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PERSONIFICATIONS.

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

  Robin Redbreasts; Lambs and Sheep; Nightingale and
  Nestlings.

  Various Flowers, Fruits, etc.

  Scene: A Cottage with its Grounds.


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


          January.

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

                    [Stirs the fire.

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


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

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

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


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

          January.

Good-morrow, sister.

          February.

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

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

          February.

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

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

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

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

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

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

          February.

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

          March.

[Stopping short on the threshold.]

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

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

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

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

          April.

[Outside.]

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

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

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

          April.

[Appearing at the open door.]

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

          March.

You're hope and sweetness, April.

          April.

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

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

          April.

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

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

          April.

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

          May.

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

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

          May.

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

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

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

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

          May.

Surely you're come too early, sister June.

          June.

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

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

          June.

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

[Seats herself in the shadow of a laburnum.

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

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

          July.

     [Behind the scenes.]

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

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

          June.

What, here already?

          July.

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

                        [Hands her the plate.

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

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

          July.

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

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

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

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

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

          July.

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

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

[July retires into a shrubbery.]

          August.

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

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

[August descries September toiling across the lawn.]

          August.

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

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


          September.

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

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

      
Olivia Oct 2018
You looked great tonight.
You seemed to be in your element,
Surrounded by rich people,
You looked rich too.
I’ve never seen you in these types of events
But I guess I had to find out who you are.
The you that everybody sees,
The you for the public.
You looked fantastic in this waistcoat.
I’ve never really liked this outfit,
But it looks good on you.
You were praised tonight,
I know you’re used to it,
But I was not used to hearing all of these persons only complimenting you.
You didn’t see me that night.
Everybody saw me because I was out of place.
I suddenly became a stranger in your eyes.
You invited me,
But not my clothes apparently.
Stay with your waistcoat and your money
Tonight I’m free.
Free of judgements
Free of criticisms
Free of you.
I’ll leave in my dress.
I’ll leave with my heart and my values
Stay with your waistcoat and your shallow mind.
hey there
Stacey L Jan 2011
Feels a fairytale
The sweetness of your love
Dozens of roses
A garden of colours,
Except you stand out to me
With the glow of a million stars
Gives me butterflies all over.
I'm an Alice in Wonderland, 
A girl in a world they never told
Discovered the fall
Down a dark rabbit hole
Awaken to a beauty
Left unexplained
But a song and by words
Yet it isn't enough to
Describe it all myself
A picture holds a thousand words unsaid
If we have each frame
Of a movie,
Even all those won't reach 
The extremeness of
My love for you're
Muchness.
I've fell in, 
Don't want to get out
'till we have a happily ever after.
I'm glad that rabbit in a waistcoat
Couldn't wait to bring me down.
Marcus Lane Mar 2011
A proud man,
Upright and unshakable
In belief and morals,
Once only I did I see him
Without a tie.

A child of Edwardian England,
The links Of his watch chain
Glinted
As they hung
With formality and elegance
From his waistcoat pocket,
Yes, even as he worked.

And work he did.
Patiently,
Brilliantly and tirelessly
With ingenuity and imagination.
A craftsman from a bygone age.
A master of his tools.

Grandfathers are soft,
Playful, bear-like in their
Gruff-whiskered familiarity.

Not Poppy.
Unwittingly aloof from his grandchildren,
We avoided the need for directly addressing him,
Unsure of where we stood.
He’d probably have secretly
Loved the informality
Of our secret nickname.
I hope he knew.

The chapel piano did for him.
Too much weight for his work-weary ticker.

Grandma gave me his pocket watch to keep,
And for a time I treasured it,
Measuring its weight
Like a smooth round pebble
In my palm.
A workman’s watch;
Practical.
A yellowing face
Behind a scratched
And hazy glass.
But accurate,
And precise.
Reliable as the man.

Detached in life,
I liked to hope that
Gazing down,
Watching,
He just might have
Laughed
In loving acknowledgement of his
Grandson’s curiosity
And foolishness
Sitting cross-legged on the carpet,
With heart-thumping nausea

Adrift in a sea of springs.
© Marcus Lane 2010
Whilst camouflaged
The Golden Dragonfly
With emerald eyes
And rubies, and diamonds
Upon it's wings, and tail
Slept
And whilst it slept
It dreamed
And within its dream
It wandered
Flying over a turquoise pool
The Golden Dragonfly
Began to ponder
On its existence
And wondered why
It was a dragonfly
But then she saw her own reflection
On the soft rippling blue water
As she became aware
Of her own beauty
And instantly found
An inner tranquility
Just at that moment
As is the way of dreams
A long rolling tongue
Shot out
And swallowed the Golden Dragonfly whole
The frog
Had no other thought
Than to feast
The Golden Dragonfly
Then woke up
Relieved
That it had only been a dream
But now
Also aware
That it now had conscious thought
Beyond its natural instinct
And at first
Felt quite afraid
Looking around its surroundings
First making sure
That there were no frogs around
It glanced up
And realised
It was attached
To the outer skin
Of a curious looking creature
Some kind of giant
With hair flowing
In the soft zephyr breeze
And without realising
Spoke to the giant
"What are you?"
The giant
Looking startled
Had obviously wondered
Where the small voice was coming from
The Golden Dragonfly
Spoke again
"Are you going to eat me?"
The giant
Then realised where
The voice was coming from
Looked around before answering
Whispered, "No!"
The Golden Dragonfly
Accepted that this was at least true
"My name is Lucianne" said the Golden Dragonfly
Not knowing, until that moment
That she had a name
"My name is Petra" said the giant
With the long flowing hair
"I don't understand how it is possible
to be conversing with a dragonfly"
The Golden Dragonfly
Felt the same confusion
As it had never conversed with anything, ever
And never had questions to ask
But now
The questions came quicker
Than her wing beats
The giant spoke again
"You are welcome to remain on my waistcoat"
"And we can speak more, when we get to my home"
At that moment
A sudden gust of wind
Blew the Golden Dragonfly
Off the waistcoat
Into some dense undergrowth
And within this undergrowth
Sat a frog
And in an eye blink
A long rolling tongue shot out
And swallowed the Golden Dragonfly
Whole
The giant, named Petra
Searched the undergrowth
For several hours
Shouting out for Lucianne
Other giants around
Became concerned
When Petra explained
That she was looking for
A talking Golden Dragonfly called Lucianne
Petra would often return to the park
But never again
Did she see, or hear
The Golden Dragonfly again

by Jemia
Bryden Jul 2018
I push the button,
3
2
1
The jaws of the train clunk as its mouth opens,
the 9am crowd surging through its hollow body,
eying up the row of sickly plastic benches.
The wheels tighten, I loosen my tie,
off to the office, I sigh,
as I pull out today’s ‘New York Times’.

My eyes drift towards the woman across from me.
A fragrance of citrus and strawberry drifts off her shoulder
as she plumps her pout in the screen of her smartphone.
A bead of sweat poised on her collarbone
glitters like the diamantes on her nails.

We slow,
screeching against the rusted tracks
before the machine-lady hybrid speaks:
‘East-
a split second pause
-Sixty Seven Street’.
No one gets off, so we simply sit
beneath the sizzle of electric bulbs,
their garish light numbed by ***** glass
that cradles the bodies of last week’s flies.

Like an aged rattlesnake, the train creaks and hisses through the tunnel.
I’m attacked by a river of thick black hair
belonging to an olive-skinned woman who yaps into her cellphone:
‘no, no, quiero ver Times Square!’
I close my eyes and listen as her tongue rolls and dives
taking a bite of my bagel from Starbucks.

‘East-
anticipation
-Seventy Two Street’.
Although preoccupied with different thoughts,
expressions
destinations
the bodies on the carriage drift and sway with the motion of the train,
as it stops
and starts once more.

Two children in uniforms twirl around the carriage,
their laughter more electric
than the current that bristles below our feet.
A man
tickled by the dreadlock that sweeps over his face,
looks on with jeans so baggy
his legs melt into the seat.
The Jamaican flag blares from his t-shirt.

Next to him, a man bakes in a moth-eaten waistcoat
clutching a wallet with quivering fingers.
I follow his gaze to a picture of a woman
black and white with coffee stained edges.
His wrinkles deepen as he smiles at his
wife?
alive?
I notice glittery pools of the past forming in his eyes,
perhaps not.

‘East-
my stop
-Seventy Nine Street’.
As I glance down at the platform’s monotonous shades of concrete,
and brush the dust from my grey tweed suit,
I think to myself
how colourful Upper-East Side is.
I shall never stop travelling on the 9am subway to Seventh Avenue.
Without it,
how boring my life would be.
Without it,
I wouldn’t be me.
Happy the lab'rer in his Sunday clothes!
In light-drab coat, smart waistcoat, well-****'d hose,
Andhat upon his head, to church he goes;
As oft, with conscious pride, he downward throws
A glance upon the ample cabbage rose
That, stuck in button-hole, regales his nose,
He envies not the gayest London beaux.
In church he takes his seat among the rows,
Pays to the place the reverence he owes,
Likes best the prayers whose meaning least he knows,
Lists to the sermon in a softening doze,
And rouses joyous at the welcome close.
judy smith Apr 2017
It’s the tail end of fashion week in Paris, the busiest week of the year for fashion buyers.

When I meet Clodagh Shorten, owner of Samui, the game-changing boutique that put Cork on the fashion map, she’s already been here four days and is on her tenth buying appointment — there’ll be at least another five before she leaves in a couple of days time.

These appointments, private bookings with designers, allow her to get up close and personal with the clothes that have just been showcased on catwalks.

She’s deciding which pieces will best suit her customers.

Today, we meet at Schumacher, the stunning German label known for its easy chic look.

A beautiful white space, with lush cream velvet sofas, bare walls and white rails (nothing here to distract from the main event — the clothes), this room, prime space in Paris, is rented by the designer year-round just so they have the right venue to sell at Fashion Week.

It gives some indication of the power Fashion Week wields.

Clodagh is here with her right-hand woman, Samui manager Mary-Claire O’Sullivan.

There are two rails — the keepers and the ‘ones that got away’.

They’ve already seen this collection in London.

Today they are here to fine-tune.

This is unusual, Mary-Claire explains — at most appointments, they are seeing the clothes for the very first time.

“This is a big spend,” they tell me, and they’ll stay as long as they need “to get it right”.

Piecing together a collection is something akin to a jigsaw puzzle.

All the items are photographed — later they will be analysed back in the apartment they rent during Fashion Week.

The mix has to be right.

So the coats, a sleeveless waistcoat, are moved to the rail on the right.

They won’t make it to Cork.

Coats were already picked up this morning at another appointment.

Like I said, a jigsaw puzzle.

Two models are on hand to try on clothes when requested — I hear ‘can I just see this on one more time’ a lot.

There’s no haggling over prices in these sales negotiations — it’s all too civilised.

The price is set, as is the instore mark-up. These lauded designs must cost the same the world over.

Clodagh and Mary-Claire share a language and a wavelength. They can finish each other’s sentences and, while I don’t so much as sniff a hint of tension, they tell me they can disagree on buys.

“Clodagh doesn’t want a yes woman,” Mary-Claire says simply.

From Schumacher, Clodagh leads the way through the Parisian cobbled streets, phone held aloft, Google Maps to direct her.

Her wheelie bag is constantly behind her — inside there’s the laptop for orders and a camera for instant access to photographs of collections.

Her calculator is another permanent fixture in the showroom.

Today, Clodagh is dressed in an Australian label coming soon to Samui, Ellery. The lush black fabric sways and moves with her body; an outfit like that makes you really appreciate her eye for fashion. It’s sensational.

For this 5.30pm appointment we are heading to see another new label for Samui — Paskal (Clodagh will wear a piece from this line tomorrow).

The Ukrainian designer is looked after by an agency so in this showroom there are pieces by a handful of brands.

