
its message bright.

Then you plummet through the unsolvable darkness,
somewhere far beyond any star, moon or sun,
listening for the sound of the laughter
of the gay daughters
of Poseidon.

You bask in the brilliance of cascading raindrops,
somewhere within reach of a life you once lived,
listening for the peal of a trumpet
and a shiver of the sea and the wind.

Then you drop through the depths of an alien ocean,
sluggishly moving through its gravity,
somewhere between the dead and the living,
the dark and the livid,
the end and eternity.

So sail on your ocean of crystal-clear water,
or ride on the crest of a bright tidal wave;
tomorrow, perhaps, the trumpet will call you
back from the grave.

Or crawl through the depths of the pulsating darkness
with the thud of a heartbeat strong in your ears,
and do not worry that you might not awaken;
for your time is not measured in years,
but in changes.

I wrote “Embryo” around the time I wrote “The snowman sleeps under the Sea.”



The snowman sleeps under the sea
by Michael R. Burch, circa age 17

Beware while bright sunlight, in ardor,
caresses and kisses one arc of the earth,
for others are trapped in the dungeons of night—
crazed victims of an insane demon's mirth.
Beware while the children are playing
under a sun brightly blazing,
for soon they, too, will be paying
for the time they once thought free …
for an ice-capped mountain is swaying
and a snowman sleeps under the sea.
Beware, though life's moments are fleeting,
for, fleet though they may be,
a moment in Hades, I have heard,
can stretch into an eternity.
Beware of the clouds whitely lazing
under a sun brightly blazing,
for soon dark Night will be freed,
her black canopy raising.
Now an ice-caped summit is waving
and an iceman sleeps under the sea.
Beware the snowman, cold as death,
with winter terror on his breath;
if he should touch you, flee, my friend,
or into hell’s cold depths descend.

I believe “The snowman sleeps under the sea” was inspired by the title of the Eugene O’Neill play “The Iceman Cometh” and the biblical idea of hell as bleak, cold “outer darkness.”




M'lady
by Michael R. Burch, age 20

Your nose is freckled like an imp's
and tilts as though to see
what's going on around it.
And you never really sit;
you wriggle, squirm and bounce
as though you were a child …
Well, I think perhaps you are,
but the car is pulling up,
M'lady.

You're never dignified,
yet no matter what I say,
you still will toss your head
and blazing curls, rebellious red,
as though you were a queen
surrounded by her slaves …
Now may I have your hand,
M'lady.

Your eyes are full of mischief,
of a childish sort, no doubt,
and I know what plots you’re thinking
because your eyes keep sinking,
refusing to meet mine.
Don't say it's “just the wine”!
Now may I have this dance,
M'lady.

I'd ask you to behave,
but I know you never shall,
for, like a child, you're stubborn,
refusing to be governed
by any save yourself.
Still, you know I wouldn't change you, even if I could …
Though I'm almost sure I should,
M'lady.

But please pull down your dress!



Man
by Michael R. Burch, circa age 16

Man levels woodlands to the ground and thinks that makes him "strong."
He lives until he's eighty and he thinks his life is "long."
He flings a tin can to the moon and thinks that makes him "wise."
He thinks he's mastered "logic," yet falls for shysters' lies.
Earth's mountains rise and fall and rise without the aid of man,
and who's lived longer than the sea: what is its lifespan?
Ten thousand meteors reach the moon, yet all they are is dust.
As for the truth, what is it? We've barely scraped the crust.
Man studies anthropology and thinks he's mastered "life."
He fights his wars with capguns and thinks he knows of strife.
He rules the land and braves the sea; he thinks he's over all;
but compared to infant galaxies, he's not old enough to crawl.
For the universe is ageless, and man knows no life but ours;
and what weight hold wars when compared with the gravity of stars?
And can man rule the elements? How can he take on airs,
having only managed one small step on an infinite set of stairs?
Man writes his faulty philosophies, his poetries and songs;
he thinks he's all-important, that his Bibles can't be wrong.
He tells himself he's "thoughtful," that he's "rational" and "wise."
He thinks he'll build an empire that stretches beyond the skies.
He puts himself above the stars; he's sentient, stalwart, brave.
He thinks he'll tame the universe, yet he remains its slave.
More energy than he can use flows each second from the sun.
More space than he imagines lies from here to the next one.
Yes, he speaks in terms of "light-years" but he cannot pass their bar.
He'll be born and die a billion times in one heartbeat of a star.
He's going to conquer time itself! Can he tell me what time is?
Can he imagine his conceit, or the vanity that's his?
The universe is boundless; it knows no end, nor time.
It sings in crackling energy, supernovas are its rhyme.
And the universe can form a sun, but man can't make a tree.
And when we've used up everything, then what will there be?
"Man" appeared in my high school journal the Lantern in 1976.


Born to Run
by Michael R. Burch, circa age 17-18

And so you have gone …
gone though you knew how I needed you,
gone though I begged you to stay.
Still, it's better this way—
for neither of us could say goodbye.
Not while harsh summer still steamed heaven's skies,
not while love's embers still flared in the night,
stirred by the winds of the feelings we shared,
not while we were both running scared,
and not even now.
Still, it's better, somehow,
that you left me this way …
I don't think we two could have lasted
even another day.
Oh, sometimes it seems
love was only a dream,
a dream we could never let live,
though we'd have sworn that we had
the first time we met
secretly, sinfully, nervous and wet
with that August night’s heat
under the old covered bridge.

We were always half-lame,
hungry, tired and afraid,
running from this or from that,
our only possessions my pipe and your hat …
my pipe and your hat and the old, ugly cat
who tagged along so many miles,
eying us with a warped, wicked smile
till we drove it away …
And "those were the days."
Yes, those were the days
and those were the nights …
That hot August night I first took you,
bedding you in the damp grass,
your ******* liquid fire in my harsh grasp,
your lips wet and warm;
I had never been with a woman before,
nor you with a man,
and when we had finished neither could stand.

Now I think of those days,
running half-crazed,
living on love and an old frying pan
empty as often as not.
And the cheap, sickening ***
that we bought when we could
never did either of us any good
though we though that it did.
Remember that night when we hid
sixteen hours in the back of a barn
after stealing a car?
It wouldn't even run.
We were the ones who were running …
running, always running, never slowing down,
without thought to direction …
spinning around and around.
Well, you've stopped spinning now;
I wonder if I have.
How many years did we wander?
From sixty-two till seventy-five?
We must have been the last hippies alive! …
I wonder where the others all went.
They must have grown tired of running
and tired of wondering why —
I know you did.
Well, I'm tired of spinning, too,
but I've never learned to stand still.
It's easier to run, though it's hard to refill
on the move.
Well, I guess that I'll be moving on,
hitching a ride and following the sun.
Perhaps you'll regain a life that seemed gone
along with the wind and the snow and the rain;
perhaps the old life can lived once again;
I hope you're not wrong …
I'm sure you're not wrong.
But I've got to move on
and follow this road till its winding is done …
'Cause I think that I was born to run.

I remember writing “Born to Run” after Bruce Springsteen appeared on the cover of TIME in 1975.



Chains
by Michael R. Burch, circa age 18-21

Roses bloom within your eyes,
bright with laughter, rich with love,
echoing the morning's light,
full of promise, full of life.
And how I long to kiss your eyes,
to taste the salt of love's sweet tears,
to feel the fullness of the years,
to know that you were always near.
How often in the dark of night,
when heaven was a dream we shared,
our eyes would meet and then ignite
into twin flames of fervent light.
And now that time has healed the scars
of wounds we suffered seeking peace,
our chained eyes meet to find release
and, bonded, we are truly free.


Be Strong
by Michael R. Burch, circa age 18-20

Don't imagine the future will be brighter
when this world is as it is;
don't keep an account of the sorrow
and the pain and the loneliness
you suffer today, hoping tomorrow
will repay you for all you have lost;
don't expect happiness in repayment,
and never complain at its cost,
but seize it while it is with you
and hold it as long as you can;
then, when it is gone, do not mourn it,
though it may never touch you again.
For happiness crumbles to softness;
a man must be hardened by pain.
The ruggedest trees grow in deserts;
only lilies and daisies crave rain.
So dance while the moment is with you,
as desert flowers dance in the sun,
then crawl to the dunes when the wind dies
and the blossom-strewn showers are gone.
Sing while the cords of your heart
snap in the blistering sun;
thank God for the bleak accompaniment
they give you as they, snapping, strum
the bitter song of the dying young.
Rejoice! Rejoice! and, right or wrong,
at least you'll know that you are strong.


Gentle
by Michael R. Burch, circa age 20

Flowers bend before the wind,
then straighten out to stand again
fair and proud beneath the sun,
catching bright honey as it runs
slowly down the edges
of the sky, then through the hedges,
and, as the daisies shake themselves,
spreading sunlight through the dell,
you take my hand and kiss it,
whispering, "Be gentle."
Clouds pass slowly before the sun,
bowing, then rising and passing on;
and as they cool us with their shadows,
refreshing all the sun-drenched meadows,
the butterflies rejoice, rejoin
their brethren and dance once again,
splendid and holy in the sun.
You kiss my lips and take me
gently in your arms,
and I rejoice in this
most unexpected warmth.
"Be gentle, love, be gentle,"
you whisper from your place
of imprisonment and safety,
clasped in my embrace.
"Yes, I will be gentle,"
is my only reply
as I draw you nearer
and hold you dearer
than the mountains hold the sky,
gently kissing your eyes.



I hold you
by Michael R. Burch, circa age 20

I hold you in the darkness, and the night that seemed so long
when I was young and restless—so restless, strong and young—
seems fleeting when I'm with you, yet endless when I'm not,
and I think, "Soon she'll be leaving," and I tremble at the thought.
Then the walls close in around me and my fears begin to grow
and the tears course down my cheeks and then, like rivers melting snow,
they form the lines that Time did not, and there, upon my face,
I feel the wrinkles sagging, dragging me to Death's embrace.
But the moonlight sparkles on your lips, and you whisper, "I won't go,"
and my wrinkles disappear, as do those rivers, into snow,
and the firelight crackles in your hair that burns a darker red,
and you kiss me as you lead me gently back toward our bed.


Ghosts of the Shawnee
by Michael R. Burch, circa age 21

I sleep in moodless blue of starry skies,
lost to a dream of many ancient things;
death's rivers seek to drench me as they rise,
but I stand above them, watching through the night,
for a maiden more mysterious than spring.
As I dream in deepest blue of brooding seas,
a flow past flooding washes down the night.
O, I sip the bitter nectar of Shawnee
and wonder at the blazing northern light
that flares as though some day it might ignite.
Then shadows steeped in starlight call my name
and I know, somehow, that she at last has come.
There I rise to meet her as she enters in
with eyes aflame and hair as black as sin,
and I kiss her though I long to turn and run.


