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1

When lilacs last in the door-yard bloom’d,
And the great star early droop’d in the western sky in the night,
I mourn’d—and yet shall mourn with ever-returning spring.

O ever-returning spring! trinity sure to me you bring;
Lilac blooming perennial, and drooping star in the west,
And thought of him I love.

2

O powerful, western, fallen star!
O shades of night! O moody, tearful night!
O great star disappear’d! O the black murk that hides the star!
O cruel hands that hold me powerless! O helpless soul of me!
O harsh surrounding cloud, that will not free my soul!

3

In the door-yard fronting an old farm-house, near the white-wash’d palings,
Stands the lilac bush, tall-growing, with heart-shaped leaves of rich green,
With many a pointed blossom, rising, delicate, with the perfume strong I love,
With every leaf a miracle……and from this bush in the door-yard,
With delicate-color’d blossoms, and heart-shaped leaves of rich green,
A sprig, with its flower, I break.

4

In the swamp, in secluded recesses,
A shy and hidden bird is warbling a song.

Solitary, the thrush,
The hermit, withdrawn to himself, avoiding the settlements,
Sings by himself a song.

Song of the bleeding throat!
Death’s outlet song of life—(for well, dear brother, I know
If thou wast not gifted to sing, thou would’st surely die.)

5

Over the breast of the spring, the land, amid cities,
Amid lanes, and through old woods, (where lately the violets peep’d from the ground, spotting the gray debris;)
Amid the grass in the fields each side of the lanes—passing the endless grass;
Passing the yellow-spear’d wheat, every grain from its shroud in the dark-brown fields uprising;
Passing the apple-tree blows of white and pink in the orchards;
Carrying a corpse to where it shall rest in the grave,
Night and day journeys a coffin.

6

Coffin that passes through lanes and streets,
Through day and night, with the great cloud darkening the land,
With the pomp of the inloop’d flags, with the cities draped in black,
With the show of the States themselves, as of crape-veil’d women, standing,
With processions long and winding, and the flambeaus of the night,
With the countless torches lit—with the silent sea of faces, and the unbared heads,
With the waiting depot, the arriving coffin, and the sombre faces,
With dirges through the night, with the thousand voices rising strong and solemn;
With all the mournful voices of the dirges, pour’d around the coffin,
The dim-lit churches and the shuddering organs—Where amid these you journey,
With the tolling, tolling bells’ perpetual clang;
Here! coffin that slowly passes,
I give you my sprig of lilac.

7

(Nor for you, for one, alone;
Blossoms and branches green to coffins all I bring:
For fresh as the morning—thus would I carol a song for you, O sane and sacred death.

All over bouquets of roses,
O death! I cover you over with roses and early lilies;
But mostly and now the lilac that blooms the first,
Copious, I break, I break the sprigs from the bushes;
With loaded arms I come, pouring for you,
For you, and the coffins all of you, O death.)

8

O western orb, sailing the heaven!
Now I know what you must have meant, as a month since we walk’d,
As we walk’d up and down in the dark blue so mystic,
As we walk’d in silence the transparent shadowy night,
As I saw you had something to tell, as you bent to me night after night,
As you droop’d from the sky low down, as if to my side, (while the other stars all look’d on;)
As we wander’d together the solemn night, (for something, I know not what, kept me from sleep;)
As the night advanced, and I saw on the rim of the west, ere you went, how full you were of woe;
As I stood on the rising ground in the breeze, in the cold transparent night,
As I watch’d where you pass’d and was lost in the netherward black of the night,
As my soul, in its trouble, dissatisfied, sank, as where you, sad orb,
Concluded, dropt in the night, and was gone.

9

Sing on, there in the swamp!
O singer bashful and tender! I hear your notes—I hear your call;
I hear—I come presently—I understand you;
But a moment I linger—for the lustrous star has detain’d me;
The star, my departing comrade, holds and detains me.

10

O how shall I warble myself for the dead one there I loved?
And how shall I deck my song for the large sweet soul that has gone?
And what shall my perfume be, for the grave of him I love?

Sea-winds, blown from east and west,
Blown from the eastern sea, and blown from the western sea, till there on the prairies meeting:
These, and with these, and the breath of my chant,
I perfume the grave of him I love.

11

O what shall I hang on the chamber walls?
And what shall the pictures be that I hang on the walls,
To adorn the burial-house of him I love?