Again, the setup is the same — private appointments, models on hand.

Clodagh and Mary-Claire have to be more careful here — this is a new label and it’s more fashion forward so black is prioritised.

Not every client at Samui will wear this line. Every purchase, I realise, is a gamble.

“We’ve made mistakes, of course we have,” says Mary-Claire though you get the feeling that could be a rare event.

Pieces bought by these two women rarely end up in Samui’s sales rack.

They know their customer, plain and simple.

There is so much trust there, some clients are simply sent collections each season, allowing Clodagh to make the call for them.

So much of their day is spent discussing various clients (never by name in my presence) — what they might like, the best size.

It is effectively the ultimate personal shopping experience.

The number of items and sizes are limited, so customers know they are truly getting one-off pieces.

As we leave, kisses over, the agency head tells them, “you’re our favourites” and you just know it’s not empty fashion talk.

People genuinely love Clodagh and Mary-Claire. And they respect what they do.

Samui is open 16 years now. Clodagh mastered her trade at Monica John before stepping out on her own. Mary-Claire joined her eight years ago.

It has been one of the few boutiques in Cork to not just survive the downturn but to positively thrive.

As the economy spluttered around her, Clodagh very masterfully decided to go high end.

First came Moncler — the top people here had to come and view Samui to see if it was the right match for their esteemed label.

It was — and, increasingly, doors began to open.

Carven, Marni, Rick Owens — people really began to sit up and take notice of Samui.

Now labels are often vying for space on the shop floor. Still though, it takes work to secure the big new names.

Clodagh spends a lot of time on planes, networking, meeting the key players. And it’s not as simple as a visit to Fashion Week twice a year either.

These days pre-collections are key too: these pieces will be on the shop floor for longer.

So Clodagh and Mary-Claire travel in January to Paris for pre- collections, Milan in February for Moncler, Paris in March. The same cycle begins again in June for A/W pre-collections, with S/S Fashion Week in September.

Clodagh is always pushing, always striving for new.

She was devastated to say farewell to Transit, the brand with her from the very beginning. It was simply time for a change she tells me.

They love seeking out new labels, nurturing them, sharing them with their customers.

The next morning we meet at 9am for Dries van Noten.

Clodagh stocks around 50 different labels, most exclusive to Cork. This Belgian designer is one of them.

Here again is a very fashion forward line.

There’s a minimum €20,000 spend here, and that’s the amount Clodagh and Mary-Claire can play with.

This is a much busier showroom, a slick operation. Buyers are everywhere, the models weaving between them.

They are assigned a seller and a table, laptop at the ready to secure the sale.

Sophie, today’s seller, walks them through the long rails and talks to them about the collection, the fabrics, the colour, the catwalk, the vision.

Clodagh and Mary-Claire repeat the process a second time alone, a third time again with Sophie.

There are little standing breaks for coffee — refreshments and lunch are provided by the designer.

Clodagh and Mary-Claire know to carry snacks everywhere. The buying process can be a long one; Dries could be an all-day event.

The price point is much higher here so, again, each piece has to be carefully thought out. Checked and checked again.

These A/W deliveries will land in store in July.

Watching them make their Samui edit on that March morning, I just know the Dries selection will be a show-stopper this Autumn.

I leave them to sign on the dotted line, wishing them success for the rest of their gruelling schedule as I head for Charles de Gaulle.

“People don’t realise what goes into this,” says Clodagh. And she’s right.

None of us can possibly grasp what it must have taken for one woman to put Cork on the fashion radar.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses
Braden Campbell Mar 2010
He fell down a rabbit hole,
chasing after a crazy dream

He met a rabbit with a waistcoat.
He braved the Red Queen.
He had tea with a caterpillar.
He spoke with talking flowers.

He faced his worst nightmares,
and he lived to tell the tale.

And eventually he crawled back out,
ready to face the world.

But no one believed him.
The more he told,
the more he was scorned.

And he drew farther and farther into himself,
comforting himself with stories and talking flowers,
and a rabbit in a waistcoat.

Soon that was all he had left,
stories and fantasies.

Until one day he plunged back through the rabbit hole,
grasping for a crazy dream.

There he learned the trade of making hats,
but he soon surpassed his masters and peers.

Once again he was scorned,
and he  relocated to an old house with two other outcasts,
making hats and drinking tea to fill his time.

He retreated into himself once again,
this time literally becoming as mad as a hatter,
and this became his title.

And soon no one remembered his true name,
knowing only that was mad,
until his title became his name: the Mad Hatter.

Only one ever tried to know why he was mad,
and her name was Alice.

And in her presence,
he found himself, though still quite mad, less mad.

He even found that he liked it,
though he never let his other mad companions know that.

But she, too, fell back through the rabbit hole,
and he was alone,
with only fantasies and madmen to keep him company.

Until one day many years later he found a woman, wandering,
mumbling about talking flowers and rabbits with waistcoats,
almost as mad as himself.

And her name, he found, was Alice,
and in each other’s presence they found, though they were still quite mad,
they were decidedly less so.

And they found they liked it.
No, I do not own the Mad Hatter or Alice.
I'll tell thee everything I can;
There's little to relate,
I saw an aged, aged man,
A-sitting on a gate.
"Who are you, aged man?" I said.
"And how is it you live?"
And his answer trickled through my head
Like water through a sieve.

He said, "I look for butterflies
That sleep among the wheat;
I make them into mutton-pies,
And sell them in the street.
I sell them unto men," he said,
"Who sail on stormy seas;
And that's the way I get my bread--
A trifle, if you please."

But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That they could not be seen.
So, having no reply to give
To what the old man said,
I cried, "Come, tell me how you live!"
And thumped him on the head.

His accents mild took up the tale;
He said, "I go my ways,
And when I find a mountain-rill,
I set it in a blaze;
And thence they make a stuff they call
Rowland's Macassar Oil--
Yet twopence-halfpenny is all
They give me for my toil."

But I was thinking of a way
To feed one's self on batter,
And so go on from day to day
Getting a little fatter.
I shook him well from side to side,
Until his face was blue,
"Come, tell me how you live," I cried,
"And what it is you do!"

He said, "I hunt for haddocks' eyes
Among the heather bright,
And work them into waistcoat-buttons
In the silent night.
And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.

"I sometimes dig for buttered rolls,
Or set limed twigs for *****;
I sometimes search the grassy knolls
For wheels of hansom-cabs.
And that's the way" (he gave a wink)
"By which I get my wealth--
And very gladly will I drink
Your honor's noble health."

I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.

And now, if e'er by chance I put
My fingers into glue,
Or madly squeeze a right-hand foot
Into a left-hand shoe,
Or if I drop upon my toe
A very heavy weight,
I weep, for it reminds me so
Of that old man I used to know--
Whose look was mild, whose speech was slow,
Whose hair was whiter than the snow,
Whose face was very like a crow,
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffalo--
That summer evening long ago,
A-sitting on a gate.
There was Old Man in a pew,
Whose waistcoat was spotted with blue;
But he tore it in pieces
To give to his nieces,
That cheerful Old Man in a pew.
There lived an old man in the kingdom of Tess,
Who invented a purely original dress;
And when it was perfectly made and complete,
He opened the door, and walked into the street.

By way of a hat, he'd a loaf of Brown Bread,
In the middle of which he inserted his head;--
His Shirt was made up of no end of dead Mice,
The warmth of whose skins was quite fluffy and nice;--
His Drawers were of Rabbit-skins,--but it is not known whose;--
His Waistcoat and Trowsers were made of Pork Chops;--
His Buttons were Jujubes, and Chocolate Drops;--
His Coat was all Pancakes with Jam for a border,
And a girdle of Biscuits to keep it in order;
And he wore over all, as a screen from bad weather,
A Cloak of green Cabbage-leaves stitched all together.

He had walked a short way, when he heard a great noise,
Of all sorts of Beasticles, Birdlings, and Boys;--
And from every long street and dark lane in the town
Beasts, Birdles, and Boys in a tumult rushed down.
Two Cows and a half ate his Cabbage-leaf Cloak;--
Four Apes seized his Girdle, which vanished like smoke;--
Three Kids ate up half of his Pancaky Coat,--
And the tails were devour'd by an ancient He Goat;--
An army of Dogs in a twinkling tore up his
Pork Waistcoat and Trowsers to give to their Puppies;--
And while they were growling, and mumbling the Chops,
Ten boys prigged the Jujubes and Chocolate Drops.--
He tried to run back to his house, but in vain,
Four Scores of fat Pigs came again and again;--
They rushed out of stables and hovels and doors,--
They tore off his stockings, his shoes, and his drawers;--
And now from the housetops with screechings descend,
Striped, spotted, white, black, and gray Cats without end,
They jumped on his shoulders and knocked off his hat,--
When Crows, Ducks, and Hens made a mincemeat of that;--
They speedily flew at his sleeves in trice,
And utterly tore up his Shirt of dead Mice;--
They swallowed the last of his Shirt with a squall,--
Whereon he ran home with no clothes on at all.

And he said to himself as he bolted the door,
'I will not wear a similar dress any more,
'Any more, any more, any more, never more!'
Nigel Morgan Dec 2012
There is a sequence of small events, signs; that as they occur point us in the direction of the mid-winter festival. This morning: the first snow; iced rain, not the soft down-like floaty stuff, but hard crystal-shaped foot-crunching shards. Yesterday, it was on with the wooly hat, the padded waistcoat and a more than just sprightly walk in a park of leafless trees. Everywhere, a damp coldness.
 
Sitting companionably after the meal, a fire spitting in the hearth had brought a glow to her cheeks. She was replete with glowness, her speech dancing too and fro after the family phone calls of a Sunday night. Outside, the sound of wind against the house.
 
Settling herself against him, feet tucked under his reclining body, she tells him about her niece, a birthday girl just two last week. This little one was touchingly innocent of what happens on a birthday. She knew it was coming, next week, soon, then tomorrow. Imagine her the night before: just think you'll wake up and be two! And that's what this birthday business is? She wakes and there is something special in the air, her sister smile-full, bouncy with expectation. Her parents’ voices are louder than usual, there are bigger hugs and longer kisses.  Birthday, birthday, birthday. Her grandparents arrive. More hugs. THEN her father appears with a cake! It's only just after breakfast, but the large people are having coffee and there's her juice cup and a cake! Birthday, birthday, birthday shouts her sister. For me, a cake for me? My cake? Daddy lights the candles! Oh, oh, oh. This is . . .  and something wrapped in pretty paper is being handed to me. Her sister, being wonderfully sisterly shows her how to remove the wrapping. A book! Read it to me now, now, please. It's my birthday, now.
 