I held a heart in my outstretched hand
by Michael R. Burch, circa age 19

I held a heart in my outstretched hand;
it was ****** and red and raw.
I ripped it and tore it;
I gnashed it and gnawed it;
I gored it with fingers like claws,
but it never missed a beat
of the heartfelt song it sang.
There my bruised heart wept in my open palm
and the gore dripped down my wrist;
I reviled it,
defiled it;
I gave it a twist
and wrung it dry of blood;
still it beat with a hearty thud,
and its movement was warm with love.
But I flung it into the ditch and walked
angrily, cruelly away …
There it lay in the dust
with a ****** crust
caking the crimson stain
that my claw-like fingers had made,
and its flesh was grey with death.
Oh, I cannot say why,
but I turned and I cried,
and I lifted it once again,
holding it to my cheek,
where it began to beat,
but to a tiny, tragic measure
devoid of trust or pleasure.
Then it kissed my fingers and sighed,
begging forgiveness even as it died.
Now that was many years ago,
and I am wiser, for I know
that a heart can last out any pain,
but cannot bear to be alone.
And my lifeless heart is wiser too,
having seen the way a careless man
can take his being into his hands
and crush it into a worthless ooze.



I saw the sun rising
by Michael R. Burch, circa age 16

I saw ten billion stars shine with the brilliance of but one,
and I thought, "What strange, satanic deed has some foul demon done,
to steal the luster from the stars, to dim the autumn sky?"
But as I mused upon the moment, deep within your eyes,
I saw a hint of morning within moonlit blue residing,
I noticed glints of blazing dawn within blue depths deriding,
I caught a glimpse of coming days, still, secret and surprising,
within the silent seas that flowed, stark silver and enticing;
yes, looking in your eyes, my love, amid a flash of lightning,
I saw the darkness going down . . . I saw the sun rising.



It's just another Monday
by Michael R. Burch, circa age 25

Now it's a sad, sad, sad, sad day …
for all the stars have faded away,
but all the people turn and they say,
"It's just another Monday."
"It's just another Monday."



“Jack” was inspired by the plight of a schoolmate who had a rare disorder that made it dangerous for him to exercise. However, the details of the poem are imagined; we didn’t grow up together and weren’t close friends.

Jack
by Michael R. Burch, circa age 17

I remember playing in the mud
Septembers long ago
when you and I were young
with dreams of things to come
and hopes for feet of snow.
And at eight years old the days were long
—long enough to last—
and when it snowed
the smiles would show
behind each pane of glass.
At ten years old, the fights were few,
the future—far away,
and when the snow showed on the streets
there was always time to play . . .
almost always time to play.
And when you smiled your eyes were green,
but when you cried they seemed ice blue;
do you remember how we cried
as little boys will do—
trying hard not to, because we wanted to be "cool"?
At twelve years old, the world was warm
and hate had never crossed our minds,
and in twelve short years we had not learned
to hear the fearsome breath of Time
behind.
So, while the others all looked back,
you and I would look ahead.
It's such a shame that the world turned out
to be what everyone said
it would.
And junior high was like a dream—
the girls were mesmerized by you,
sighing, smiling bright and sweet,
as we passed them on the street
on our way to school.
And we did well; we never tried
to make straight "A's,"
but always did.
And just for kicks, when we saw cops,
we ran away and hid.
We seldom quarreled, never fought,
for in our way,
we loved each other;
and had the choice been ours to make,
you would have been my elder brother.
But as it was, it always is—
one's life is lost
before it's lived.
And when our mothers called our names,
we ran away and hid.
At fifteen we were back-court stars,
freshman starters on the team;
and every time we drove and scored
the cheerleaders would scream
our names.
You played tennis; I played golf;
you debated; I ran track;
and whenever grades came out,
you and I would lead the pack.
I guess that we just had the knack.
Whatever happened to us, Jack?



Olivia
by Michael R. Burch

for Olivia Newton-John

Turn your eyes toward me
though in truth you do not see,
and pass once again before me
though you are distant as the sea.

And smile once again, smile for me,
though you do not know my name …
and pass once again before me,
and fade, and yet remain.

Remain, for my heart still holds you
soft chords in a dying song!— *
Stay, for your image still lingers
though it will not linger long.

And smile, for my heart is breaking
though you do not know my name.
Laugh, for your image is fading
though I wish it to remain.

But die, for I cannot have you,
though I want you, this fell night;
darken, and fade and be silent
though your voice and aspect are light.

Yet frown, for you cannot touch me
though I have touched you now;
then go, for you have not met me,
and never, never shall.

Phantasmagoria
by Michael R. Burch, age 18

The night was a wrinkled pachyderm;
grey-skinned and monstrous, it covered the earth
till the sun, like a copper-mouthed serpent,
swallowed it slowly, giving dawn birth.
Behold the kaleidoscopic
changing of nighttime to day;
the sun, like a ravenous viper,
has frightened the pale moon away.



Intricate Melody
by Michael R. Burch, circa age 18

Late in the sunlight silence,
a shower of silver over the sea
waltzed through the waves like a sad melody …

She had eyes
like September,
flaming amber,
searing autumn sunshine.
She sang, "Love,
I don't remember,
was I yours,
or were you mine?"

And then in an stunning sunset,
a flare of wildfire striking the trees
rekindled the flames of an old memory …

She had dreams
like silver forests
full of fancy
dancing in the shadows.
She sighed, "Love
was working for us,
now it's gone,
I wonder how."

But off the arcing evening,
a frail trace of sunset recharging the breeze
whispered the words of an old mystery …

Though she sleeps
in silver forests
set in mountains
towering to the heavens,
still her heart
beats to the chorus
of one love,
love for one man.

“Intricate Melody” was inspired by “Unchained Melody” as covered by Bobby Hatfield of the Righteous Brothers in 1965.



Marie
by Michael R. Burch, age 17

Play your harp for me, Marie;
merrily let it sing.
Marry me and we will be
happily together then.
Marry me and we will be
as happy as the jay;
and I shall give you everything
if only you will play
for me today.
Play your harp for me, Marie;
make merry while we may!
Melt my heart and move my soul;
you shall, if you'll but play.
O, play with me and we will be
together for some time,
and if you'll sing me songs as sweet
as grapes when they combine,
then I will sing you mine …
Marie, let’s play!


oh, say that you are mine
by Michael R. Burch, circa age 18

your lips are sweeter than apricot brandy;
your breath invites with a pleasant warmth;
you sweep through the darkest corridors of my soul—
a waltzing maiden born of a dream;
you brush the frailest fibre of my hopes
and i sink to my knees—
a quivering beggar.
your eyes are bluer than aquamarine
set ablaze by the sun;
your lips as inviting as cool streams
to a wanderer of desert lands;
i sleep in your hand,
safe in the warmth of your tender palm,
lost in the fragrance of your soft skin.
WE make love as deep as purple pine forests,
your laughter richer and sweeter than honey
poured in a pitcher of peaches and cream,
your malice more elusive than the memory of a dream,
your cheeks tenderer than eiderdown
and cooler than snow-fed streams;
you touch my lips with the lightest of kisses
and my soul sings.

Natashe
by Michael R. Burch, age 21

I sleep through moodless blue of unstarred skies …
dark waves weave patterns; wild sequestered seas
grow huge and heavy, foddered by the breeze
that blows them down.
I drink Natashe;
naval frigates freeze
in agony across the frigid seas
of death's domain.
She brings me pain,
and, comfortless, I toss
like one who has slept too long
on a slab-hard bed.
O, I stir myself
and groggily I groan
just as Natashe said
I surely would.
God, these dreams are no good;
I'd much rather live.
Why did you leave?
by Michael R. Burch, circa age 17
Your touch was the warmth of a summer day,
the revivingness of showers in May,
the festivity of the coming of fall,
the sparkle of winter's icicled walls,
the splendor of sunset,
the furor of dawn,
as soft as a feather,
as clear as a pond
enchantingly blue.
Your laughter was lilac and lemon and low;
your tears were dimensions of sorrow untold;
your kiss was enchanting—slow dancing and wine;
your love was a lyric in search of a rhyme;
your eyes were green islands;
your curls formed a sea
of dark, dancing ringlets …
Love, why did you leave?



Happiness
by Michael R. Burch, circa age 13-14

A friend of mine had lost his wife.
He said, “Her death has wrecked my life;
now all that I have left is sorrow!
How can I bear to face tomorrow?”
And he told me, “Happiness is like a bubble:
what’s fine now will soon be trouble.
Today you may be sailing high,
soaring magically through the sky.
But soon you’ll plummet back to earth,
and you’ll find your problems only worse
on the sad, sad day your bubble bursts.”

But once an (alleged) wise man told me,
“This is how it was meant to be:
for, as the sun and rain make all things grow,
so all men need *both
happiness and sorrow.”

And he told me, “Happiness is the warm sunshine;
when it appears, the world seems fine.
But when pain’s chilling rains appear,
warmth soon dissolves; the world grows drear.
Yet soon the sun will shine again
to drive away the dismal rain!”

How then I sang, how I exclaimed:
“Oh, happiness is like a bubble!
Double, double, toil and trouble!
Bright roses bloom amid the rubble!
When shall I get my manly stubble,
or will I be forever gullible?
If present joys cause future pain,
does anyone care if I abstain?”

"Happiness" is the first longish poem I remember writing, around age 13-14, and I consider it my first real poem.



EARLY POEMS: HIGH SCHOOL AND COLLEGE, PART III


Sarjann
by Michael R. Burch , circa age 16-17

What did I ever do
to make you hate me so?
I was only nine years old,
lonely and afraid,
a small stranger in a large land.
Why did you abuse me
and taunt me?
Even now, so many years later,
the question still haunts me:
what did I ever do?
Why did you despise me and reject me,
pushing and shoving me around
when there was no one to protect me?
Why did you draw a line
in the bone-dry autumn dust,
daring me to cross it?
Did you want to see me cry?
Well, if you did, you did.

… oh, leave me alone,
for the sky opens wide
in a land of no rain,
and who are you
to bring me such pain? …

This is one of the few "true poems" I've written, in the sense of being about the "real me." I had a bad experience with an older girl named Sarjann (or something like that), who used to taunt me and push me around at a bus stop in Roseville, California (the "large land" of "no rain" where I was a "small stranger" because I only lived there for a few months). I believe this poem was written around age 16-17, but could have been started earlier.