Pictures of growing spring, and farms, and homes,
With the Fourth-month eve at sundown, and the gray smoke lucid and bright,
With floods of the yellow gold of the gorgeous, indolent, sinking sun, burning, expanding the air;
With the fresh sweet herbage under foot, and the pale green leaves of the trees prolific;
In the distance the flowing glaze, the breast of the river, with a wind-dapple here and there;
With ranging hills on the banks, with many a line against the sky, and shadows;
And the city at hand, with dwellings so dense, and stacks of chimneys,
And all the scenes of life, and the workshops, and the workmen homeward returning.

12

Lo! body and soul! this land!
Mighty Manhattan, with spires, and the sparkling and hurrying tides, and the ships;
The varied and ample land—the South and the North in the light—Ohio’s shores, and flashing Missouri,
And ever the far-spreading prairies, cover’d with grass and corn.

Lo! the most excellent sun, so calm and haughty;
The violet and purple morn, with just-felt breezes;
The gentle, soft-born, measureless light;
The miracle, spreading, bathing all—the fulfill’d noon;
The coming eve, delicious—the welcome night, and the stars,
Over my cities shining all, enveloping man and land.

13

Sing on! sing on, you gray-brown bird!
Sing from the swamps, the recesses—pour your chant from the bushes;
Limitless out of the dusk, out of the cedars and pines.

Sing on, dearest brother—warble your reedy song;
Loud human song, with voice of uttermost woe.

O liquid, and free, and tender!
O wild and loose to my soul! O wondrous singer!
You only I hear……yet the star holds me, (but will soon depart;)
Yet the lilac, with mastering odor, holds me.

14

Now while I sat in the day, and look’d forth,
In the close of the day, with its light, and the fields of spring, and the farmer preparing his crops,
In the large unconscious scenery of my land, with its lakes and forests,
In the heavenly aerial beauty, (after the perturb’d winds, and the storms;)
Under the arching heavens of the afternoon swift passing, and the voices of children and women,
The many-moving sea-tides,—and I saw the ships how they sail’d,
And the summer approaching with richness, and the fields all busy with labor,
And the infinite separate houses, how they all went on, each with its meals and minutia of daily usages;
And the streets, how their throbbings throbb’d, and the cities pent—lo! then and there,
Falling upon them all, and among them all, enveloping me with the rest,
Appear’d the cloud, appear’d the long black trail;
And I knew Death, its thought, and the sacred knowledge of death.

15

Then with the knowledge of death as walking one side of me,
And the thought of death close-walking the other side of me,
And I in the middle, as with companions, and as holding the hands of companions,
I fled forth to the hiding receiving night, that talks not,
Down to the shores of the water, the path by the swamp in the dimness,
To the solemn shadowy cedars, and ghostly pines so still.

And the singer so shy to the rest receiv’d me;
The gray-brown bird I know, receiv’d us comrades three;
And he sang what seem’d the carol of death, and a verse for him I love.

From deep secluded recesses,
From the fragrant cedars, and the ghostly pines so still,
Came the carol of the bird.

And the charm of the carol rapt me,
As I held, as if by their hands, my comrades in the night;
And the voice of my spirit tallied the song of the bird.

DEATH CAROL.

16

Come, lovely and soothing Death,
Undulate round the world, serenely arriving, arriving,
In the day, in the night, to all, to each,
Sooner or later, delicate Death.

Prais’d be the fathomless universe,
For life and joy, and for objects and knowledge curious;
And for love, sweet love—But praise! praise! praise!
For the sure-enwinding arms of cool-enfolding Death.

Dark Mother, always gliding near, with soft feet,
Have none chanted for thee a chant of fullest welcome?

Then I chant it for thee—I glorify thee above all;
I bring thee a song that when thou must indeed come, come unfalteringly.

Approach, strong Deliveress!
When it is so—when thou hast taken them, I joyously sing the dead,
Lost in the loving, floating ocean of thee,
Laved in the flood of thy bliss, O Death.

From me to thee glad serenades,
Dances for thee I propose, saluting thee—adornments and feastings for thee;
And the sights of the open landscape, and the high-spread sky, are fitting,
And life and the fields, and the huge and thoughtful night.