This is a sign he thinks later when in bed she folds herself to him, arranges his arms and hands to hold her into sleep, still glowing a little. This is surely a sign. A child's discovery of the birth day. The joy it brings, the way it lights up our lives. And never again will her father see quite that measure of surprise and delight in his daughter's face. Next year she'll be full of expectation, know all about birthdays  . . and be three.
The Unknown Oct 2014
The wings of a hurricane
the cry of a beast
concerns of a teenager
present at a feast
salt in fresh wounds
twigs in my cape
soaring through states
this is my escape
you might infest
your precious being
with all the sickness
you’ve been seeing
You might forget
the origin of your shape
you shake off  reality
that is your escape
But the threads in my waistcoat
the apples in my crate
can not be forgotten
in this mental state
I spill the ideas
that society has taped
inside my thoughts
this is my escape
Mateuš Conrad Dec 2016
i know of Knausgård -  sure, and i share this concerns for
the art of taking to lumber and chopping,
  as novelists tend to do, write with an axe,
philosophise with a hammer...
          metaphor turned into imagery
counter-turned into literalism...
   i once imagined him not being there -
i once wrote ich kampf, stressing
that it was an indefinite expression
of expression, primarily due to the content
of the pronoun... and i was referring also
to the definite expression (much obliged,
atheism, a- without, and the- with,
or indefinite and definite articulation) -
the English eye sees one stance as definite,
and another as indefinite, and juxtaposes
the two interacting...
                          they duly interchange...
i can say ich kampf and say i internalise
verbs: a movement of the hand,
   a strutting or a waltzing circumstance
of owning a body... that's what it's indefinite...
that's why Sartre slithered in counter to
his expanse in philosophy: because i really loved
his novels...
                          but in terms of a mein or
a mit (including me) struggle i find not
ease... no one dares to devalue ****** as a human,
not talking about the past history in purely human
terms urges the postscript of a dictator,
it actually elevates him to a godly status...
           not realising the human is to make flaws
of what the en masse does: raises him to a godly status...
     Zeus had a beard... not a Charlie Chaplin moustache...
right now he's laughing in his grave...
                      old Aldous ******...
   and aren't dictators born because people find their
surnames a little bit funny? it starts so
innocently...          and then it morphs...
   and it becomes an unstoppable morphing...
    yes... i know of a certain number of fellow
      contemporaries... because i want to? no,
because i have to. like rewatching the 2015 film
android - some films you have to rewatch...
   what's being debated? autism and artificial intelligence...
   hyperactive autism, i grant you that...
        it dawned on me... at autistic person could
fake a normal human response treating it as
      artificial... artificial also means mimicked -
  it means that "smart" guy at a bar reciting poetry
he hasn't written... artificial intelligence or the study of it
or even creating it has nothing original about it...
it's not groundbreaking in the same sense that
discovering champagne or penicillin is...
or l.s.d., because these examples have the magic of
being discovered by chance... humanity has been
artificially simulating intelligence since time
immemorial... it's that natural consequence of not being
endowed with a peacock's array of feathers
   to create a soothing, and sickly gentle wind of a woman
resting in a hammock under the shade of a palm tree...
artificial intelligence was inherent in us...
       it's the unravelling of the historical noumenon of man,
the per se that has only crept up on us,
   and before the reality of such a foundation being
established... the humanities create the "prophetic"
citations of it being true: in the "near" / impeding future.
    if god is a noumenon, then man cannot be a
phenomenon... but he is and paradoxically the two
of mutually compatible on a basis of exclusive rather than
an inclusive naturalisation...
               we are talking nature:
  we are talking god naturalised by the medium
suggesting: for i am bound to create obstacles and test
the body, rather than the mind of man...
    as so is man, also naturalised by the medium
of the elements, saying: for i am bound by a body,
   and have to utilise the body first, to overcome the wind
and the snow and the furthermore, until i reach
the labyrinth of the mind...
  and man has done just that, he has bypassed the struggles
of the body, and created entertainment using
the body that once struggled against the elements...
   for he has created the god Minotaur: and the psychic
labyrinthe... as with the Titans whom the gods
usurped, so too comes the twilight of the gods...
but being usurped by demigods...
       Minotaur was a demigod... who usurped the gods
of the trinity that were Zeus, Poseidon and Hades...
        for only the Greeks could create a Judaic bewilderment
as to why a sign was given unto an infant...
           but that's getting technical...
the film, android (2015)? it supports the misconception,
the anguish of a highly functioning autism...
      whereby showing a woman's carelessness in the realm
of adaptability with what some would claim to be
the beginning point of: overcoming the elements...
sure the odd tsunami and earthquake...
   but there's also the tiger, and winter, and parasite,
   and diseases of so many variations...
              man has not been endowed with complete
control over his surrounding... but in becoming partially
overlord of the ones tamed, he has created a mental
labyrinth... a world of such complexity that will
inevitably produce instances of autistic genius...
                 artificial intelligence is already imbedded in us,
just as cloning and Islam has already existed
(Christianity is too schismatic to be considered a cloning
definition... and Judaism as a monotheistic principle
has a heresy embedded in its orthodoxy that it simply
ignores: reincarnation... the Malachi heresy...
  that a second Elijah comes... and god becomes a half)...
   we see artificial intelligence everywhere...
        if the myth goes that woman fed man the original
lie of Eden... then man has nothing else to do than
attempt to polymer that one single lie...
       and repeat it... a reverse intrusion to what "could"
have been an utopian splendour.
      we all see artificial intelligence rummaging about
in the choices people make... it's called lying
   to gain access to a ****** gratification...
  or as i like to call it: a way to compensate our falling short
of the norm, a norm that focuses upon creating
   the most complex startup a Silicon Valley genius
can't comprehend... a family.
    these times prescribe such a bewilderment...
              families are artefacts of what some believe
precipitated into barbarity so close to us: the 20th century...
        and all those arguments you hear that might
discourage the opposite ***, as in damning your parents
for a piece of seashore **** fest of the *****?
   probably came from a person born from a surrogate
mother... well... an incubator, a very expensive *****...
   homsexuality created the evolution of prostitution,
once bound to the genitals... now bound to the womb...
     i.v.f. kids calling natural kids ******...
   i never liked the matrix movies in all honest...
but we're seeing the reversal of the original idea...
                 in the matrix of knowledge... hearts become
piñata: chockies sweet, sensations abundant,
  the spectrum is yours.
                but this poem isn't really about that...
i can sip a whiskey and actually find these things when
i start to utilise these symbols... it sometimes happens
that they fall through... all i was really thinking about
is the "theoretical" score of 147...
                      i'll call them billiards rather than *****
to excuse a "he-he" Michael Jackson laugh at a chance
of "nuance"...
       yellow (2), green (3), brown (4), blue (5), pink (6), black (7)...
and plenty of red (1)... points in bracket respectively...
                  of course from childhood memory i sided with
ronnie... also from Romford... an obscure town in Essex
that oversees the shard and canary wharf from
a distance...                    but watching snooker as a child...
          not too bad at pub-snooker: i.e. pool...
and that game show when snooker was hot back in
the 1990s... big break, with jim davidson as host...
    and of course: john virgo as the rejuvenated
                         ghost of alex higgins... this whiskey
swiggly is on me al.
                 but this final... ****! at one point it was
a century after a century...
                     chess with mathematics, trigonometry
and Pythagoras in motion...
                                    the gods playing with saturn
and jupiter neptune planetary arrangements...
            i can't word it properly... but it'll definitely sound
better than a concussion after too much rugby and
the rough-stuff of "manhood" strutting with bulging
muscle tensions... rather than this Japanese warrior-monk
in a waistcoat and bow-tie swirling a stick in the air...
           i just thought of one thing...
15 wildebeests on an African savannah...
       out comes one lioness...
    and she nibbles at the pack... and she picks off
the weakest of the 15 wildebeests...
              she nibbles the pack before the pack breaks away...
         she looks left (red) and then looks right (yellow,
green, brown, blue, pink, black) -
                      and she picks at the pack, one by one
they fall... but there are two games going on...
   there's the no-man's land snooker where the game is
about entrenchment, and snookering the opponent
for a foul... and then there's the tsunami snooker...
which kinda looks like one person playing chess...
     with no opponent other than a chance mistake...
misjudgement on the case of instinct and how they ******
well know what angle to fudge the white lioness
                onto the billards... and with what force...
      tsunami snooker, or cascade snooker is basically
a monologue...
                             after seeing 3 centuries in a row
you get to crave classical snook -
                                       the mind games of safety shots...
   and teasing, and tempting, and teasing, and tempting,
before the Rubic cube unravels itself,
   and you find that light at the end of the tunnel...
                        and the black pops into...
i'll be honest, i haven't watched snooker for a long time...
        maybe that's why i feel so enthusiastic about it...
       it's sometimes good to be fed this mundane diet
of sport-fanaticism that football is in accordance with
religious dogma... it's a good thing...
             then you end up watching a game of snooker
and all these things start firing up your brain...
   and you end up saying:
      the Taj Mahal can be there for all i care...
the Grand Canyon can be there for all i care...
                    such things don't really require a photograph
with my gimp-face trying to make other people jealous
by actually being there: only to take a photograph,
rather than feed into the air and the thrill of being there...
        as they say... it's a small world after all...
better get used to it being much bigger inside your head.
Such a hubbub in the nests,
  Such a bustle and squeak!
Nestlings, guiltless of a feather,
  Learning just to speak,
Ask--"And how about the fashions?"
  From a cavernous beak.

Perched on bushes, perched on hedges,
  Perched on firm hahas,
Perched on anything that holds them,
  Gay papas and grave mammas
Teach the knowledge-thirsty nestlings:
  Hear the gay papas.

Robin says: "A scarlet waistcoat
  Will be all the wear,
Snug, and also cheerful-looking
  For the frostiest air,
Comfortable for the chest too
  When one comes to plume and pair."

"Neat gray hoods will be in vogue,"
  Quoth a Jackdaw: "Glossy gray,
Setting close, yet setting easy,
  Nothing fly-away;
Suited to our misty mornings,
  A la negligee."

Flushing salmon, flushing sulphur,
  Haughty Cockatoos
Answer--"Hoods may do for mornings,
  But for evenings choose
High head-dresses, curved like crescents,
  Such as well-bred persons use."

"Top-knots, yes; yet more essential
  Still, a train or tail,"
Screamed the Peacock: "Gemmed and lustrous
  Not too stiff, and not too frail;
Those are best which rearrange as
  Fans, and spread or trail."

Spoke the Swan, entrenched behind
  An inimitable neck:
"After all, there's nothing sweeter
  For the lawn or lake
Than simple white, if fine and flaky
  And absolutely free from speck."

"Yellow," hinted a Canary,
  "Warmer, not less distingue."
"Peach color," put in a Lory,
  "Cannot look outre."
"All the colors are in fashion,
  And are right," the Parrots say.

"Very well. But do contrast
  Tints harmonious,"
Piped a Blackbird, justly proud
  Of bill aurigerous;
"Half the world may learn a lesson
  As to that from us."

Then a Stork took up the word:
  "Aim at height and chic:
Not high heels, they're common; somehow,
  Stilted legs, not thick,
Nor yet thin:" he just glanced downward
  And snapped to his beak.

Here a rustling and a whirring,
  As of fans outspread,
Hinted that mammas felt anxious
  Lest the next thing said
Might prove less than quite judicious,
  Or even underbred.

So a mother Auk resumed
  The broken thread of speech:
"Let colors sort themselves, my dears,
  Yellow, or red, or peach;
The main points, as it seems to me,
  We mothers have to teach,

"Are form and texture, elegance,
  An air reserved, sublime;
The mode of wearing what we wear
  With due regard to month and clime.
But now, let's all compose ourselves,
  It's almost breakfast-time."

A hubbub, a squeak, a bustle!
  Who cares to chatter or sing
With delightful breakfast coming?
  Yet they whisper under the wing:
"So we may wear whatever we like,
  Anything, everything!"
From his shoulder Hiawatha
Took the camera of rosewood,
Made of sliding, folding rosewood;
Neatly put it all together.
In its case it lay compactly,
Folded into nearly nothing;

But he opened out the hinges,
Pushed and pulled the joints and hinges,
Till it looked all squares and oblongs,
Like a complicated figure
In the Second Book of Euclid.

This he perched upon a tripod -
Crouched beneath its dusky cover -
Stretched his hand, enforcing silence -
Said, "Be motionless, I beg you!"
Mystic, awful was the process.

All the family in order
Sat before him for their pictures:
Each in turn, as he was taken,
Volunteered his own suggestions,
His ingenious suggestions.

First the Governor, the Father:
He suggested velvet curtains
Looped about a massy pillar;
And the corner of a table,
Of a rosewood dining-table.
He would hold a scroll of something,
Hold it firmly in his left-hand;
He would keep his right-hand buried
(Like Napoleon) in his waistcoat;
He would contemplate the distance
With a look of pensive meaning,
As of ducks that die ill tempests.

Grand, heroic was the notion:
Yet the picture failed entirely:
Failed, because he moved a little,
Moved, because he couldn't help it.