Shadows
by Michael R. Burch, circa age 18

Alone again as evening falls,
I join gaunt shadows and we crawl
up and down my room's dark walls.

Up and down and up and down,
against starlight—strange, mirthless clowns—
we merge, emerge, submerge … then drown.

We drown in shadows starker still,
shadows of the somber hills,
shadows of sad selves we spill,

tumbling, to the ground below.
There, caked in grimy, clinging snow,
we flutter feebly, moaning low

for days dreamed once an age ago
when we weren't shadows, but were men …
when we were men, or almost so.

“Shadows” appeared in my college literary journal, Homespun.



Snapdragons: A Pleasant Fable with a Very Happy Ending
by Michael R. Burch, age 21

We threaded snapdragons
through her dark hair
and drank berry wine
straight from the vine.

We were too young
for love (or strong drink)
but her lips were warm
and her eyes so charmed,
that I robbed a Brinks
and bought her minks.




The Road Always Taken
by Michael R. Burch, circa age 19

We have come to the time of the parting of ways;
now love, we must linger no longer, amazed
at the fleetness with which we have squandered our days.

We have come to the time of the closing of scrolls;
beyond us, indecipherable Eternity rolls …
and I fear for our souls.

We have come to the point of no fork, no return;
above us, a few cooling stars dimly burn …
And yet I still yearn.



Tonight how I miss you
by Michael R. Burch, circa age 22

Tonight how I miss you, as never before,
though morning is only a moment away.
Oh, I know I should sleep, but I lie here, distraught,
as you flit through my mind—such a wild, haunting thought.

And love is a dream that I lately imagined—
a dream, yet so real I can touch it at times.
But how to explain? I can hardly envision
myself without you, like a farce without mimes.

Deep, deep in my soul lurks a creature of fire,
dormant, not living unless you are near;
now, because you are gone, he grows dim, and in dire
need of your presence, he wavers, I fear …
How he and I wish, how we wish you were here.



The Insurrection of Sighs
by Michael R. Burch, circa age 22

She was my Shilo, my Gethsemane;
on a green ***** of moss she nestled my head
and breathed upon my insensate lips
the fierce benedictions of her ecstatic sighs …

But the veiled allegations of her disconsolate tears!

Years I abided the eclectic assaults of her flesh …
She loved me the most when I was most sorely pressed;
she undressed with delight for her ministrations
when all I needed was a moment’s rest …

She anointed my lips with strange dews at her perilous breast;
the insurrection of sighs left me fallen, distressed, at her elegant heel.
I felt the hard iron, the cold steel, in her words and I knew:
the terrible arrow showed through my conscripted flesh.

The sun in retreat left its barb in a maelstrom of light.
Love’s last peal of surrender went sinking and dying—unheard.



Yesterday My Father Died
by Michael R. Burch, circa age 16

Rice Krispies and bananas,
milk and orange juice,
newspapers stiff with frozen dew …
Yesterday my father died
and the feelings that I tried to hide
he'll never know, unless
he saw through my disguise.

Alarm clocks and radios,
crumpled sheets and pillows,
housecoats and tattered, too-small slippers …
Why did I never say I cared?
Why were few secrets ever shared?
For now there's nothing left of him
except the clothes he used to wear.

Dimmed lights and smoky murmurs,
a brief "Goodnight!" and fitful slumber,
yesterday's forgotten dreams …
Why did my father have to go,
knowing that I loved him so?
Or did he know? Because, it seems,
I never told him so.

The last words he spoke to me,
his laughter in the night,
mementos jammed in cluttered cabinets …



What is this "love?"
by Michael R. Burch, age 18

What is this "love" that drives men to such lengths
as to betray their hearts and turn away
from all resolve that once had granted strength
and courage to them in life's harshest days?
What is this "love" that causes men to shun
the friends and family they once held so dear?
What causes them to spurn the brilliant sun,
to seek some gloomy cloister’s bitter tears?
What is this "love" that urges men to yield
their hearts' most cherished hopes and will’s restraint?
What causes them to throw down reason’s shields,
to spill their blood, till sense at last grows faint?
This is the weakness in us, one and all—
the love of love, the will to kneel, the hope, perhaps, to fall.

“What is this ‘love’" was one of my earliest sonnets.



You'll never know
by Michael R. Burch, circa age 15

You'll never know
just how I need you,
though you ought to know
after all this time;
you'll never see
how much I want you,
though your touch can tempt
these words to rhyme.

For storm clouds grow
till stars flee, hidden;
bright lightning rails
against mankind;
wild waves reach out
toward scorched comets;
but you do not see.
You must be blind.

Sundown
by Michael R. Burch, age 21

Sunset’s shadows touch your eyes
She’d rather have the truth than lies.
wherein I find no alibis.
And that seems strange … I wonder why.

Now you and I have come this far,
She seems so lovely and so calm.
but further off, no guiding star.
And yet I know that she is scarred.

But without stars how can we see
What’s best for her is best for me.
ourselves, or where our paths fork free?
And yet I loved her so sincerely!

I think that we should end it here
How can love end without a tear?
and I can see that you agree.
What’s best for her is best for me.



Sunrise
by Michael R. Burch, age 17

I ran toward a meadow
that shimmered, all ablaze,
and laughed to feel the buttercups
my skin so softly graze.
My soul was full of passion,
my eyes were full of light,
as sunrise crept
into the depths
of heart that had harbored only night.
I leapt to catch a butterfly,
then let it go again,
and its glorious flight
into the light
caused me to clutch my pen
and dash back to my darkling room
to let the sunrise in,
but not through open shutters,–
through poems and psalms and hymns.

Here “darkling” is a rare word that appears in more than one masterpiece of poetry.



Spring dream time
by Michael R. Burch, age 19

There are no dreams of springtime tomorrow
left to my heart now that winter has come,
nor passion to shine like a sun in ascendance
to fierce incandescence; my spirit is numb.

How shall I write when the words hold no meaning?
How shall I feel, when all feeling is gone?
How shall I seek what has never had presence
or gather an essence I never have known?

How to recapture what I once believed in,
lost to strange seasons of riotous sun?
How to rekindle the heart's effervescence,
the spirit's resplendence, when springtime has flown?

How will I write what has never been written?
How can this ink leap from pen into poem?
How can I believe what I know has no feasance,
reducing the distance from fancied to known?

Are there no others who dream not to lessen,
not to wilt before winter, not to weaken—not some
who **** to hellfire this winter of demons,
imagining seasons of springtime to come?



Tell me what i am
by michael r. burch, circa age 14-16

Tell me what i am,
for i have often wondered why i live.
Do u know?
Please, tell me so ...
drive away this darkness from within.

For my heart is black with sin
and i have often wondered why i am;
and my thoughts are lacking light,
though i have often sought what was right.

Now it is night;
please drive away this darkness from without,
for i doubt that i will see
the coming of the day
without ur help.

This heartfelt little poem appeared in my high school journal.


You didn't have time
by Michael R. Burch, circa age 17

You didn't have time to love me,
always hurrying here and hurrying there;
you didn't have time to love me,
and you didn't have time to care.

You were playing a reel like a fiddle half-strung:
too busy for love, "too old" to be young …
Well, you didn't have time, and now you have none.
You didn't have time, and now you have none.

You didn't have time to take time
and you didn't have time to try.
Every time I asked you why, you said,
"Because, my love; that's why." And then

you didn't have time at all, my love.
You didn't have time at all.

You were wheeling and diving in search of a sun
that had blinded your eyes and left you undone.
Well, you didn't have time, and now you have none.
You didn't have time, and now you have none.


You have become the morning light
by Michael R. Burch, circa age 18-19

You have become the morning light
that floods from heaven, fair upon
the dewed expanses of each lawn …
I lift my face, for you are dawn.

And in the warmth that, fanned to flame,
I feel against my naked flesh,
I find the fierceness of desire—
the passions of each wild caress.

Now how I long to make you mine
in such a moment, as your *******
burn like fire in my hands,
forming flame from drunkenness.

And if in ardor for the sun
or for your touch or for the wine,
my lips should crush yours in a kiss
so harsh and heated, tears combine

with sweat and anguish till beads form—
salt beads of passion on your brow,
then lover, we will burn with dawn,
for in your eyes the sun shines now.



When I was in my heyday
by Michael R. Burch, circa age 22

When I was in my heyday,
I howled to see the moon;
the wail of a wolf,
shrill, rising … then gruff
echoed through night, such an impassioned tune!

When I was in my heyday,
hearts fluttered at my feet;
I gathered them in
like blossoms the wind
had slaughtered and flung, but their fragrance was sweet.

When I was in my heyday,
I cursed the cage of stars
that blocked me from rising
above them and flying
in rapture, uncaptured, beyond their bright bars.

When I was in my heyday,
my dreams were a dazzling mist
that baffled my vision
and veiled farthest heaven,
but what did I care? I clenched fire in my fist!



The Swing
by Michael R. Burch, circa age 18

I.
There was a Swing
tied to a tall elm
that reached out over the river.
There, I used to send you flying
out into the autumn air
till you began to shiver,
then I’d gather you in again,
hugging you to keep you warm.

How I loved the scent of your hair
and the flush of your cheeks!
I’d dream of you for weeks
when you were at Vassar and I was at Mayer.

Then, come the summer,
how I loved to see your knee-length skirt
billowing about you,
revealing your legs,
aloed and darkly lovely,
and to feel your ample hips
—so soft, so full, so warm—
when I touched them,
“accidentally,” of course,
while swinging you.
You always knew,
I’m sure of that now.
And you never let me go too far.
But your kisses were warm.
Oh, I remember—your kisses were warm!

II.
I’d often dream of ******* you,
and once, just once,
when I was helping you down from the Swing,
I touched your breast, and you paused.
Hurriedly, I unbuttoned your blouse as you stood
breathless, and with good cause,
after riding the Swing as wild as I swung you.

Your bra was Immaculate White,
your ******* warm and firm
beneath the thin material.
You said nothing until I flipped
your skirt up, then slipped
my fingers inside the waistband
of your matchless cotton *******
to feel your hips,
so full and so inviting,
and then your nether lips.

At which you said,
“That’s enough,” gently,
and it was.

III.
Now I think of those days
and I wonder
why I ever let you go.
I remember one dark hour
when, standing in the snow,
you told me to take you
or to let you go.

I was a fool.
Proud, and a fool.

All you asked was for us to be married
after we finished school.
But I was a fool.

IV.
But I always loved you—
my wild risk taker!
My sweet gentle ******* of elms,
my lovely heartbreaker.

V.
Now you’re a dancer,
and a fine one, I’m told.
I saw you, once, in men’s magazine.
You hair was still maple
with highlights of gold,
your eyes just as green.
But somehow you didn’t quite seem
the wild sweet rambunctious angel of my dreams
who’d defy men’s eyes
and the edicts of heaven
simply to Swing.



The Latter Days: an Update
by Michael R. Burch, age 22

1.
Little Richard grew up. Now
the world is not the same, somehow.
And Elvis Presley passed away—
an idol but with feet of clay.
The Beatles left have shorn their locks;
John Lennon died and Heaven rocks,
though Yoko Ono still remains.
(The earth is full of passing pains.)

2.
The wall is being built, we hear,
although the reason’s far from clear.
But there’s one thing we know for sure:
there’s never money for the poor.
There are, however, trillions for
the one percent, and waging war.
’Cause Tweety has an “awesome” plan:
kiss Putin’s *** and nuke Iran!

3.
The Hebrew prophets long ago
warned of a Trump of Doom, and so
we wonder if this “little horn”
may be the Beast who earned their scorn.
But surely not! Trump claims to be
our Savior, true Divinity!
So please relax, admire his rod,
and trust this Orange Demigod!
I wrote the first stanza at age 22 in 1980, then updated the rest of the poem after Trump became president in 2016.



there is peace where i am going
by michael r. burch, circa age 15

lines written after watching a TV documentary about Woodstock

there is peace where i am going,
for i hasten to a land
that has never known the motion
of one windborne grain of sand;
that has never felt a tidal wave
nor seen a thunderstorm;
a land whose endless seasons
in their sameness are one.
there i will lay my burdens down
and feel their weight no more,
untouched beneath the unstirred sands
of a neverchanging shore,
where Time lies motionless in pools
of lost experience
and those who sleep, sleep unaware
of the future, past and present
(and where Love itself lies dormant,
unmoved by a silver crescent).
and when i lie asleep there,
with Death's footprints at my feet,
not a thing shall touch me,
save bland sand, lain like a sheet
to wrap me for my rest there
and to bind me, lest i dream,
mere clay again,
of strange domains
where cruel birth drew such harrowing screams.
yes, there is peace where i am going,
for i am bound to be
embalmed within the chill embrace
of this dim, unchanging sea …
before too long; i sense it now,
and wait, expectantly,
to feel the listless touch
of Immortality.

This poem was written circa 1973, around age 15, after I watched a TV documentary about Woodstock. I think I probably owe the last two lines to Emily Dickinson. I believe "those who sleep the sleep of Death" was written around the same time and under the same influence.


those who sleep the sleep of Death
by Michael R. Burch, circa age 15

those who sleep the sleep of Death
sleep to wake no more …
they lie upon a brackish shore
where Time's tides lash the rugged rocks
with waves that whip like ragged locks
of long, unkempt white hair
against the storm-filled air,
but nothing can disturb them there.
those who dream the dream of Death
fail to see how Time
pulses through the slime
of earth’s dark fulsome loam,
rank, rotting flesh and filthy foam …
for, standing far off from the shore,
She readies to attack once more
those She had but killed before.
those whom Death awakens
awaken to a sleep
that is far more deep
than any they had known before;
for there upon that ravaged shore,
they do not see how Time now drives
to destroy the fragile lives
of those who still survive.



The Song of the Wanderers
by Michael R. Burch, circa age 18

Through many miles of space we have flown;
no life but ours have we known.
No other race have we seen in the stars,
nor under any sun that has shone.
None in the shadows, none in the sun,
none in the rainbows that brighten dark skies,
none in the valleys, none in the hills,
none in the rapids that ripple and rise.
Our quest is near ending; the stars have been searched;
we alone wander this vast universe.
For every green planet, every blue sky
we have encountered is barren of life.
We are alone, unless below
a creature exists somewhere in the snow.

The planet beneath us lies shackled by night.
The stars deck its mountains in garments of light.
Close to us, its moon hovers ghostly in flight.
Somewhere below us, perhaps there is life.

Come, let us seek life, before we return
to that fair planet for which our hearts yearn.

Here snow descends as the wind whistles down
from dark frozen northlands where glaciers abound.
See, on the far shoreline, pale mists compound.
Notice, companions,
how the sun, like a fiery stallion,
rears upon the eastern rim
of a mountain range haggard, weathered and grim.
A pity, perhaps, that at last it grows dim.

But there's no life here, and so we must leave
this desolate planet alone to its grief.

No, wait just a moment! What can this be …
concealed by dense fog here, surrounded by sea,
some type of vessel, storm-tossed, to and fro?
Yes, I believe, I'm sure that it's so!
Here near this shoreline, half-buried in snow,
lies a wrecked vessel
dripping salt water and seaweed tresses.

Make haste; let us hurry,
the sea in its fury
is dashing it upon the rocks!
It may well be that at last
we will see some relic of another race's past.

What's this? It's no vessel, no ship of the seas.
It's fashioned of stone and could not use the breeze.
It has no engine, no portals, no helm,
and yet it resembles … some demon from hell.

It must be a statue, with horns on its head,
long, flowing hair and a torch in its hand.
Broken and shattered, cast off by the sea,
tonight it erodes in this frozen dark sand.

No, come, let us leave, it was fashioned by wind,
molded by water and wasted therein.
Come, let us leave it, to hasten back home;
too long have we wandered, thus, lost and alone.

The Liberty calls us; we cannot delay.
Let us return now, and be underway.

Through many miles of space we have flown.
No other life have we known.
And now that we know that we are alone,
we search for our ancient home.
Somewhere ahead she awaits our return,
decked in bright garments of green;
for eons of time we have not seen her face,
and yet she has haunted our dreams.

Somewhere ahead lies the planet we left
when we set out the depths of deep space to explore,
and now how we long to dash through her streams
and sleep on her bright, sandy shores.

The last cold, dark planet lies dying behind us;
no others are left to be searched.
The Liberty soon her last descent shall make
when we relocate Mother Earth!



The spinster waltz
by Michael R. Burch, circa age 21

The spinster waltz is playing
in sad strains from other rooms,
but here, where love beams, reigning,
wedding bells greet brides and grooms.
O, the bachelors are a-waltzing,
but the married do not mind,
for they whirl with one another
to a far more hectic time.
And as they feel the music
seek to slow their breakneck thoughts,
they murmur of the things they've gained,
regretting what they've lost.



The offering
by Michael R. Burch, age 21

Tonight, if you will taste the tempting wine
and come to sit beside me, I will say
the words that you have thought that you might hear,
the words that I have feared that I might say.
And if you sit beside me with the goblet in your hand
and offer me a sip to give me strength,
then I will match your offer with an offer of my own,
and, offering, so offer back that strength.
And if I say, "I love you," don't laugh as though I jest,
for a jester I am not, as you can see.
And if I offer anything, I'll offer you myself —
the man I am and not the man you see.
For though you see successes and a man of many dreams,
I see a pauper throwing dreams away;
yes, once I dreamt of many things, but then I saw your face, and since
I dream no more, and dreams can fade away.
So if I offer you this ring of burnished gold that burns and sings,
please take it for the thought and not the gold.
And if I offer you my life, please understand, my love, don't sigh
and tell me that you do not care for gold.
I'm offering my love, my life, my joys, my cares, my fears, my nights,
the dreams that I have dreamt and dream no more,
I'm offering my soul, not gold … I'm offering my thoughts, my hopes …
I'm offering myself and nothing more.
And if this offer seems enough; if you can be content with love
and cherish one who loves you as I do,
then promise that I'll be your dreams, your hopes, your joys, your cares, all things
that you could ever want or want to do.
But if you cannot promise so, then let us say goodbye and go;
I cannot love you less than I do now,
but I would rather bear this pain and never, ever love again
than burn in hope and fear as I do now.



There Must Be Love
by Michael R. Burch, circa age 21

O, take me to
earth’s tallest mountain
and hurl me out
into the dark;
though I may fall
ten thousand miles,
still I’ll not say
this life is all.
I’ll shout, There’s more!
There must be more!
There must be Love.

Then take me to
faith’s highest fancy
and show me all
there is to see;
though all the world
bow prone before me,
still I’ll not say
this world is all.
I’ll pray, There’s more.
There must be more.
There must be Love.

Then lay me down
beside dark waters
where dying trees
shed lifeless leaves,
and though I shiver
with the knowledge
of my death,
I shall not grieve.
And when you say,
There must be more …
then I shall say,
There is … believe!

I’ll take your hand,
and we’ll believe.



This is how I love you
Michael R. Burch, circa age 18

Just to hold you as you sleep with your head against my shoulder,
just to kiss your sweet lips and to know that you are mine,
fills my heart with a sense of perfect completeness
of a light and airy sweetness,
like the scent of chilled white wine.
For the love with which I love you is a pure and sacred thing,
like the first touch of morning, when she bends to kiss her flowers;
for then the dancing daisies and the gleaming marigolds
reach out to receive her, each in turn, throughout dawn’s hours.
And the light with which she touches them
becomes their life; each stalk and stem
are born of her who gives herself
unselfishly. And to her spell
the flowers bend, full willingly,
with sometimes a hushed and fervent plea,
"Touch me, O sun, touch me!"



The Rose
by Michael R. Burch, circa age 18

Oh Rose, thou art sick!”—William Blake

Where life begins the seeds of death
are likewise planted, but with faith
the rose's roots combat the weeds’
to seek the nourishment it needs.
Yet in its heart an insect breeds.
Where dreams take form the flower grows,
as do the weeds, and still the rose
is gay and lovely, though her thorns
are sharp! The casual touch she scorns …
yet insects eat her leaves in swarms.
When passion fails the rose grown old,
no longer are her petals bold—
in flaming glory bright-arrayed.
In weeds of death at last is laid
the rose by insects first betrayed.



Say You Love Me
by Michael R. Burch, circa age 22-25

Joy and anguish surge within my soul;
contesting there, they cannot be controlled;
now grinding yearnings grip me like a vise.
Stars are burning;
it's almost morning.
Dreams of dreams of dreams that I have dreamed
parade before me, forming formless scenes;
and now, at last, the feeling grows
as stars, declining,
bow to morning.
For you are music in my undreamt dreams,
rising from some far-off lyric spring;
oh, somewhere in the night I hear you sing.
Stars on fire
form a choir.
Now dawn's fierce brightness burns within your eyes;
you laugh at me as dancing starlets die.
You touch me so and still I don't know why . . .
But say you love me.
Say you love me.