Next, his better half took courage;
SHE would have her picture taken.
She came dressed beyond description,
Dressed in jewels and in satin
Far too gorgeous for an empress.
Gracefully she sat down sideways,
With a simper scarcely human,
Holding in her hand a bouquet
Rather larger than a cabbage.
All the while that she was sitting,
Still the lady chattered, chattered,
Like a monkey in the forest.
"Am I sitting still?" she asked him.
"Is my face enough in profile?
Shall I hold the bouquet higher?
Will it came into the picture?"
And the picture failed completely.

Next the Son, the Stunning-Cantab:
He suggested curves of beauty,
Curves pervading all his figure,
Which the eye might follow onward,
Till they centered in the breast-pin,
Centered in the golden breast-pin.
He had learnt it all from Ruskin
(Author of 'The Stones of Venice,'
'Seven Lamps of Architecture,'
'Modern Painters,' and some others);
And perhaps he had not fully
Understood his author's meaning;
But, whatever was the reason,
All was fruitless, as the picture
Ended in an utter failure.

Next to him the eldest daughter:
She suggested very little,
Only asked if he would take her
With her look of 'passive beauty.'

Her idea of passive beauty
Was a squinting of the left-eye,
Was a drooping of the right-eye,
Was a smile that went up sideways
To the corner of the nostrils.

Hiawatha, when she asked him,
Took no notice of the question,
Looked as if he hadn't heard it;
But, when pointedly appealed to,
Smiled in his peculiar manner,
Coughed and said it 'didn't matter,'
Bit his lip and changed the subject.

Nor in this was he mistaken,
As the picture failed completely.

So in turn the other sisters.

Last, the youngest son was taken:
Very rough and thick his hair was,
Very round and red his face was,
Very dusty was his jacket,
Very fidgety his manner.
And his overbearing sisters
Called him names he disapproved of:
Called him Johnny, 'Daddy's Darling,'
Called him Jacky, 'Scrubby School-boy.'
And, so awful was the picture,
In comparison the others
Seemed, to one's bewildered fancy,
To have partially succeeded.

Finally my Hiawatha
Tumbled all the tribe together,
('Grouped' is not the right expression),
And, as happy chance would have it
Did at last obtain a picture
Where the faces all succeeded:
Each came out a perfect likeness.

Then they joined and all abused it,
Unrestrainedly abused it,
As the worst and ugliest picture
They could possibly have dreamed of.
'Giving one such strange expressions -
Sullen, stupid, pert expressions.
Really any one would take us
(Any one that did not know us)
For the most unpleasant people!'
(Hiawatha seemed to think so,
Seemed to think it not unlikely).
All together rang their voices,
Angry, loud, discordant voices,
As of dogs that howl in concert,
As of cats that wail in chorus.

But my Hiawatha's patience,
His politeness and his patience,
Unaccountably had vanished,
And he left that happy party.
Neither did he leave them slowly,
With the calm deliberation,
The intense deliberation
Of a photographic artist:
But he left them in a hurry,
Left them in a mighty hurry,
Stating that he would not stand it,
Stating in emphatic language
What he'd be before he'd stand it.
Hurriedly he packed his boxes:
Hurriedly the porter trundled
On a barrow all his boxes:
Hurriedly he took his ticket:
Hurriedly the train received him:
Thus departed Hiawatha.
Bardo Apr 2023
She came up to me one day in the office seeking help
She'd heard me talking about my nightmares
She was a lovely looking thing, she was big into dieting and health food and healthy eating
Some of the other girls used to consult her about such matters
Thinking her to be quite an authority on the subject
I think she might have had a sideline too selling some Health products
She was a...a gorgeous looking creature, she had lovely blonde hair which framed her beautiful oval face like a heavenly aura,
Maintaining always a resolutely bright and cheerful disposition
She radiated positivity and optimism wherever she went
(I suspected secretly that when she got home she probably kicked her cat around)
I'd be all agog just looking at her
I suppose yes! I probably had a little crush on her
Unfortunately I was a good deal older than she
So I could only see myself as a secret admirer, a dark lover from afar...

She'd been acting a little peculiarly of late since returning from her Easter holidays
I wasn't the only one to remark about it
Gone was her usual self assured poise and grace
Gone too her lovely bright positive glow
It was like some sudden terrible tragedy had befallen her
Like some big dark ominous cloud had suddenly appeared on her horizon
Now she seemed rushed and frazzled, strangely distracted, unsure of herself, hesitant
Clumsy, apologetic, not at all like her usual confident self.

So she came up to me when I was alone one day and asked "You know something about nightmares, don't you"
She proceeded to tell me this story
She used to drive to work but because of the unusually mild and clement sunny Spring weather coming up to Easter
She had decided to leave her car at home and walk to work
Probably thinking it to be healthier I suppose
The route she took meant she had to pass by a certain newsagents *** confectionery /sweet shop
Now coming up to Easter as it was
The owner of the shop had strategically placed in the front window of his shop a big Easter egg
Wrapped in pretty ribbons and bows and encased in a very colourful, most alluring box
Every day she had to pass this shop with its lovely chocolate egg prominently displayed
You probably know where this is going,
Yea! A secret longing began to grow in her
Passing that shop every day and seeing that big chocolate egg started to rekindle in her memories of the days when as a child she used visit her local Sweet shop
When the only ambition she had was to get enough money so she could buy the newest chocolate or sweet
She began to remember fondly thoughts of all the old chocolate bars and sweets she used to eat
Anyway this longing, this desire of hers... each day it grew stronger and stronger until finally, like a river bursting a dam
Yea, like a huge monster, it finally overwhelmed her
Yes! She... she SUCCUMBED!

One evening she drove her car to the shop and parked on the opposite side of the street
There she waited till the street was deserted, with no one around
When the coast was clear, she got out of the car carrying a big shopping bag
Wearing a big hat and dark sunglasses just like a movie star
She went into the shop and told the shop girl she wanted the big Easter egg in the front window
She lied telling her it was for her little nephew
She hastily paid for the Egg, then quickly bundled it into her shopping bag carefully covering it up with other items so no one would see
Then hurriedly she left the shop, crossed the street with her head bowed, got into her car and quickly sped off
Over the next two days, in an **** of orgiastic chocolate eating, she secretly gorged upon, devoured all by herself the entire Easter egg
When she had finished, she sat there, a sullen lump among the ruins of her feast
Bits of ribbons and bows and torn box strewn all around her
Almost immediately she began to suffer pangs of guilt, berating herself repeatedly and bitterly for her lack of will power and mental strength, for her perceived weakness of character
This went on for the next few days, she just couldn't bring herself to forgive her behaviour
And she couldn't fathom how she had let this desire overcome her
...Then curiously, she began to experience a strange recurring dream at night,
She'd dream that she went one evening to another part of town where she wasn't known again to buy her Easter egg
There was no one around at that hour
She'd buy her Easter egg, tell her little lie about her nephew, then bundle the Egg into her bag and cover it just like before,
Then she'd leave the shop and head down some backstreets not wanting to be seen by anyone she knew
At that time of evening the shadows had begun to lengthen, the backstreets were very quiet and deserted, had a very lonesome forlorn air
As she walked along, she suddenly began to hear what she thought were the sound of footsteps behind her, the tread of feet behind her...Big feet, Bom-bom-bom!
She'd turn around but couldn't see anything, not a soul and not a sound only silence
She'd continue walking and the sound of the Big feet would start up again
Naturally this began to unnerve her, she turned and called back at the shadows
"Is there anybody there?"
But no answer was forthcoming
She'd walk on and again the sound of the Big feet would come Bom-bom-bom!
By this time she had become so unnerved, so completely flummoxed that in a state of utter panic
She suddenly took off at a frantic girly gallop down the narrow backstreets
Behind her she could hear the sound of the Big feet quickening, coming after her
In a quick change of plan she decided to climb some steps that would take her back to the Main Street again
She hoped there'd be other people there who might be able to protect her
She was very disappointed then when she found not a soul upon the whole street
Well she ran and she ran, she tore down her own street and with key in hand she quickly opened her front door, then slammed it shut fastening all the locks and bolts as she did
With this done she heaved a huge sigh of relief, a huge 'Phew!" and wiped the beads of sweat from her brow
She backed slowly away from the door almost as if she was expecting at any moment, there'd be a mad pounding on it, as if some strange belligerent entity would be trying to gain entry.
She kept backing up, the suspense almost too hard to bear
Suddenly she bumped into something behind her, something big and soft... and furry
Soft and furry ???
She turned and well, her mouth, it dropped wide open in utter shock and disbelief
Her eyes, they nearly popped out of her head
For there standing before her was... THE CREATURE
"It was hideous !" she said tearfully
"What was hideous?" I replied quite intrigued at this stage
"It was a Big Rabbit !"
"A big...a Big Bunny 🐰 ?" I said
She went on explaining, standing before her was a giant seven foot Easter Bunny
"A seven footer eh!" I said as if I was knowledgeable about these things, which I wasn't
She continued with her story, the rabbit he had big floppy ears, big buck teeth, a twitchy nose and whiskers 🐰
And on his face he wore this pretty gormless vacant expression🤡
He was wearing a waistcoat which had all these Easter egg 🥚🥚 designs on it
And on his front paws were these two big red boxing gloves 🥊🥊
She looked around desperately for some means of escape but Alas!
For her THERE WAS NO ESCAPE, she swallowed hard
Suddenly the giant Rabbit's teeth began to
natter
As if he was considering some imminent action
Then totally without warning one of his boxing gloves
It suddenly shot out and punched her right on the nose knocking her clean out on the floor
As she sprawled there dazed and utterly confused, the Big Bunny, he looked down at her with his big eyes 👀
And then, with a sudden leap which surprised even her
He jumped right up onto her chest where he proceeded to bounce up and down on top of her
Of course, here she'd awaken from the dream drenched in sweat and screaming for the Giant Bunny 🐰 to get off her.
When she had finished her story she buried her head in her hands and sobbed quietly for a few moments before regaining her composure
She seemed very relieved to have gotten it all off her chest, the story that is not the Bunny
Well I suppose she was glad to get him off as well
She went on to say how stressed she felt during the day, how she found it hard to focus on anything as she was too busy thinking about the night to come and the arrival of her unwelcome guest
She looked at me pleadingly "He'll be there again, I know it, with those big eyes of his" she blubbed half in tears
It seemed obvious to me what'd happened, mentally she'd been beating herself up
And now her Subconscious was merely reciprocating by creating this giant Bunny to chastise her
It was just a manifestation of the guilt she felt for eating the Easter egg
For a moment I felt like I was Sigmund Freud.
I told her what I thought and said she shouldn't beat herself up, I told her we all had our temptations and that at times, few of us were strong enough to withstand their advances
I told her of the importance of forgiving herself
But nothing seemed to placate her
She still seemed overly concerned about the coming night and the prospect of the giant Bunny's re-appearance
She catastrophized and saw only dark things ahead
I knew I had to say something authoritive
Suddenly I had an idea, I put my arm around her shoulders as if to console her
"Look my child", I said really beginning to warm to my Father Confessor role
"The Beast! Do you really want rid of this Beast ?"
"Yes! I do! I do!", she replied emphatically
"Really! You really want to get rid of him!" I said as if to question her resolve
"Yes! Yes! I'd do anything" she replied
I felt we had to send a strong message to her Subconscious mind -
I told her "This is what you must do. After work go down to the same Sweet shop and there buy the most expensive ornate Box of Chocolates you can find 🎁
But this time instead of bringing them home with you, bring them instead to my house...
To the above advice I added a few more instructions
"And that's all I have to do" she said sounding surprised and hopeful once again
"That's all you have to do", I assured her, "you'll have no more trouble from IT ever again".