Sheila
by Michael R. Burch, circa age 16

When they spoke your name,
"Sheila,"
I imagined a flowing mane
of reddish-orange hair
tinged with fire
and blazing eyes of emerald green
spangled with desire.
When I saw you first,
Sheila,
I felt an overwhelming thirst
for the taste of your lips
dry my lips and parch my tongue …
and, much worse,
I stuttered and stammered and lisped
in your presence.
But when I kissed you long,
Sheila,
I felt the morning come
with temperamental sun
to drive away the night
with reddish-orange light
and distant-sounding drums.
Now I will love you long,
as long as longing is,
Sheila.



The breathing low and the stars alight
by Michael R. Burch, age 19

Silently I'll steal away
into dank jungles pocked with night.
I'll give no thought to the coming day;
the breathing low and the stars alight
alone shall mark my passage through
in search of plateaus of delight.
Through valleys filled with shrieks of fright
I may pass; through vales of woe
I may move with footsteps light.
Who knows what trials I’ll undergo
at the hands of demon Night
before that fiend I overthrow?
And yet at last the ebb and flow
of time and tide will draw me tight
within Death’s grasp; then I shall know
the freedom of life's last respite,
safe from dread nightmares and despite
the breathing low and the black disquiet.



Parting
by Michael R. Burch, circa age 16-17

I was his friend, and he was mine; I knew him just a while.
We laughed and talked and sang a song; he went on with a smile.
He roams this land in search of life, intent on being "free."
I stay at home and write my poems and work on my degree.
I hope to be a writer soon, and dream of wild acclaim.
He doesn't know what he will do; he only knows he loves the wind and rain.
I didn't say goodbye to him; I know he'll understand.
I'll never write a word to him; I don't know that I can.
I knew he couldn't stay, and so … I didn't even ask.
We both knew that he had to go; I tried to ease his task.
We both know life's a winding road, with potholes every mile,
and if we hit a detour, well, it only brings vague sadness to our smiles.
One day he's bound to stop somewhere; perhaps he'll take a wife,
but for now he has to travel on, to seek a more "natural" life.
He knows such a life's elusive, but still he has to try,
just as I must write my poems although none please my eye.
For poetry, like life itself, is something most men rue;
still, we meet disappointments with a smile, and smile until the time that they are through.
He left me as I left a friend so many years ago;
I promised I would call him, but I never did; you know,
it's not that I didn't love him; it's just that gone is gone.
It makes no sense to prolong the end; you cannot stop the sun.
And I hope to find a lover soon, and I hope she'll love me too;
but perhaps I'll find disappointment; I know that it's a rare girl who is true.
I've been to many foreign lands, but now my feet are fast,
still, I hope to travel once again when my college days are past.
Our paths are very different, but we both do what we can,
and though we don't know what it means, we try to "act like men."
We were friends, and nothing more; what more is there to be?
We were friends for just a while … he went on to be "free."



Rose
by Michael R. Burch, age 18

Morning’s buds cling fervently
to the tiny drops of dew
that nourish them sacrificially,
as nature bids them to.
And how each petal cherishes
the tiny silver gems
that satisfy its thirst
and caress its slender stem.

All life comes of sacrifice,
which makes it doubly sweet;
for two lives sacrificed form one
and thus become complete.

Daisies plait the valleys
that give their strength to yield
such a tender host among
the steamy summer fields.

And how the flowers love the earth
that freely gives its life,
kissing and caressing it
throughout the hours of night.

So kiss me and caress me, love,
for you are my fair Rose.
And hold me through the depths of night
and the heights of our repose.

A bee entreats a flower:
a tiny drop is given.
A slender stalk caresses
and gains a speck of pollen.

All beings are dependent
on others being too.
And love cannot exist
except when shared by two.

So kiss me and caress me, love,
for you are my fair Rose.
And hold me through the depths of night
and the heights of our repose.



Spartacus
by Michael R. Burch, age 20

Take the fire
from her eyes
to light the darkening skies
exquisite shades
of blue and jade.

Place an orchid
in her hair
and tell her that you care,
because you do,
you surely do.

Sleep beside her
this last night;
a clover bed, deep green and white,
shall cushion you as leaves sing
sad elegies to fleeting spring.

Sleep beside her
in the dew,
both heartbeats fierce and true,
and praise the gods who give
such hearts, because you live.
Not many do.



So little time
by Michael R. Burch, circa age 14

There is so little time left to summer,
to run through the fields or to swim in the ponds …
to be young.
There is so little time left till autumn shall come.
There is so little time left for me to be free …
so little time, just *so, so
little time.

If I were handsome and brawny and brave,
a love I would make and the time I would save.
If I were happy — not hamstrung, but free —
surely there would be one for me …
Perhaps there'd be one.

There is so little left of the sunshine
although there's much left of the rain …
there is so little left in my life not of strife and of pain.

I seem to remember writing this poem around age 14, in 1972. It was published in my high school journal, the Lantern, in 1976.



Valley of Stars
by Michael R. Burch, circa age 19

On a haunted moor, awash in starlight,
when all the world lay hushed and still,
while a ghostly orb, traversing the heavens,
bathed every ridge of every hill
in a shower of silver, I happened to spy
a shadow creeping against the sky.
And suddenly the shadow beckoned
with a fair white hand, then called my name!
Out of the haunting mists of midnight,
through webs of ethereal light she came—
the maiden I had wildly wanted,
that had long my heart enchanted.
It seemed to me that the stars shone brighter
as she slipped into my arms,
for they burned within the halo
of her flaxen hair and warmed
the air about us, so that I melted
into the haven of her arms' shelter.
Her fragrance of lilacs enraptured me;
her sparkling eyes beguiled me.
And when my lips found hers that night,
nothing could have defiled me,
or have dragged me down … we began to rise
through the mists and vapors of a spinning sky.
We rose for hours, or so it seemed,
through galaxies of pearl and blue.
She kissed my lips and made me feel
that all I've heard of love is true.
And now, although we're lost,
I never wonder where we are,
for my love and I
wander paths of the sky,
lost in a valley of stars.


We Dance and Dream
by Michael R. Burch, age 25

All the nights we danced it seemed
the stars above were dancing too,
and all the dreams we dared to dream
it seemed were old dreams dreamed anew.
But now no hallowed lovers’ lies
pass our lips or glaze our eyes;
and now no even wilder dreams
cause our lips, with anguished screams,
to pierce the peacefulness of night.
We dance and dream, bereft of light,
content to merely glide…



We kept the dream alive
by Michael R. Burch, age 18

Youthful reflections on the Vietnam War and the “Domino Theory”

So that our nation should not “fall,”
we sacrificed our lives;
we choked back fears
and blinked back tears.
Our skin broke out in hives.
We kept the dream alive.
We counted freedom
and honor worth saving;
a flag waving
against the sky
filled us with pride,
then led us to die.
But was it a lie?
What of the torch?
What of its flame?
We kept it lit through wind and rain.
It brought us woe and bitter pain.
And yet we bore it though it seemed
the vaguest semblance of a dream.
And all around the jungle screamed,
“This is no place for you to die;
the flag you fight for is a lie;
the torch you bear burns bitter flame;
the dream you cherish has no name
but darkest shame …”
We lost our lives,
but to what gain?



Will you walk with me
by Michael R. Burch, circa age 18

Will you walk with me a mile down this lane?
for there is something I must say to you.
And, as my feelings cry to be explained,
this silence is a lie, bereft of truth.
As does the bird that sings, I so must tell
the feelings that my heart cannot keep in,
for it must be a sin to speechless dwell
when love entreats the trembling tongue to sing.
And thus I cannot watch you silently,
although I cringe to think that I must speak—
my lisping lips then tremble shamelessly,
my heart grows numb even as my knees go weak—
but now the time has come to not delay,
so listen closely to the words I say …

If I could only hold you through the night,
then wake to find you near me, each new day,
my life would be so full of sheer delight
that I would never notice should you stray.
If I could only kiss your wanton lips
and do so without fear of God's revenge,
then I would even kneel to kiss your whip,
and I would gladly bend to your demands.
For I not only love your loving moods,
fierce kisses and caresses and wild eyes,
but darling, I still love you when you brood.
I love you though you rail at me and lie.
For love is not a passion that should fade;
it burns!—the heat of sunlight on a cage.

This was one of my first sonnets, or "sonnet attempts," written around age 18 as a college freshman in 1976.



Where have all the flowers gone?
by Michael R. Burch, circa age 18-19

Where have all the flowers gone
that once shone in your hair
when the sunlight touched them there?
Now summer's fields are dark and bare.
And what of all your lovely curls
that caught the sunlight till a halo
ringed their masses, golden-yellow?
Into ash-grey their fire has mellowed…
Where have all the starlings gone
whose voices blended with your own
in such a wild, emphatic song?
From winter's grasp those birds have flown.
And what of your own voice, my dear?
Those splendid notes I hear no more
which once from your sweet throat did pour.
For now your throat is parched and sore.
Oh, where have all the feelings gone?
We once could name them all—
emotions great and longings small . . .
But now we heed them not at all.
And what of our desire, my love,
which we once wildly bore
and felt at each soul's core?
That passion now is calm, demure.
For time has take all of this
and the little left leaves much to miss.



Were Love to Die
by Michael R. Burch, circa age 24

Were love to die without pained sighs,
without heartaches and brimming eyes,
then tell me—what would love be worth
if, dying, as in being birthed,
it were no more than other words?

Were love to die without a lie,
without attempts to keep it nigh,
then tell me—what would love have been
if, fleeing as in entering,
it was not holy, nor a sin?

Were love to cause no grief, or pain,
and come, then go, what would remain?
And tell me—what would love have left
if, being lost, as being kept,
it did not bless and curse our fate?



Won't you
by Michael R. Burch, circa age 21

Won't you lie in my arms in the clutches of wine
as dark petals, unfolding, whisper back to the vine?
Won't you dream of that day, as I bring you again
to an anguish, a heartache that throbs without end?
Won't you dream of a day when the ocean grew wild,
raging before us—green cauldron of bile!—
while the passions we shared were stirred by a wind
that later that evening sang softly of sin?
Won't you rise in your yearning and touch me again?
Won't you kiss me and curse me just as you did then?
Won't you hate me and hold me and scold me and say
that you'll never leave me, that this time you'll stay?
O, tonight be my lifeline, re-cresting love’s waves …
won't you rage in my arms as you did in those days?
Won't you be half as gentle as you are rough,
then spare me, care for me, saying, "This is enough!"
Won't you lie in my arms with a lie on your lips
and say to me, "Darling, there's nothing like this!"
Won't you tell me, please tell me, O, what is the harm,
as I lie here tonight with your child in my arms?