So in the evening she arrives at my house with a big box of fancy chocolates
I open the door and abruptly ****** the chocolates from off her
I say loudly "These Chocolates are all mine and you can't have any of them
Lovely Chocolates... and their all mine, all mine!!!
And you're not getting any!"
And I let out this evil cackle of a laugh
Then I said rather theatrically to her "**** off!, Get lost! Shoo! Begone! Begone!
And then I slammed the door right in her face
After a few moments I opened the door again
And began to chase her down the path shouting "Begone! Begone! The Chocolates are mine! All mine!"
I even picked up a stick and shook it at her.

The next morning she runs up to me at work with a big smile
"He's gone ! He didn't come last night"
She looked renewed, she positively glowed again
She assured me I'd be her friend for life and that she loved me to bits
For a moment I was beginning to fancy my chances with her
I had visions of the two of us together in some romantic scene
That was until she went on and said that I reminded her of her lovely Uncle Joe
"Her Uncle Joe", I thought, "****!... feckin' Uncle Tom"
Then I thought I should have charged her, yea! charged her just like a hospital consultant
$250 Euros upfront and come back in two weeks for another $250, sorry for a check up I mean.

Well that's it then... that's my Easter story, I've got to go off now and take my afternoon nap
Y'know I've been getting some funny dreams of my own of late,
Yea! I've made a new friend
He's been teaching me how to box.
A bit of fun for Easter. Used to tell girls this story at Easter time to try and scare them into giving me their Easter eggs LoL.
Terry Collett Sep 2013
Searching in the gutters
of Meadow Row
and up along by the back
of the coal wharf

Benedict picked out
and up
dog ends
or cigarette butts

as his old man
called them
and picking them up
he tore open the paper

and tipped the tobacco
into a white paper
sweet bag
how can you do that?

Ingrid said
all those people’s
spit and dribble
on them

she pulled a face
he smiled
she looked serious
germs on them

she said
she wiped her hands
on her stained
green dress

he bent down
and picked out
another cigarette ****
and opened it up

between fingers
and thumbs
and emptied it
into the bag

you’re too young
to smoke
she said
if my dad saw me smoking

he’d smack me silly
she said
he does anyway
he said

she bit her lip
and looked away
sorry
he said

didn’t mean
to be like that
he touched her hand
she stared at him

through wire
framed glasses
she liked it when
his hand touched hers

no one else
touched her tenderly
she looked
at his cowboy hat

placed to the back
of his head
the six shooter gun
stuffed in the belt

of his jeans
the borrowed blue waistcoat
(his grandfather’s given
a month or so back)

she put her other hand
on top of his
he took his hand out slowly
in case other boys

from school may see
and walked to the shelter
of a wall
of a bombed out house

and they both sat down
he took out a packet
of cigarette papers
( liberated from

his old man)
and pulled out
a paper and shoved
the packet of papers

back in the pocket
of his jeans
and taking a pinch
of tobacco from the bag

he fingered it
in a straight line
into the cigarette paper
then rolled it

as he’d seen
his old man do
then licked the end
to form a thin cigarette

Ingrid watched in silence
as his fingers moved
and his tongue licked
you’re not going to

smoke it are you?
she asked
he put the cigarette
between his lips

sure am
he said John Wayne like
but you’re only 9
she said

you’re only 9
and you’re watching
he replied
he took out a box

of Swan Vesta
(borrowed from
the cupboard at home)
and lit the cigarette

and puffed slowly
she waved a hand
as smoke came near
her face

my dad will smell that
on me
she said
and think it was me

smoking and tell me off
she said
beat you black and blue
Benedict thought

not said
he coughed and spluttered  
and took out
the cigarette

and blew smoke
from his mouth
and spat out phlegm
brownish yellow

if your old man hits you again
I’ll shoot him
full of cap smoke
he said

she laughed
and hit his arm
he flicked the cigarette
onto the bombsite

with a finger
and watched
as the smoke
he’d blown out

like a pale ghost
seemed to linger.
SET IN 1950S LONDON ON A BOMBSITE.
'Haddock's Eyes' or 'The Aged Aged Man' or
'Ways and Means' or 'A-Sitting On A Gate'

I'll tell thee everything I can;
There's little to relate.
I saw an aged, aged man,
A-sitting on a gate.
'Who are you, aged man?' I said.
'And how is it you live?'
And his answer trickled through my head
Like water through a sieve.

He said 'I look for butterflies
That sleep among the wheat;
I make them into mutton-pies,
And sell them in the street.
I sell them unto men,' he said,
'Who sail on stormy seas;
And that's the way I get my bread--
A trifle, if you please.'

But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That it could not be seen.
So, having no reply to give
To what the old man said,
I cried, 'Come, tell me how you live!'
And thumped him on the head.

His accents mild took up the tale;
He said, 'I go my ways,
And when I find a mountain-rill,
I set it in a blaze.
And thence they make a stuff they call
Rowland's Macassar Oil--
Yet twopence-halfpenny is all
They give me for my toil.'

But I was thinking of a way
To feed oneself on batter,
And so go on from day to day
Getting a little fatter.
I shook him well from side to side,
Until his face was blue;
'Come, tell me how you live,' I cried
'And what it is you do!'

He said, 'I hunt for haddocks' eyes
Among the heather bright,
And work them into waistcoat-buttons
In the silent night.
And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.

'I sometimes dig for buttered rolls,
Or set limed twigs for *****;
I sometimes search the grassy knolls
For wheels of hansom-cabs.
And that's the way' (he gave a wink)
'By which I get my wealth--
And very gladly will I drink
Your Honor's noble health.'

I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.

And now, if e'er by chance I put
My fingers into glue,
Or madly squeeze a right-hand foot
Into a left-hand shoe,
Or if I drop upon my toe
A very heavy weight,
I weep, for it reminds me so
Of that old man I used to know--
Whose look was mild, whose speech was slow,
Whose hair was whiter than the snow,
Whose face was very like a crow
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffalo--
That summer evening long ago
A-sitting on a gate.
Josie Patterson Nov 2014
I will wear the cotton in your voice
Like a satin waistcoat
Hearing you call through splintered walls
And the wind blows as easily as the rain falls
Slowly
I feel as though I am a drop
Hurtling through the sky
Towards the moss covered earth at a shattering pace
Barely making a dent
On the sliver of the place you are
The other side of the door
Just a track away
And though I do not see you I hear your sway
Creating balance in the things you say
And we will walk forever
Though we do not move from the warmth
Of your iron cage
With boiling over foreigners begging for attention
My eyes cannot be drawn away
And ill stand in a field
And the corn will have no names and you will be
Flying like a bird without a cage
A slave without binding
A stitch without thread
And we will sprint like two parallel lines
Always similar but never touching
Infinite in ourselves
But finite with each other
Our paths never cross
Though we move side by side
Lost in the people we want to be with
balancing on a fence post we dont know is stable
With chipping paint
And white lines
Moving forever through a blind eye
You’ve found the pair to your pair of die
But where were you when I hadn’t
When my tissue box was a house for elves
And my sandbox was not a place for creation
Where memories went to sleep
And marbles were lost
I slipped in the downpour
And my shirt ripped
And my shorts tore
And I am sobbing alone
Optical spillage with small oceans removing themselves
Left drowning on my own
But though your seams are now sewn
Mine remain alone
And I stand now
Like a house without a home
Im sitting like a rock at the bottom of the sea
And I feel the pressure though it has never touched me
Fizzling inside my ears like static during a phone call
With you on the other line
Your hearing fine
Mine not at all
Your white noise is blinding but you never hear it
Sending me message after message
But my ears refuse to be near it
Like a microphone and a speaker
Your feedback is heavy
and when you are with her
Your white noise goes away
Your equally quiet souls both speak loud
And neither one overpowers the other
And I know you will not have me
For I am a force of nature
I swing like the light on the top of a lighthouse
And warn sailors of the danger on my shores
Because though you do not want me when I am yours I am yours
I am in the world for a long haul
And I hope your course changes
I hope your white noise dulls
I hope she can hear you when you whisper like sirens
And I hope if your voice reaches
Or hers falls
I hope you find comfort in the ***** of her sanity
because every other set of lines, meet once
and then drift apart forever
parallel lines are infinitely similar
but will never meet
Mateuš Conrad Dec 2016
allowing for a two part volume
of Proust's À la recherche du temps perdu...
is unforgiving... it's asking a meat-head
to read such a body like exploring a woman's...
a gay-man's psyche is pretty much a woman...
or what a woman thinks in secret,
gay men merely vocalise what a woman does
not say... and yes, that a with a diacritical
mark... that grave above the a? the à?
it works like a comma... à! a surprise kindred
an eureka that's not really original,
an: ah! and then you say the rest of the title...
iconic pause: in search of lost time...
          it took me about five minutes to figure
that one out... lost time, but occupied a space...
  and so much political vanity is consecrated
upon the reverse.. ineffective space:
thus gained time... for all that protests are worth.