The lamp of freedom
by Michael R. Burch, age 16

When the lamp lies shattered,
its bowl can be remade,
but should its light be scattered,
light cannot be regained.
Hold high the lamp of freedom;
let a man be no man's slave.


Staying Free
by Michael R. Burch, age 19

Others dwell in darkness,
raging through the night,
slaves to fearsome demons,
though children of the light,
where, caught up in emotions
they fail to understand,
they flock to laud the Mocker
who kneads them in his hand.
And all the revelations
bright choirs of angels sing,
they never seem to notice
as their shackles clang and ring.
They know naught of freedom,
nor wish to—for, born slaves
into dull lives of servitude,
their chains they dearly crave.
But let them live their captive lives;
whatever they may be,
for I am bound to be a man
as long as I stay free.



What Is Love If It’s Not Forever?
by Michael R. Burch, age 17

My love, are you trying to tell me
that you no longer love me?
After all these years of sacrifice
and hope and joy and compromise,
are you saying that we are through?
You always called me a romanticist,
a fantasist, a dreamer,
while labeling yourself a realist,
a fatalist, a schemer …
but I thought that, perhaps,
a spark of romance
existed also in you.
And yet it seems that now,
incredibly, you wish to leave me,
and all that was said and done,
unselfishly, in the name of love,
must be written off as a total waste.
You often hinted at a dark side
to your inner nature,
while despairing of my “innocent,
unassuming character,”
but I had always hoped that
you would never act
in such haste.
For what is love if it’s not forever?
Can such an ethereal thing
exist beatifically for a moment
and then be gone … like spring?
Yes, what is love if it’s not forever?
Is it caresses and laughter and words sweet and clever,
intrigue and romance, sorrow and pain,
whirligig dances, sunshine and rain,
such as we had? Or is it more—
a volcanic struggle deep at heart’s core;
a wave of sweet sadness sweeping the shore
of one’s emotions; a rampaging ocean
of fantastical supposition;
a ******, gut-wrenching war
fought within oneself
—such as I often felt,
but which you admit now that you never have?
[etc., see handwritten version]
To prove you independence by leaving me
is a quaint paradox, but unresolvable.
So return to me, tell him goodbye,
and let us tend to mysteries more solvable.
For what is love if it’s not forever?
Perhaps we already know,
for we cannot live without one another:
like the sunshine and summer,
one cannot leave unless both will go.


When love is just a memory
by Michael R. Burch, age 25

When love is just a memory
of August nights’ enflaming wine;
when youth is just a dream,
a scene from some forgotten time;
when passion is a word for thought
and nights are spent with friends;
when we are old, and cannot “love,”
how will you love me then?
Are you so young and so naive
that "love" means this to you—
a fiery act, a frantic pact,
a whispered word or two?
O, darling, neither acts nor pacts
could ever bind our hearts;
only love might bond them,
but then neither would be yours.
And though we burn as one today,
what ember does not die?
Fire cleanses, but I fear
only tears can sanctify.
Yes, you may burn, and burn for me,
but can you shed a tear
to think that you and I might cool
somewhere within the coming years?
For love and hate are ill-defined,
and where they meet, we cannot tell,
but lust and love are unrelated,
however closely they may dwell.
And though I long for you tonight,
such hellish passion I prefer
to the hell of loving you
with heat untempered by the years.



Rag Doll
by Michael R. Burch, circa age 17

On an angry sea a rag doll is tossed
back and forth between cruel waves
that have marred her easy beauty
and ripped away her clothes.
And her arms, once smoothly tanned,
are gashed and torn and peeling
as she dances to the waters’
rockings and reelings.

She’s a rag doll now,
a toy of the sea,
and never before
has she been so free,
or so uneasy.

She’s slammed by the hammering waves,
the flesh shorn away from her bones,
and her silent lips must long to scream,
and her corpse must long to find its home.

For she’s a rag doll now,
at the mercy of all
the sea’s relentless power,
cruelly being ravaged
with every passing hour.

Her eyes are gone; her lips are swollen
shut to the pounding waves
whose waters reached out to fill her mouth
with puddles of agony.

Her limbs are limp; her skull is crushed;
her hair hangs like seaweed
in trailing tendrils draped across
a never-ending sea.

For she’s a rag doll now,
a worn-out toy
with which the waves will play
ten thousand thoughtless games
until her bed is made.

LATER POEMS

Crocodilian, Shining Bright!
by Michael R. Burch

apologies to William Blake (but he might approve)

Crocodilian, shining bright,
In the Nile by pale moonlight,
What immortal hand or eye
Dared frame your fearful symmetry?

In what veiling depths do you
now glide like death—unerring, true
to your strange nature, till you rise
to awe, dismember, terrorize?

And what shoulder, & what art,
Could twist the sinews of your heart?
And when your heart began to beat,
What dread hand? (& will we meet?)

What great hammer forged the chain
Of your strange armor? What cruel brain
imagined jaws so strong, so cruel,
so full of teeth and ****** drool?

When the stars’ immaculate light
First brushed you on that sixth dark night,
Did he who formed you laugh to see
Your teeth agleam, your eye on me?

Crocodilian, shining bright,
In the Nile by pale moonlight,
What immortal hand or eye
Dared frame your fearful symmetry?

#MRBPOEMS #MRBPOETRY #MRBEARLY #MRBJUVENILIA #MRBJUV
"The Making of a Poet" is the account of how I came to be a poet, despite destroying all my poems at age 15, as recounted in my poem "Heir on Fire."
Those who see my tattoos think they're abuse
But their views are skewed
My tattoos are my selection of bruises
Chosen by me for me
I am amused that my skin art is met with disdain
After all you didn't undergo the pain
You peruse my tattoos, but don't see the wearer of the ink
Would it surprise you ( if you bothered to ask)
That I hold a degree, am multilingual, and hold a responsible job
No, because you'll never ask
You'll avoid me
Your loss, my tattoos are suffused with a story
A story 40 years in the making.
All of us that are marked with ink are transfused and transformed
We are unique, we are inked.
© JLB
Johnny Noiπ Sep 2018
And because they love you,                                     they will **** us,
We are of course; Mad,                          stormy waters &  their daughters
bearings;                             When this takes the place of the friends
of another sort of weapon, Lord;    
                              And the hand
of the right hand, |                         & the less of you, diversification
of rays that exit from the garden;      They knew the
rules and customs of the wilderness;        It had me?
very Imposition                                 St. hands away from them; it is
most effective born from fire,
           the glory of them from
certain your sentiments;                    The body of the monster
World of hair;                 He is now in a crown & a palm tree?
A stranger from the stars guarding;            The wife of the regular school,
their babies in the midst of the congregation of the;
  There appeared to show the man standing in love;
wisdom & power;        When access to our studies of
The new science is one, the ***** warned of prostitution
& given to the question;                           Accordingly taking it off the
heat;                     Which as a brand has its own unique Schaub; this is
The Secret, for example, the call is hot; He says,
and some have been influenced,                                     as well as new;
in which the the women, and to be built in the old
garment; testify;                              These clothes and lived, was found
trapped in the;      The entrance is blocked up,                               there
are also weirdly;         In the letter, the knee that is not
looking to change the penalties for the wife & the five hundred,
For the end,                the teenager is to undergo a major Magic
But leave shall be childless;            We, in the name of his wife
Eve,                but the intervention
               opposing the Lucky woman's
death;              Of whom he became the father of Bela, his ***
the midst of the river naked;
                             It is done for the day of the child's birthday
of the enlightened of what had propagandized;
Middle of the column data, if a freeman & thirty;                  One of them,
                                        and they lived in *****, because it is not bound
                                    It is therefore madness from Asia to the conversion
of the of the receiver;                                 Nadine quality; her dissertation
on Antioch chosen by the medical Center to be the cover of the things
that have brought to you 1
1 will start dreaming of;
He was captured | | by his wife:
Because 1 love you,                                 they will **** us, we, of course,
Mad storm water                                         & their daughters bearing in mind
that it comes down to the Lady,                           otherwise w/ missile friends
In the right hand of him;                                          that he exacts of the hand
of the diversity of the rays
which issue from the garden;
He was known to them in the desert the thing moved,
the miracles of the laying on of for this had been 1
carried away by the hands of St. Thomas;   it is most
certain to be born of the fire of the glory of them;
your sentiments;    World Body monster's hairy scalp
on Crown and sand; Already? A stranger from the watch
For regular wife that give **** in the midst of a group
of persons;      The sight of a man standing on the law,
Knowledge is power,        knowledge is power, power,
& our own tastes when we reach the entrance
of the knowledge of one of us is,            no not *****
prostitution,         warned to seek a given;   this takes
the heat off the second;     The brand having its own unique
take on it; that is, furtive examples,          hot, not the caller
says, &    some have been influenced, to a new,    where
people will rebuild the old robot women;    Please speak
into these clothes, who lived in there,
found on the captured
Avenue is blocked up, weirdly they are present
In the letter, the knee,   in which he is looking to change
that of the ***** of his wife, & his oxen,               & half
thin Rolling witches;                   The teenager is greater
nakedness; leaving the course fans;       We, in the name
of his wife Eve, but for the intervention of Happy
opposing female death Bela was the middle of the River,
Queen bare-assed naked;  Birthday suited & illuminated,
& propagandized by the shore of a body of knowledge
of the midst of the one of them, & she dwelt in *****,
it is not bound from Asia to the madness of the conversion
of the receiver; the spirit of her smelly feet, such as no;
dissertation,         medically Antioch selected over this,
                     1 have brought to you
1 will start dreaming
of you 1 | | his wife
1 love you because you are out to **** us?
We are of course;                             Mad storm water & their daughters'
gestures;                                 And so it is, my friends, the weapons of a
different kind,                                   O Lord; the hand of the right hand,
&     the diversity is not less than by a modification
of the rays of light that goes forth out of the garden;
1 knew when; Rule fields that have? the imposition
of hands by those of Holy;                      Most of the fire to grow glory
the kind of agree with your sentiments;                           monster body
Hairs from the world;                       & now the crown and a palm tree?
We are forbidden by the hospitality of the base
of the defense of the legitimate wife of sand,
children among the group;                            On it is the sight of a man
standing, so that 1 will show; to love;                  the wisdom & power;
When the means of access to the studies of the New Science
        MIT has warned its answer to the question; & it then takes
        heat; That has its own unique brand Schaub;                       this is
For his calling is hot;                      said & some have been influenced,
both of the new;       the women of ancient buildings;
The Jewish witness;           These clothes he was found in
The trapped;       the avenue weirdly will also contribute;
The letter, which is looking into the knee & five hundred
to change the penalties wife;     Since the end of the slain
teenager is a major Magic, however, there will be free;
We, in the name of his wife Eve,  but for the intervention
of the opposing succeeding woman; Dead big *** Bale;
That becomes the naked,                            the birth & death of the Valley
of the middle of the day, and which are enlightened
with the propagandized; half;      For there is surely              one of them,
thirty a body of the information, if a freeman;
He lived in *****,                                              because he is not bound;
                                  So the insanity caused by the conversion of Europe
Is what allows Nadine;                                            About Antioch chosen  
for its medicinals;                                        1 cover 1 have brought to you
& start dreaming of;                                   He was captured | | by his wife
1 love you because you are 1 to **** us?
We of course;                                    Waves,    & the daughters of insanity
gestures; So, my friend, and weapons
other things of this kind, O Lord,            have 1 hoped;
                           Though my left hand is joined w/ ur right hand,
and less diversity in the modification
Rays of light that comes out of paradise
1, where he knew;              Those who are in the fields
of command? the imposition by the hands mercifully;
Fire increase glory & it is a kind of agreement
w/ your sentiments:                   the body of a monster,
The hair is of this world;       & now the crown
and the palm tree? We stranger from the base
the legitimate defense of sand; Children groups;
At the sight of this man, standing and show 1;
to love; the wisdom and power;
When you have access
to a wealth of new studies,        Science is A question
having no news answer from him,          
& he warns MIT; & then take heat;            That has its own unique brand
Schaub (c); This is;                   & then the call will;
& some have been influenced, he said:
by the new buildings,     & the women of the ancient city;
The Jewish witness; These clothes and found
The trapped; an approach by weirdly will also contribute;
In the letter &     looking down      she takes five hundred
to change to his wife, of punishment;                   Since the end
                                        of the slain teenager is a major Magic
they will not be free; We will call his wife Eve,
but the intervention opposing the woman died
Valley of Death;                         among the more enlightened
When propagandized correctly; w/out an intermediary;                          
In fact,
it is not any one of them;                                             He was thirty-array
if knowledge is the servant of the;                                  Those who dwelt
in *****, because he is not bound to; thus,
by turning to the insanity of Europe,                          Nadine is suffering;
The medical chosen from Antioch
The cover 1 to 1 to start your dream did;
He was captured | |      along w/ his wife



My BELOVEDz
Wherever YOU are - Remember
Whatever YOU do - Remember
My prayers will guide your spirits
My blessings will sail YOU through
OUR LOVE-SOUL-CONNECT will protect YOU

Whenever you feel sad
I will take away your sadness
Whenever you will cry
My LOVE words will stop your tears flow
Whatever, whichever path you take
My LOVE will shower flowers on your path

If you long for me anytime
I will adorn myself with your longing
Even if I am not physically with YOU
Remember, I carry your SOUL within me
To live within YOUR every cells
I will sail you through every breathe of LIFE

Just look inward - within YOUR SOUL
And you will find me smiling in your heart
LOVING YOU like no one else LOVES YOU

If world separates me from YOU
Never feel sad and mourn on me
Do not let tears moisten your eyes
Always remember
My ETERNAL AGAPE LOVE for YOU

The sad eyes of my SOUL LOVE longing
Is present in your sadness & your pain
Feel the sacrifices and unbearable pain
I undergo every moment for YOUR LOVE
My LOVE has given you infinite LOVE
In all & every moment
In all and every births -
Past, present and future

My BELOVEDz
Wherever YOU are - Remember
Whatever YOU do - Remember
My prayers will guide your spirits
My blessings will sail YOU through
My LOVE-SOUL-CONNECT will protect YOU




Euryclea now went upstairs laughing to tell her mistress that her
dear husband had come home. Her aged knees became young again and
her feet were nimble for joy as she went up to her mistress and bent
over her head to speak to her. “Wake up Penelope, my dear child,”
she exclaimed, “and see with your own eyes something that you have
been wanting this long time past. Ulysses has at last indeed come home
again, and has killed the suitors who were giving so much trouble in
his house, eating up his estate and ill-treating his son.”
  “My good nurse,” answered Penelope, “you must be mad. The gods
sometimes send some very sensible people out of their minds, and
make foolish people become sensible. This is what they must have
been doing to you; for you always used to be a reasonable person.
Why should you thus mock me when I have trouble enough already-
talking such nonsense, and waking me up out of a sweet sleep that
had taken possession of my eyes and closed them? I have never slept so
soundly from the day my poor husband went to that city with the
ill-omened name. Go back again into the women’s room; if it had been
any one else, who had woke me up to bring me such absurd news I should
have sent her away with a severe scolding. As it is, your age shall
protect you.”
  “My dear child,” answered Euryclea, “I am not mocking you. It is
quite true as I tell you that Ulysses is come home again. He was the
stranger whom they all kept on treating so badly in the cloister.
Telemachus knew all the time that he was come back, but kept his
father’s secret that he might have his revenge on all these wicked
people.
  Then Penelope sprang up from her couch, threw her arms round
Euryclea, and wept for joy. “But my dear nurse,” said she, “explain
this to me; if he has really come home as you say, how did he manage
to overcome the wicked suitors single handed, seeing what a number
of them there always were?”
  “I was not there,” answered Euryclea, “and do not know; I only heard
them groaning while they were being killed. We sat crouching and
huddled up in a corner of the women’s room with the doors closed, till
your son came to fetch me because his father sent him. Then I found
Ulysses standing over the corpses that were lying on the ground all
round him, one on top of the other. You would have enjoyed it if you
could have seen him standing there all bespattered with blood and
filth, and looking just like a lion. But the corpses are now all piled
up in the gatehouse that is in the outer court, and Ulysses has lit
a great fire to purify the house with sulphur. He has sent me to
call you, so come with me that you may both be happy together after
all; for now at last the desire of your heart has been fulfilled; your
husband is come home to find both wife and son alive and well, and
to take his revenge in his own house on the suitors who behaved so
badly to him.”
  “‘My dear nurse,” said Penelope, “do not exult too confidently
over all this. You know how delighted every one would be to see
Ulysses come home—more particularly myself, and the son who has
been born to both of us; but what you tell me cannot be really true.
It is some god who is angry with the suitors for their great
wickedness, and has made an end of them; for they respected no man
in the whole world, neither rich nor poor, who came near them, who
came near them, and they have come to a bad end in consequence of
their iniquity. Ulysses is dead far away from the Achaean land; he
will never return home again.”
  Then nurse Euryclea said, “My child, what are you talking about? but
you were all hard of belief and have made up your mind that your
husband is never coming, although he is in the house and by his own
fire side at this very moment. Besides I can give you another proof;
when I was washing him I perceived the scar which the wild boar gave
him, and I wanted to tell you about it, but in his wisdom he would not
let me, and clapped his hands over my mouth; so come with me and I
will make this bargain with you—if I am deceiving you, you may have
me killed by the most cruel death you can think of.”
  “My dear nurse,” said Penelope, “however wise you may be you can
hardly fathom the counsels of the gods. Nevertheless, we will go in
search of my son, that I may see the corpses of the suitors, and the
man who has killed them.”
  On this she came down from her upper room, and while doing so she
considered whether she should keep at a distance from her husband
and question him, or whether she should at once go up to him and
embrace him. When, however, she had crossed the stone floor of the
cloister, she sat down opposite Ulysses by the fire, against the
wall at right angles [to that by which she had entered], while Ulysses
sat near one of the bearing-posts, looking upon the ground, and
waiting to see what his wife would say to him when she saw him. For
a long time she sat silent and as one lost in amazement. At one moment
she looked him full in the face, but then again directly, she was
misled by his shabby clothes and failed to recognize him, till
Telemachus began to reproach her and said:
  “Mother—but you are so hard that I cannot call you by such a
name—why do you keep away from my father in this way? Why do you
not sit by his side and begin talking to him and asking him questions?
No other woman could bear to keep away from her husband when he had
come back to her after twenty years of absence, and after having
gone through so much; but your heart always was as hard as a stone.”
  Penelope answered, “My son, I am so lost in astonishment that I
can find no words in which either to ask questions or to answer
them. I cannot even look him straight in the face. Still, if he really
is Ulysses come back to his own home again, we shall get to understand
one another better by and by, for there are tokens with which we two
are alone acquainted, and which are hidden from all others.”
  Ulysses smiled at this, and said to Telemachus, “Let your mother put
me to any proof she likes; she will make up her mind about it
presently. She rejects me for the moment and believes me to be
somebody else, because I am covered with dirt and have such bad
clothes on; let us, however, consider what we had better do next. When
one man has killed another, even though he was not one who would leave
many friends to take up his quarrel, the man who has killed him must
still say good bye to his friends and fly the country; whereas we have
been killing the stay of a whole town, and all the picked youth of
Ithaca. I would have you consider this matter.”
  “Look to it yourself, father,” answered Telemachus, “for they say
you are the wisest counsellor in the world, and that there is no other
mortal man who can compare with you. We will follow you with right
good will, nor shall you find us fail you in so far as our strength
holds out.”
  “I will say what I think will be best,” answered Ulysses. “First
wash and put your shirts on; tell the maids also to go to their own
room and dress; Phemius shall then strike up a dance tune on his lyre,
so that if people outside hear, or any of the neighbours, or some
one going along the street happens to notice it, they may think
there is a wedding in the house, and no rumours about the death of the
suitors will get about in the town, before we can escape to the
woods upon my own land. Once there, we will settle which of the
courses heaven vouchsafes us shall seem wisest.”
  Thus did he speak, and they did even as he had said. First they
washed and put their shirts on, while the women got ready. Then
Phemius took his lyre and set them all longing for sweet song and
stately dance. The house re-echoed with the sound of men and women
dancing, and the people outside said, “I suppose the queen has been
getting married at last. She ought to be ashamed of herself for not
continuing to protect her husband’s property until he comes home.”
  This was what they said, but they did not know what it was that
had been happening. The upper servant Eurynome washed and anointed
Ulysses in his own house and gave him a shirt and cloak, while Minerva
made him look taller and stronger than before; she also made the
hair grow thick on the top of his head, and flow down in curls like
hyacinth blossoms; she glorified him about the head and shoulders just
as a skilful workman who has studied art of all kinds under Vulcan
or Minerva—and his work is full of beauty—enriches a piece of silver
plate by gilding it. He came from the bath looking like one of the
immortals, and sat down opposite his wife on the seat he had left. “My
dear,” said he, “heaven has endowed you with a heart more unyielding
than woman ever yet had. No other woman could bear to keep away from
her husband when he had come back to her after twenty years of
absence, and after having gone through so much. But come, nurse, get a
bed ready for me; I will sleep alone, for this woman has a heart as
hard as iron.”
  “My dear,” answered Penelope, “I have no wish to set myself up,
nor to depreciate you; but I am not struck by your appearance, for I
very well remember what kind of a man you were when you set sail
from Ithaca. Nevertheless, Euryclea, take his bed outside the bed
chamber that he himself built. Bring the bed outside this room, and
put bedding upon it with fleeces, good coverlets, and blankets.”
  She said this to try him, but Ulysses was very angry and said,
“Wife, I am much displeased at what you have just been saying. Who has
been taking my bed from the place in which I left it? He must have
found it a hard task, no matter how skilled a workman he was, unless
some god came and helped him to shift it. There is no man living,
however strong and in his prime, who could move it from its place, for
it is a marvellous curiosity which I made with my very own hands.
There was a young olive growing within the precincts of the house,
in full vigour, and about as thick as a bearing-post. I built my
room round this with strong walls of stone and a roof to cover them,
and I made the doors strong and well-fitting. Then I cut off the top
boughs of the olive tree and left the stump standing. This I dressed
roughly from the root upwards and then worked with carpenter’s tools
well and skilfully, straightening my work by drawing a line on the
wood, and making it into a bed-prop. I then bored a hole down the
middle, and made it the centre-post of my bed, at which I worked
till I had finished it, inlaying it with gold and silver; after this I
stretched a hide of crimson leather from one side of it to the
other. So you see I know all about it, and I desire to learn whether
it is still there, or whether any one has been removing it by
cutting down the olive tree at its roots.”
  When she heard the sure proofs Ulysses now gave her, she fairly
broke down. She flew weeping to his side, flung her arms about his
neck, and kissed him. “Do not be angry with me Ulysses,” she cried,
“you, who are the wisest of mankind. We have suffered, both of us.
Heaven has denied us the happiness of spending our youth, and of
growing old, together; do not then be aggrieved or take it amiss
that I did not embrace you thus as soon as I saw you. I have been
shuddering all the time through fear that someone might come here
and deceive me with a lying story; for there are many very wicked
people going about. Jove’s daughter Helen would never have yielded
herself to a man from a foreign country, if she had known that the
sons of Achaeans would come after her and bring her back. Heaven put
it in her heart to do wrong, and she gave no thought to that sin,
which has been the source of all our sorrows. Now, however, that you
have convinced me by showing that you know all about our bed (which no
human being has ever seen but you and I and a single maid servant, the
daughter of Actor, who was given me by my father on my marriage, and
who keeps the doors of our room) hard of belief though I have been I
can mistrust no longer.”
  Then Ulysses in his turn melted, and wept as he clasped his dear and
faithful wife to his *****. As the sight of land is welcome to men who
are swimming towards the shore, when Neptune has wrecked their ship
with the fury of his winds and waves—a few alone reach the land,
and these, covered with brine, are thankful when they find
themselves on firm ground and out of danger—even so was her husband
welcome to her as she looked upon him, and she could not tear her
two fair arms from about his neck. Indeed they would have gone on
indulging their sorrow till rosy-fingered morn appeared, had not
Minerva determined otherwise, and held night back in the far west,
while she would not suffer Dawn to leave Oceanus, nor to yoke the
two steeds Lampus and Phaethon that bear her onward to break the day
upon mankind.
  At last, however, Ulysses said, “Wife, we have not yet reached the
end of our troubles. I have an unknown amount of toil still to
undergo. It is long and difficult, but I must go through with it,
for thus the shade of Teiresias prophesied concerning me, on the day
when I went down into Hades to ask about my return and that of my
companions. But now let us go to bed, that we may lie down and enjoy
the blessed boon of sleep.”
  “You shall go to bed as soon as you please,” replied Penelope,
“now that the gods have sent you home to your own good house and to
your country. But as heaven has put it in your mind to speak of it,
tell me about the task that lies before you. I shall have to hear
about it later, so it is better that I should be told at once.”
  “My dear,” answered Ulysses, “why should you press me to tell you?
Still, I will not conceal it from you, though you will not like BOOK
it. I do not like it myself, for Teiresias bade me travel far and
wide, carrying an oar, till I came to a country where the people
have never heard of the sea, and do not even mix salt with their food.
They know nothing about ships, nor oars that are as the wings of a
ship. He gave me this certain token which I will not hide from you. He
said that a wayfarer should meet me and ask me whether it was a
winnowing shovel that I had on my shoulder. On this, I was to fix my
oar in the ground and sacrifice a ram, a bull, and a boar to
Neptune; after which I was to go home and offer hecatombs to all the
gods in heaven, one after the other. As for myself, he said that death
should come to me from the sea, and that my life should ebb away
very gently when I was full of years and peace of mind, and my
people should bless me. All this, he said, should surely come to
pass.”
  And Penelope said, “If the gods are going to vouchsafe you a happier
time in your old age, you may hope then to have some respite from
misfortune.”
  Thus did they converse. Meanwhile Eurynome and the nurse took
torches and made the bed ready with soft coverlets; as soon as they
had laid them, the nurse went back into the house to go to her rest,
leaving the bed chamber woman Eurynome to show Ulysses and Penelope to
bed by torch light. When she had conducted them to their room she went
back, and they then came joyfully to the rites of their own old bed.
Telemachus, Philoetius, and the swineherd now left off dancing, and
made the women leave off also. They then laid themselves down to sleep
in the cloisters.
  When Ulysses and Penelope had had their fill of love they fell
talking with one another. She told him how much she had had to bear in
seeing the house filled with a crowd of wicked suitors who had
killed so many sheep and oxen on her account, and had drunk so many
casks of wine. Ulysses in his turn told her what he had suffered,
and how much trouble he had himself given to other people. He told her
everything, and she was so delighted to listen that she never went
to sleep till he had ended his whole story.
  He began with his victory over the Cicons, and how he thence reached
the fertile land of the Lotus-eaters. He told her all about the
Cyclops and how he had punished him for having so ruthlessly eaten his
brave comrades; how he then went on to ******, who received him
hospitably and furthered him on his way, but even so he
And what is Life? An hour-glass on the run,
A mist retreating from the morning sun,
A busy, bustling, still-repeated dream.
Its length? A minute’s pause, a moment’s thought.
And Happiness? A bubble on the stream,
That in the act of seizing shrinks to nought.