i know i go on about this a lot, surprise surprise,
i'm actually engaging in systematisation...
once you enjoy writing as much as walking
you get to reach a systematisation,
     it's a painful process, i'd never do the editing process
of a Hemingway... write something: shoot some
camels and reindeer and go back and revise a piece
of writing: drink a *death in the afternoon
-
a shot of absinthe inside a champagne glug
or the modern: shot of Jägermeister inside a glass
of red bull... (yay-gay-mr.) -
                       or how do you make snakebite?
half a láger half a çíder - and a head of blackcurrant
squash... scoot meine good look.
  but diacritical marks are what punctuation marks
are... it's only that they've become elevated,
and unlike punctuation marks governing paragraphs
and sentences... they govern the words,
         they are syllable incision indicators...
  i mean: i don't revise something i've already written,
unless it's a spelling mistake... i just write
something new... it's sadistic in my mind's eye to
revise and revise a single effort of writing...
                i'd rather centralise a theme of the paradox
of re-, in the year 2018 i will still experience
the tetratempus - containing four seasons -
         and i will never return toward making a piece
of writing become a morbidly corrected statue...
     what's done is done, let us move toward another
circumstance of being able to acquire a new kind
of observation... i can't be a sadist in terms of also
being a perfectionist... i break a leg, i break a leg...
if i write a ****** poem, i'll write a ****** poem...
but i won't be bothered like human history has been
by preoccupying itself in forwarding the drama
on Golgotha Street...
    the newest addition to the vogue scene is a corset
paired with a waistcoat...
   the snooker championships are taking place,
and i says to my father: 'a bit like chess, ain't it?'
   'sure is', he replies, 'you have to think 3 moves ahead.'
and it is... a smart sport, actually the most intelligent
sport there is... ****** boring obviously,
unless you fake the boredom and think about angles
and triangles and Newton...
   and cover the game with such congestions of
pretending to hallucinate it all...
                or take to thinking about rebellious
Saturn spinning out of orbit and doing a Mike Tyson
to Jupiter...
          but it's very much like chess...
                   it's sporty chess... snooker is chess...
  and it definitely ain't pool...
         you could actually have a ******* on a snooker table...
while either doggy or missionary positioning on
the snooker table... so what are the odds?!
         but i'll tell you one thing... snooker beats golf...
i don't know why... but once colour televisions came into
existence: it made much more sense for both
spectator and commentator... and how dare you
not cling to the 20th century if you were born in it
to translate to the 21st androids how we experienced
an evolution of technology, that made much more sense
after what i just heard...
      so there's this woman in the U.S., and this is before
president-elect and whatnot...
  and she's 22, and it's all over vice news,
and she's scared, and she's a mother of a 1 year old...
    and then this picture emerges
(don't worry, it's not anything like playing the Sims
   and moving your Sim to play computer games
and seeing a wormhole, or the infinity mirror effect)...
and there's a scene when she's talking Donald Duck
to the child... there are no meaningful words being
said... merely sounds... onomatopoeias...
and yes... this makes perfectly good sense when
stressed as a cut-off capsule...
because Darwinism doesn't really provide much
history... Darwinism is a historical erasure:
the past 2000 years could have happened,
but not really...
  but it just fascinated me...
         when did we learn or who did we learn it from
given we were placed at so many different
plots of the globe and became convergent -
anyway - the woman is teaching the child
words via the onomatopoeia of a hoarse quacking
of a duck! i probably will not find an answer
(primarily because i'm not supposed to,
if i am to perpetuate what Aristotle taught, i.e.:
be wrong and continually circumstance being in awe,
given the mundanity that nonetheless
everything keeps repeating itself over and over again,
for sustenance, and you are not sustenance bound
as corrected by your language deficiency to
ever merge into an unconsciously organised module
that might also argue an ego) -
    but i wonder how difficult it must have been
to extract something beyond the minimalism of animals
that identifies a duck with a quack, a cow with a moo,
an serpent with a sss... a cat with a meow, a dog with a bark...
    i cannot conceive how difficult this explanation
will be... but given the timeframe, i'm more awe-stricken
by this than merely being awe-bound by the time-scale...
which becomes the least affordable option of being
struck by awe, because one becomes merely awe-bound
by it, and therefore apathetic towards such a time-scale.
       how did we suddenly extract an understanding
of an onomatopoeia to distinguish our own ontological
basis for making a sound by infusing a sound that
doesn't resemble us? when did the first ape bark like
a dog? but then again, looking at the canvas already
apparent to us... what was the point of such an adventure?
hippy culture says: monkey accidently ate a mushroom,
monkey suddenly was blown away and reasoned of
a higher purpose other than a tree and a coconut...
     mudvayne quotes the guy on l.d. 50...
what's the guys name... uggh! not Timothy Leary...
ah ****! Terence McKenna! that's it!
        am i high? nope... my respectability of argument
comes from the mystical properties of... whiskey.
hmm...      that rarely happens to people.
                   it's what's called being earthbound, or gravity
prone... sink like a skipping pebble across the lake...
          and like a tonne of lard.
             tomorrow i'll wake once more and still
think about how we encouraged the discovery of
onomatopoeia to teach our children the multiplicity of
sounds, and later deconstruct such a multiplicity to
create meaningful words that go beyond knock knock! jokes
and grunts and barking...
                     but i will never know the man who
created the fermentation process from potatoes to make
*****...
                or the guy who brewed the first pint...
or the guy that smoked the first marijuana bush ensemble
while clearing the land for a place to harvest wheat...
   all the fame that exists is simply scholastic...
  schoolboy fame... which is why so much attention
goes into becoming famous in school...
                        but still that woman teaching her child how
to speak by going down into the blobby-gurgling
  tongue of the toddler, stiffening it,
      and tightening the **** and bladder too...
  by talking Donald Duck to it...
                        i probably could have had a family myself...
but can you imagine someone writing this load of
******* and having a family? there wouldn't be any time!
           still (god, what a need to repeat!)
         how did we progress from saying ape-****?
surely if we started to imitate other animals they'd join us
in our need to usurp those ******* lions!
  lo and behold... we managed to pet dogs (so they were
in on it all along)... and cats (who came from Japan,
if **** sapiens came from Africa... cats came from Japan...
bonsai frocked and all) -
                            but you have to admit...
from what is written history, to what is history and
a gap in history going back to a similitude of form -
      you can write as much historical fiction as you want...
    and you'll never have to write a bestseller about
some centurion in the Roman Empire...
   or a quo vadis by Sienkiewicz (nobel prize winner)
for the depiction of emperor Nero...
                               ******* Sesame St. giggles...
still, the question beckons... if animals can behave in
an ultra-intuitive way as if fashioned by a telepathy...
then telepathy can only exist upon a very simple,
atomic, terse vocalisation of an identity...
   a dog barks... a man can bark too...
                                but we have completely lost our
intuitive talent (if it can be called that)...
          to have sacrificed intuition is to have created
cults or counter-intuitive hierarchies...
  so a 1000 blah blahs later i still prefer to write what
i like... than write what people "might" understand
and talk to a girl about...
                                     a bit like a woman discovering
you faked writing a poem 20 years into a marriage...
                  obviously the setbacks to boot...
                            dyslexia is an optical dimension...
no one dyslexic says a word they don't understand
a meaning of... dyslexia seemingly came from
finally having enshrined the "secret" to the monopoly
of writing sounds...
                          nonetheless... at the end of the day...
it's just too much history... there's too much of it...
            there was never going to be a world
where carpe diem ruled it...
                               it was a question how we clung to
certain things, within a framework of
                                             salmon dye omni:
sure sure... piglet pink and innocent for the rest
of our lives... once Darwinism pointed at the ape,
and once physicists dropped the bomb and the bang...
no day has had any significance at all...
   + the 24h news channels...           snuggle up to a hog
             and say: fog over Heathrow... all flights are grounded.
I'll tell thee everything I can;
There's little to relate.
I saw an aged aged man,
A-sitting on a gate.
"Who are you, aged man?" I said,
"And how is it you live?"
And his answer trickled through my head
Like water through a sieve.

He said, "I look for butterflies
That sleep among the wheat:
I make them into mutton-pies,
And sell them in the street.
I sell them unto men," he said,
"Who sail on stormy seas;
And that's the way I get my bread—
A trifle; if you please."

But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That they could not be seen.
So, having no reply to give
To what the old man said,
I cried, "Come, tell me how you live!"
And thumped him on the head.

His accents mild took up the tale:
He said, "I go my ways,
And when I find a mountain-rill,
I set it in a blaze;
And thence they make a stuff they call
Rowland's Macassar-Oil—
Yet twopence-halfpenny is all
They give me for my toil."

But I was thinking of a way
To feed oneself on batter,
And so go on from day to day
Getting a little fatter.
I shook him well from side to side,
Until his face was blue:
"Come, tell me how you live," I cried,
"And what it is you do!"

He said, "I hunt for haddocks' eyes
Among the heather bright,
And work them into waistcoat buttons
In the silent night.
And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.

"I sometimes dig for buttered rolls,
Or set limed twigs for *****;
I sometimes search the grassy knolls
For wheels of hansom-cabs.
And that's the way" (he gave a wink)
"By which I get my wealth—
And very gladly will I drink
Your Honour's noble health."

I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.

And now, if e'er by chance I put
My fingers into glue,
Or madly squeeze a right-hand foot
Into a left-hand shoe,
Or if I drop upon my toe
A very heavy weight,
I weep, for it reminds me so
Of that old man I used to know—
Whose look was mild, whose speech was slow,
Whose hair was whiter than the snow,
Whose face was very like a crow,
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffalo—
That summer evening long ago
A-sitting on a gate.
First the Governor, the Father:
He suggested velvet curtains
looped about a massy pillar;
And the corner of a table,
Of a rosewood dining-table.
He would hold a scroll of something,
Hold it firmly in his left-hand;
He would keep his right-hand buried
(Like Napoleon) in his waistcoat;
He would contemplate the distance
With a look of pensive meaning,
As of ducks that die in tempests.

Grand, heroic was the notion:
Yet the picture failed entirely:
Failed, because he moved a little,
Moved, because he couldn't help it.

Next, his better half took courage;
She would have her picture taken.
She came dressed beyond description,
Dressed in jewels and in satin
Far too gorgeous for an empress.
Gracefully she sat down sideways,
With a simper scarcely human,
Holding in her hand a bouquet
Rather larger than a cabbage.
All the while that she was sitting,
Still the lady chattered, chattered,
Like a monkey in the forest.
"Am I sitting still ?" she asked him.
"Is my face enough in profile?
Shall I hold the bouquet higher?
Will it come into the picture?"
And the picture failed completely.
The Banker's Fate

They sought it with thimbles, they sought it with care;
They pursued it with forks and hope;
They threatened its life with a railway-share;
They charmed it with smiles and soap.
And the Banker, inspired with a courage so new
It was matter for general remark,
Rushed madly ahead and was lost to their view
In his zeal to discover the Snark.

But while he was seeking with thimbles and care,
A Bandersnatch swiftly drew nigh
And grabbed at the Banker, who shrieked in despair,
For he knew it was useless to fly.

He offered large discount--he offered a cheque
(Drawn "to bearer") for seven-pounds-ten:
But the Bandersnatch merely extended its neck
And grabbed at the Banker again.

Without rest or pause--while those frumious jaws
Went savagely snapping around--
He skipped and he hopped, and he floundered and flopped,
Till fainting he fell to the ground.

The Bandersnatch fled as the others appeared
Led on by that fear-stricken yell:
And the Bellman remarked "It is just as I feared!"
And solemnly tolled on his bell.

He was black in the face, and they scarcely could trace
The least likeness to what he had been:
While so great was the fright that his waistcoat turned white--
A wonderful thing to be seen!

To the horror of all who were present that day,
He uprose in full evening dress,
And with senseless grimaces endeavoured to say
What his tongue could no longer express.

Down he sank in a chair--ran his hands through his hair--
And chanted in mimsiest tones
Words whose utter inanity proved his insanity,
While he rattled a couple of bones.

"Leave him here to his fate--it is getting so late!"
The Bellman exclaimed in a fright.
"We have lost half a day. Any further delay,
And we sha'n't catch a Snark before night!"
Mateuš Conrad Nov 2015
indeed shakespeare, the world's a stage, but give me
the stage and not the world, give me the actor's proper
compass to define himself in the stage without
the onslaught that bothered nietzsche: imagine speaking
for the entire humanity. i have one for one, where the
"actor" owns the stage, but cares little for the world
in which things are acted according to heidegger's da sein.

inside a room sits a man, reading aloud canto xxxviii,
taking in the funny parts... with ezra's specified decor
of the trilling r, the lip numbing vibrating of m and half m (n),
just to don the evening jacket pipe and waistcoat...
all the way from idaho... losing the accent of course...
like me from the backside of poland, although nearby
the signing of the treaty of *lublin
(1569)...
so there he is, sitting like a crow with a crown,
or a crown that's a crow, hunched, nonetheless eager to enjoin
with the surrounding choirs...
in the room händel's tecum principium (psalm 110) -
if händel never bothered to expatriate to
england... we'd only be left with elgar and
vaughan williams as the sole exports... what shame...
here's to the fireworks! in the room this scene... but outside
a first movement of ηoλιδες by franck...
so indeed the voodoo ****** needed for the giggle
from canto xxxviii (contrary
to what was suggested, and the suggestion
was that i could enjoy music & poetry
as much as i am now with a woman,
to prevent the waterfall from mt. ****,
the boredom, the scaly crocodile the
erasing ink of octopi... all that with a hope
for censored ****... and children and the absence
of private thinking... to appreciate it once is
not enough... and with woman of choice
only one account holds sway... tear jerker at the opera
and furthering this withstanding joy at beauty...
perhaps knowledgeable with an operatic spouse,
but no step further... in that great foundation
of life and grey matter... a tier below the merchant...
the buyer... the exchange of rotten deeds for
glistening goods - with woman the scarcity of
fed inhibitions expressed in the pure inhibitions
of sentencing blissfully haloed loneliness
into the resounding exchange of thought & voice
(esp. of someone else, once written);
no, we dare not invite profanity of such
crescendos as woman is capable of to replace
the ecstasy of the violins harps and trombones...
for indeed with a woman i'd be chained to
hear the worsened sense of symphony...
and more angina or animosity for what i prize
are relevant coordinates of executed choice
that leave no wall of my vicinity cold and
ghostly as if a dialogue with someone
was necessary; but to the poignancy of the canto:
1. the cigar-makers automation requiring recitation
    to combat the capitalistic rat infestation,
    known as mechanisation / automation,
    according to dexter kimball,
2. because of a louse in berlin
    and a greasy basturd in austria
    by name francios guiseppe.
3. on account of bizschniz relations.
4. and schlossmann suggested that i stay in vienna
    as stool-pigeon against the anschluss
    because the austrians needed a buddha
5. der im baluba das gewitter gemacht hat...
6. kosouth (ku' shoot)

and i end with that... there's more but i cannot
spare not inviting this gentleman in smockings
who said:
i say... didn't the english forgo the use of
other europeans the necessary stressors of accent
to singular letters rather than words
or word compounding, all cockney ****-side-up?
i dare say those french bass tarts
put the ' over the e, and the papa turds on top
of the o... while our kin too to sharpening and shortening
things... taking 'em fo' d' fool...
so if there's direct correlation, my german compatriot
said... itz zys: diacritic of french with o and le v. la
is the english of would not with wouldn't.
now i think the modern fictional hannibal
has a mirror proper... without the mexican doctor (
cannibal etc.) but with this villager from idaho,
making it big in london and paris...
as all "little" villager folk do...
given there's less cosmopolitan conversation about
among the slapstick nobility humour scheming
and socialite consciousness with the odd dry martini -
given there's less of all that, where you can
go to sleep at 9pm, and wake with the roosters at 5am
(in summer), milk the cow, feed the hens, pluck an organic
tomato... and get excite about village traffic - tumble weeds
speeding, ol' mcdonald wrote a poem:
a tad bit cornish, nonetheless, the sort of nourishment
that redeems.
Mateuš Conrad Mar 2016
anyone see the brain i put into the washing machine? i think they took it and hang it out to dry, although i still think it's in a pickle jar of jealous ***** juices, going round and round, getting a brainwashing treatment rather than the joke about the thief who didn't wear leather gloves and a tight ****** hat, who didn't pull out his nails or scrape off his fingerprints, or shave his eyebrows... i mean, hell, i'm not into brainwashing that much - the k.g.b. did the same sloppy job on litvinenko - **** me! all the neurologists in poland are mad, and an m.r.i. machine does not exist in that country! i must have been inside a rocky horror theme-park ride!

there's that famous connotation to pomp, ego tripping,
my my, what a grand psychoactive
drug this is, ever danced smacking your knees
as representation of drumming
with your eyes closed in
a club on the embankment of the river
thames? giggling away at
the chance of momentary blindness?
i'm not here to give a macho representation
of me, far from it,
later ******* in the alley:
every club or bar i went to always
played terrible music, and too loud,
so i stopped going,
too much lip-reading you see,
like with this nurse going to do a job
on the housing project at north harrow
tube station, breakfast stop-over
at the mcdonald's at tottenham court road,
dragging my father out from
the depths of depression after
a man who married my cousin undermined
his team and got kicked out of a
company that later went bankrupt:
indeed that cloud of flies entering my
ear like a rain of syringes, painful like hell,
no respect for the underprivileged in terms of
health, you look like you just had a brain
haemorrhage you get pampering like a panda,
you look strong enough in order to **** someone
they think you're a chizophrenic... nicely done...
nicely done n.h.s., i think i'll take my compensation
in pride and emotions rather than winning
the jackpot of the godforsaken thing that
alienates people: can't cook for themselves,
need restaurants, can't clean for themselves,
need cleaners... civilisation and the death of
intricate tribalism... foremost family...
mano a mano con mammon...
hey, i only asked for an m.r.i. scan, now
i'm split bilingually making one story force
and the other story true...
anyway, back to ego tripping,
ego tripping is indeed a drug, but it's a drug
where you can't coordinate thinking,
it's like a primeval expression of the cartesian maxim,
you just sit there, self-aware (being self-conscious
has negative connotations via sartre's keyhole /
voyeurism), you turn into an object,
for example a tree, you ego trip as the tree
and thoughts are replaced by seasons,
the wind, rain, insects, birds...
you can't identify with anything,
even if you're ego tripping and a theory of relativity
comes along, you can't attach yourself to it,
you're tripping after all...
it's just you and the chaos of thought, there's no
ordered linear method of thinking,
you're strapped to a unit that doesn't move
but is a spectator of other things moving,
attaching themselves, or detaching,
and it's not necessarily egotism, far from it,
it just mean an elevation of *cogito ergo sum
,
how to make a blunt knife after it has been sharpened?
i guess ram it into bones or stones a thousand times,
or at least make dinner 360 times during a year
cutting soft flesh of tomatoes and cucumbers...
in terms of elevation i mean you're drunk
and you're tripping on the lack of thought,
a lack of a thinking cohesion / spider-web (
indeed the tarantula is a beggar among smaller
spiders, it has no idea of architecture, it hasn't
evolved technically speaking, tarantula the
anti architect)... so you're still tripping, because you
have no vector in sight, you're a pinpoint now,
a volatile coordinate, whatever thought comes into
range you can't narrate it... let alone vocalise it...
you're entering a void (jeez, this almost sounds
like making a waistcoat clock dangle and perform
a pendulum before opening the gates into
the subconscious and inducing hypnosis...
the gates into the unconscious are done by falling
asleep)... and then you sit down and decipher
all those thoughts buzzing around you that you
can't proceed from... ego tripping is best served
with alcohol - and it's hardly related to pomp,
esp. if you can't vocalise it and attribute the dropped jaw
of a ****** addict to be a symbiotic reflection...
or at least a carousel; in summary, ego tripping
is the cartesian ego sum, and no ergo and certainly
no ego cogito... well the ergo is there,
if you start to write something, but only then
when you step off the carousel.
I'll tell thee everything I can:
There's little to relate.
I saw an aged aged man,
A-sitting on a gate.

'Who are you, aged man?' I said.
'And how is it you live?'
And his answer trickled through my head,
Like water through a sieve.
He said, 'I look for butterflies
That sleep among the wheat:
I make them into mutton-pies,
And sell them in the street.

I sell them unto men,' he said,
'Who sail on stormy seas;
And that's the way I get my bread --
A trifle, if you please.'
But I was thinking of a plan
To dye one's whiskers green,
And always use so large a fan
That they could not be seen.

So having no reply to give
To what the old man said, I cried
'Come, tell me how you live!'
And thumped him on the head.
His accents mild took up the tale:

He said 'I go my ways,
And when I find a mountain-rill,
I set it in a blaze;
And thence they make a stuff they call
Rowland's Macassar-Oil --
Yet twopence-halfpenny is all
They give me for my toil.'

But I was thinking of a way
To feed oneself on batter,
And so go on from day to day '
Getting a little fatter.
I shook him well from side to side,
Until his face was blue:
'Come, tell me how you live,' I cried,
'And what it is you do!'

He said, 'I hunt for haddocks' eyes
Among the heather bright,
And work them into waistcoat-buttons
In the silent night.
And these I do not sell for gold
Or coin of silvery shine,
But for a copper halfpenny,
And that will purchase nine.

'I sometimes dig for buttered rolls,
Or set limed twigs for *****:
I sometimes search the grassy knolls
For wheels of Hansom-cabs.
And that's the way' (he gave a wink)
'By which I get my wealth --
And very gladly will I drink
Your Honour's noble health.'

I heard him then, for I had just
Completed my design
To keep the Menai bridge from rust
By boiling it in wine.
I thanked him much for telling me
The way he got his wealth,
But chiefly for his wish that he
Might drink my noble health.

And now, if e'er by chance I put
My fingers into glue,
Or madly squeeze a right-hand foot
Into a left-hand shoe,
Or if I drop upon my toe
A very heavy weight,
I weep, for it reminds me so
Of that old man I used to know --
Whose look was mild, whose speech was slow
Whose hair was whiter than the snow,
Whose face was very like a crow,
With eyes, like cinders, all aglow,
Who seemed distracted with his woe,
Who rocked his body to and fro,
And muttered mumblingly and low,
As if his mouth were full of dough,
Who snorted like a buffalo-
That summer evening long ago,
A-sitting on a gate.
From his shoulder Hiawatha
Took the camera of rosewood,
Made of sliding, folding rosewood;
Neatly put it all together.
In its case it lay compactly,
Folded into nearly nothing;

But he opened out the hinges,
Pushed and pulled the joints and hinges,
Till it looked all squares and oblongs,
Like a complicated figure
In the Second Book of Euclid.

This he perched upon a tripod -
Crouched beneath its dusky cover -
Stretched his hand, enforcing silence -
Said, "Be motionless, I beg you!"
Mystic, awful was the process.

All the family in order
Sat before him for their pictures:
Each in turn, as he was taken,
Volunteered his own suggestions,
His ingenious suggestions.

First the Governor, the Father:
He suggested velvet curtains
Looped about a massy pillar;
And the corner of a table,
Of a rosewood dining-table.
He would hold a scroll of something,
Hold it firmly in his left-hand;
He would keep his right-hand buried
(Like Napoleon) in his waistcoat;
He would contemplate the distance
With a look of pensive meaning,
As of ducks that die ill tempests.

Grand, heroic was the notion:
Yet the picture failed entirely:
Failed, because he moved a little,
Moved, because he couldn't help it.

Next, his better half took courage;
SHE would have her picture taken.
She came dressed beyond description,
Dressed in jewels and in satin
Far too gorgeous for an empress.
Gracefully she sat down sideways,
With a simper scarcely human,
Holding in her hand a bouquet
Rather larger than a cabbage.
All the while that she was sitting,
Still the lady chattered, chattered,
Like a monkey in the forest.
"Am I sitting still?" she asked him.
"Is my face enough in profile?
Shall I hold the bouquet higher?
Will it came into the picture?"
And the picture failed completely.

Next the Son, the Stunning-Cantab:
He suggested curves of beauty,
Curves pervading all his figure,
Which the eye might follow onward,
Till they centered in the breast-pin,
Centered in the golden breast-pin.
He had learnt it all from Ruskin
(Author of 'The Stones of Venice,'
'Seven Lamps of Architecture,'
'Modern Painters,' and some others);
And perhaps he had not fully
Understood his author's meaning;
But, whatever was the reason,
All was fruitless, as the picture
Ended in an utter failure.

Next to him the eldest daughter:
She suggested very little,
Only asked if he would take her
With her look of 'passive beauty.'

Her idea of passive beauty
Was a squinting of the left-eye,
Was a drooping of the right-eye,
Was a smile that went up sideways
To the corner of the nostrils.

Hiawatha, when she asked him,
Took no notice of the question,
Looked as if he hadn't heard it;
But, when pointedly appealed to,
Smiled in his peculiar manner,
Coughed and said it 'didn't matter,'
Bit his lip and changed the subject.

Nor in this was he mistaken,
As the picture failed completely.

So in turn the other sisters.

Last, the youngest son was taken:
Very rough and thick his hair was,
Very round and red his face was,
Very dusty was his jacket,
Very fidgety his manner.
And his overbearing sisters
Called him names he disapproved of:
Called him Johnny, 'Daddy's Darling,'
Called him Jacky, 'Scrubby School-boy.'
And, so awful was the picture,
In comparison the others
Seemed, to one's bewildered fancy,
To have partially succeeded.

Finally my Hiawatha
Tumbled all the tribe together,
('Grouped' is not the right expression),
And, as happy chance would have it
Did at last obtain a picture
Where the faces all succeeded:
Each came out a perfect likeness.

Then they joined and all abused it,
Unrestrainedly abused it,
As the worst and ugliest picture
They could possibly have dreamed of.
'Giving one such strange expressions -
Sullen, stupid, pert expressions.
Really any one would take us
(Any one that did not know us)
For the most unpleasant people!'
(Hiawatha seemed to think so,
Seemed to think it not unlikely).
All together rang their voices,
Angry, loud, discordant voices,
As of dogs that howl in concert,
As of cats that wail in chorus.

But my Hiawatha's patience,
His politeness and his patience,
Unaccountably had vanished,
And he left that happy party.
Neither did he leave them slowly,
With the calm deliberation,
The intense deliberation
Of a photographic artist:
But he left them in a hurry,
Left them in a mighty hurry,
Stating that he would not stand it,
Stating in emphatic language
What he'd be before he'd stand it.
Hurriedly he packed his boxes:
Hurriedly the porter trundled
On a barrow all his boxes:
Hurriedly he took his ticket:
Hurriedly the train received him:
Thus departed Hiawatha.
The snow lay crisply on the sill
And gripped the windowpane.
A coach and horses scurried by
Slowly, slithering down the lane.