And what is Hope? The puffing gale of morn,
That of its charms divests the dewy lawn,
And robs each flow’ret of its gem—and dies;
A cobweb, hiding disappointment’s thorn,
Which stings more keenly through the thin disguise.

And what is Death? Is still the cause unfound?
That dark mysterious name of horrid sound?
A long and lingering sleep the weary crave.
And Peace? Where can its happiness abound?
Nowhere at all, save heaven and the grave.

Then what is Life? When stripped of its disguise,
A thing to be desired it cannot be;
Since everything that meets our foolish eyes
Gives proof sufficient of its vanity.
’Tis but a trial all must undergo,
To teach unthankful mortals how to prize
That happiness vain man’s denied to know,
Until he’s called to claim it in the skies.
K Balachandran Sep 2014
See, the smile on the stone face
of the mountain, once so cold, stoic
it drives home the meaning of change
brought about by erosion of ages past,

molten paste slowly sediments,
decides to be various kind of rocks
on it's path being metamorphic
is just one of it's pranks,

volcanoes in ******* frenzy erupt,
display the pyrotechnics of creation
in it's ******  urge a deep sea stream
breaks tectonic plates,makes new continents

mountains that hold their heads high,
are brought down by landslides, floods
avalanches or sudden cloudbursts

stars script secret messages across galaxies
the meanings will never be deciphered
in spite of the astonishing research
astrophysics can put together and
the thirst for knowledge of mankind

Beauty, my muse, lovely concert I adore,
I see you in animals, birds and fish
that undergo mutation and become different,
ocean currents, seasons,shower of stardust,
most of all in music, that activates the hidden signals,
that come beyond birth and death,embedded within oneself

Can you cite one reason for writing biography
of any one, whoever it may be, in this planet?
Daniel Wetter Aug 2014
A bogus nation.

That's known to throw the faces,

that they don't  like
inside the lowest  places.

Prisons and graves  overflowed with
wasted,
potential.
Mental forces undergo  no changes.

If we don't like it,
then we fight with rage.

In exchange for our freedom
we might die today.

The sun always comes out on a brighter  day.

Ignited is the spark that inspires  flames.

The fire is alive and your minds  ablaze.

It’s hard to feel alive,
when your life is caged

Released and unleashed this is my  domain.

My disdain for you is unkind but hey,
we’re living on a globe where hope  became,
worse than smoking  dope
or slanging  cane.

But thats the way she goes,
nope I won't complain.

But I can **** the giant
and overthrow the slain.
041921

Gusto ko nang gumaling —
Paulit-ulit kong sinasabi sa utak ko
Paulit-ulit kong panalangin.
Pero naisip ko rin,
Kaya ko bang gumaling nang walang gamot?

Sa paghihintay kong hindi nakapila,
Sa paghihintay ko sa oras kong itinakda —
Sa oras ko nang pagsalang..
Gusto ko naman sanang
“Magaling na ako
Bago ako mag-undergo ng test.”

Naisip ko, sa ganitong estado pala’y
Gaya pala ito ng paghihintay
Sa pagbabalik ni Hesus..
Na ang nais ko lamang
Ay matagpuan Nya akong “magaling na”
Sa anumang sakit at sumpang dumapo sa akin.

Sa bawat pagsikat ng araw
At sa bawat pagsipat ko sa bagong buhay,
Ang tanging lunas pa rin
Ay ang presensya Nya..
Walang ibang kasagutan
Sa paghilom ng aking pagkatao
Kundi Sya’t Sya pa rin naman talaga.

Hindi ko naman pwedeng madalian
Ang oras ko tapos hindi pala ako handa
Hindi pala ako naghahanda
Sa pagbabalik Nya.
Yung wala pala akong ginagawa
Habang naghihintay ako sa pagdating Nya.

Isinasariwa ko kung ano ba dapat
Ang laman ng puso ko.
Dapat kasi hindi ako maligaw ng landas
Lahat kasi ng “dapat” maggawa ko..
Pero hindi eh..
Gusto lang ng Panginoon
Na maging totoo ako sa sarili ko,
Maging totoo ako sa Kanya..
Hindi ko kailangang itago
Yung mga kamalian ko sa buhay,
Walang pagpapanggap.

— The End —