Beneath the gas light in the gloom
A group of choirboys sang.
‘Ding **** merrily on high’,
And all the church bells rang.

Whilst in his bedroom, up above,
A little schoolboy lay.
He’d hung his stockings on the posts
And he dreamed of Christmas day.

And on his bed an old greatcoat
Around his neck held tight,
And on his feet a rag knot rug
To warm him through the night.

His water bottle at his chest
Had now become quite cold.
But in his mind the warm thoughts raced
Of many stories told.

His Mom and Dad below him sat
Less warmly by a candle,
And worried how to pay the rent
Thus to avoid a scandal.

‘But one things sure’, his old mom said.
‘This year may be our last,
So we’ll do all that we can do
To make it better than the last.

‘Remember to be quiet’, she said.
‘Don’t wake my baby boy’.
Here’s an orange, apple and monkey nuts
And a little wooden toy’.

His Father crept into his room
And by his stockings knelt.
He slowly placed inside the gifts
Then in his waistcoat felt.

A tiny farthing in his hand
And in his eye a tear.
He gently pushed it with the rest,
Then to his boy drew near.

‘If only I could give you more,
Then Son I surely would.
For if it were the only thing to give
Then I would give my blood.

His Son lay there without a care,
A smile upon his face.
He kissed him gently on the cheek
And left without a trace.

Then slowly creeping across the hills
And softly clipping trees.
An orange globe of Christmas cheer
Began the frost to tease.

Wiping sleep out of his bleary eyes
And awakening to the cold.
Quickly rummaging into the socks
Clutched a farthing as if gold.

A little boy whose Christmas dreams
So simply had been blessed.
Sang a little Christmas song
And rapidly got dressed.

Each breath he breathed froze in the air.
His tiny hands and feet were frozen.
His mind already at the shop
Espied the sweets he chosen.

Liquorice wood and kali dabs
Pink sugar candied mice.
The little journey down the lane
And sliding on the ice.

His mom and Dad they saw his glee,
Forgot their sorry states.
At least upon this Holy day
They’d have food upon their plates
John Savage Dec 2011
In the dream Ginsberg tells me I am beautiful,
he moves his stool a little closer to mine
to see me in the dull glow of the bar.
I sip at my cocktail as he takes Howl from his briefcase,
tells me Jack loves my baby-blue eyes.
Somewhere at the back of the bar
I can hear the jazz men munching sandwiches,
chatting to the girls who bring them empty beer glasses
for coins to be dropped into, for requests to fill.
The old poet with his Buddhist waistcoat
wants to change the world with his masturbatory atom bomb,
wants the President of the United States
to be silent, to be silent, to be
silent.

So Ginsberg calls the barman Moloch,
wants him to find himself in a wounded page
filled with Christmas catalogues that make the children sing.
It’s a bald-guy thing he tells the beer puller,
‘Look at the jazz boys **** the metal,
sweet sounds, Jimmy The Joe makes , sweet sounds.’
The barman wants the music to end
just long enough for him to miss the woman he loves.
‘So get your heart in a sonnet,’ Ginsy tells him
‘Get your heart in a ******* sonnet, gypsy caravan boy.’
I put my fingers to my temples, try to bring the poems together,
try to imagine the perfect microphone in the Kaddish hand.
Tell me another three line joke, Alan,
tell me the one about the Arabic love call you never heard
when your papyrus was just desert dust.
You know the one, Allen.  You know the one.

The jazz boys find their lips as Ginsberg finds his tear ducts;
I want him to chant his evolution into the mind of the sax solo.
‘It’s just us,’ he tells me, ‘we’re saving the world, Johnny Boy,
the greatest minds of my generation were ****** up the ***
so you ungrateful rhyming ******* could put colour on your book covers;
you see Lawrence throwing his spanners into the printing press?
That’s our little revolution: cherubic haiku page numbers
just waiting for the computer evolution to do something worthwhile.’
So Alan sorts his papers and gives that little attention-seeking-cough
the barman has been waiting all night for.
He pours the drinks, cuts the lime,
lets the poets supply their own anecdotes for this one-night-stand
that’s going to set every ******* pulse racing,
every heartbeat breaking for the goatee beard going grey.

In the dream Ginsberg tells me I am beautiful.
I tell him his spotlight is shining.
There was an old man of Port Grigor,
Whose actions were noted for vigour;
He stood on his head,
Till his waistcoat turned red,
That eclectic old man of Port Grigor.
Götz Kluge Oct 2014
He was black in the face, and they scarcely could trace
The least likeness to what he had been:
While so great was his fright that his waistcoat turned white -
A wonderful thing to be seen!

Lewis Carroll, from "The Hunting of the Snark", 1876

 
There was an old man of Port Grigor,
Whose actions were noted for vigour;
He stood on his head till his waistcoat turned red,
That eclectic old man of Port Grigor.

Edward Lear, 1872
http://www.ipernity.com/doc/goetzkluge/35432309
Little Wolf Nov 2015
I think if Madness were a person he'd be a handsome, sharp dressed, man. He would wear a well tailored suit with a deep purple, velvet, waistcoat. I imagine  he'd wear a black fedora for the mystery and a pocket watch to keep time. A little old fashioned but ageless.

A few days before he arrives I always get antsy. My anxiety acts up and I do things like leave the grocery store in a panic and empty handed. I take my kids to the park and then I find I suddenly can't breathe and the world feels like it's ending. And then....there is the inevitable knock on my minds door.

"Oh it's you" I'd say.
"Dont pretend like you didn't know I was in town..." He pushed past me , drops his stuff , and easily finds the whiskey cabinet and pours himself a full glass. He has been here before.  "I was at the grocery store yesterday and the park a few days before that. " he turns, glass in hand. He smiles and it sends chills down my spine. "Well..." He continues, "you should have known I was coming . The signs were all there." I turn away, nervously and indignantly.
He sips his whiskey, studying me.
"Right. You thought some vitamins and sunshine could keep me away."
The thought obviously amuses him. He laughs and downs his entire drink in one gulp. He loves this game. He pours another whiskey and walks over to me. He puts the drink in my left hand and stands right up against my back, his hands on my shoulders, his lips near my ears. I can feel his warm breathe and I am nauseated and comforted at the same time.  He slowly moves his hands down my arms to my hands. He locks his right hand with mine and wraps it around my stomach so his arm is around me too. His left hand brings the drink up to my lips. I close my eyes for a moment wishing him away. It doesn't work.
"Now" he whispers "where were we?"
LJ Chaplin May 2016
Lonely London boy,
A stranger to the City,
A fluffy-haired gull
Lost in a sea of suitcases
And Kodak-clad people.
Big dreams tucked
Into the waistcoat
That hugged his frame
A little too much,
Occasionally glancing
Into café windows to
See how disheveled
He had become
During rush hour
On the Bakerloo Line.
© L.J. Chaplin
Max Hale Dec 2017
Can this be the time once more
Of utter giving up of our control
The simple folliwing of commercial madness
Our desire for the day when food and wine
Have to be gathered about us like the defences of yore
Headlong we run from mid-summer until
We are exhausted in body, spirit or credit
The desperate worry of what to buy whom
Or when to order the especially fattened bird for your table
The ridiculous overspending on presents
When time could be the finest present you could give

Yule tide is a special period for Druids and all pagans alike,
The wonder of simplicity of reflection of our past year
The elements of sleep as mother earth regenerates herself
Resting often under the warmth of a blanket of snow
Gathering of families and loved ones
Blessings of the solstice as the wheel of the year turns
Once more into the light as the sun begins it's journey
Returning to the northern hemisphere
Our birds and native animals preparing for the winter
Storing their food, digging deep as they look for vitals

Likewise the land is resting,
The soil teems with dormant life, every insect and worm
Every root, form and bulb
Slowing right down as the degrees fall to freezing
The frosty and rime ridden mornings giving the flora
A lift of white dusting and sparkling light reflecting
The weak, beautiful winter sun
Heaves itself onto the low glancing position
Just making it to the tree tops before retiring once more to sleep
Leaving glorious swathes of orange and red
Painting the sky as it falls and rises.

Yule tide comes as all seasons, times and periods
But once a year in our short lives
The earthy sounds, the images and emotion
The smell of the newly fallen snow and woodsmoke
The foraging birds and squirrels
The warbling and tuneful song of the blackbird
And the tut tut of Mr Robin resplendent in his
Bright red waistcoat bobbing around in the crisp frost
Our lifetime of Yules is a wonder to enjoy,
I know as I look from my window where my heart is
As the distant tree bare in it's winter shroud speaks
To me as a friend and anchor within this beautiful planet.
OliviaAutumn Sep 2014
The first time I went down on a girl she had the delicate flavour of bergamot.
I was so addicted to her I could brew in her imperfections,
dream of sugar mice in her navel.
she had given me the most dangerous sweet tooth for the freckle on her forehead and her bergamot scented bed.

Tracing the crack on the right hand corner of my mouth
I left her kiss behind, a ***** secret
fading like the silhouette of a flower at sunset,
darkness closing in around my naked body
that was a canvas I refused to believe was still art.

The second time I learnt not to stay too long,
to leave my socks on
to escape out that 4 minute exit  window
so I don’t infuse my heart in this metaphor we call love
I wasn’t strong enough for this weight
upon my shoulders to remain
the perfect convent school girl I was taught to be


so I begun to shrink my body
to fit in the comfort of a waistcoat pocket
amongst demin in a closed closet.
People begun to notice the cage I kept my heart in was growing bigger,
or I was growing smaller,
trying to break free from beneath my skin,
stretching it thin so you can trace the lines
I’d learnt to repeat: do not eat. Do not eat.
Do not let anyone in.
Do not let anything in.
There is nothing worse than letting someone see what you look like on the inside

you cannot make love disappear on command
like you can with a one night stand,
you cannot control sexuality like you can control your calorie intake,
restrict your appetite for more of her taste, give yourself space,
shrink yourself to give yourself more space to waste
and keep looking for love in all the wrong places
as one day your prince will come.

Keep looking
In the company of men, in the bottom of a bottle
blur your eyes so you can no longer recognise
who it is who lies beside you
who that person is in the looking glass,
there is no reflection in the mirror when you
starve yourself thinner and thinner
become the skeleton in your closet
to hang the girl they condemn and call a sinner
but a different kind of hourglass will count
down to 6, not the size, but how many feet
you will be in the ground.
When they open the closet door,
Your bones will no longer be there to be found..

No one tells you can’t read love like the fairy tales beneath your bed.
that your prince may wear a dress and listen to Nirvana,
the heart has no pronoun for a reason
love is not an etchasketch you can shake to change,
it is a kaleidoscope of every colour of the rainbow
with hundreds of different variations
an each one is beautiful


The sixth time I went down on a girl I told her I couldn’t stay long.
That I had to wash my hair, purge myself of her sweet touch.she held out her hand l
like a compass pointing north to home
and said every person has their own northern star
even stars fall.
No one asks them who they are falling for.
Instead we hold out our hands to catch them
And say come as you are.
spoken poetry
His spring was short, and he wore it
damp and dreary with query bulbs lightly
weaved in a soiled waistcoat. He will be
ready for summer.

His summer comes modest, not hot
enough for milking. Answers flower few,
so he dons a leaf-cushioned jacket
and waits for the fall.

His fall arrives late, too sweetly
burning assents of decay. Cracks branch thin,
and he slaps on a sappy topcoat,
with dread of winter.

His winter bustles with a bite,
but its nibbles and noms are blessedly
brief. He sighs, "It's a shame my seasons
can only be four."
This work is licensed under a Creative Commons Attribution 3.0 License.

— The End —