The night, in silence, under many a star;
The ocean shore, and the husky whispering wave, whose voice I know;
And the soul turning to thee, O vast and well-veil’d Death,
And the body gratefully nestling close to thee.

Over the tree-tops I float thee a song!
Over the rising and sinking waves—over the myriad fields, and the prairies wide;
Over the dense-pack’d cities all, and the teeming wharves and ways,
I float this carol with joy, with joy to thee, O Death!

17

To the tally of my soul,
Loud and strong kept up the gray-brown bird,
With pure, deliberate notes, spreading, filling the night.

Loud in the pines and cedars dim,
Clear in the freshness moist, and the swamp-perfume;
And I with my comrades there in the night.

While my sight that was bound in my eyes unclosed,
As to long panoramas of visions.

18

I saw askant the armies;
And I saw, as in noiseless dreams, hundreds of battle-flags;
Borne through the smoke of the battles, and pierc’d with missiles, I saw them,
And carried hither and yon through the smoke, and torn and ******;
And at last but a few shreds left on the staffs, (and all in silence,)
And the staffs all splinter’d and broken.

I saw battle-corpses, myriads of them,
And the white skeletons of young men—I saw them;
I saw the debris and debris of all the dead soldiers of the war;
But I saw they were not as was thought;
They themselves were fully at rest—they suffer’d not;
The living remain’d and suffer’d—the mother suffer’d,
And the wife and the child, and the musing comrade suffer’d,
And the armies that remain’d suffer’d.

19

Passing the visions, passing the night;
Passing, unloosing the hold of my comrades’ hands;
Passing the song of the hermit bird, and the tallying song of my soul,
(Victorious song, death’s outlet song, yet varying, ever-altering song,
As low and wailing, yet clear the notes, rising and falling, flooding the night,
Sadly sinking and fainting, as warning and warning, and yet again bursting with joy,
Covering the earth, and filling the spread of the heaven,
As that powerful psalm in the night I heard from recesses,)
Passing, I leave thee, lilac with heart-shaped leaves;
I leave thee there in the door-yard, blooming, returning with spring,
I cease from my song for thee;
From my gaze on thee in the west, fronting the west, communing with thee,
O comrade lustrous, with silver face in the night.

20

Yet each I keep, and all, retrievements out of the night;
The song, the wondrous chant of the gray-brown bird,
And the tallying chant, the echo arous’d in my soul,
With the lustrous and drooping star, with the countenance full of woe,
With the lilac tall, and its blossoms of mastering odor;
With the holders holding my hand, nearing the call of the bird,
Comrades mine, and I in the midst, and their memory ever I keep—for the dead I loved so well;
For the sweetest, wisest soul of all my days and lands…and this for his dear sake;
Lilac and star and bird, twined with the chant of my soul,
There in the fragrant pines, and the cedars dusk and dim.
judy smith Nov 2016
Whether in Montreal, where she was born and raised, or in Delhi, where her award-winning brasserie sits, the stylish chef’s love for gastronomy has always run deep. She came to India to chase her passion about eight years ago, after leaving behind an engineering career and having trained at the esteemed ITHQ (Institut de tourisme et d’hôtellerie du Québec). In 2014, she introduced unusual combinations like oysters with charred onion petals, tamarind puree, and rose vinegar when she became the first Indian chef to be invited to host a solo dinner at the James Beard House in New York City. Also presented there was her very own coffee-table book called Eating Stories, packed with charming visuals, tales and recipes.

In pursuit of narratives

“I am studying Ayurveda so, at the moment, I’m inspired by the knowledge and intuition which comes with that, but otherwise I completely live for stories. Those of the people around me — of spices, design forms, music, traditions, history and anything else I feel connected to.”

Culinary muse

“I truly believe that nature is perfect, so I feel privileged to use the ingredients that it provides, while adding my own hues, aromas and combinations…it feels like I get to play endlessly every day.”

After-work indulgence

“My favourite places to eat at are Cafe Lota and Carnatic Cafe in Delhi, and Betony and Brindle Room in NYC.”

Dream dish

“This salad I created called ‘secret garden’. It’s so beautiful to look at and has such a unique spectrum of flavours…all while using only the freshest, most natural produce to create something completely magical.”

Reception blooper

“Most people make the mistake of over-complicating the menu; having too much diversity and quantity. Wastefulness isn’t a good way to start a life together.”

A third-generation entrepreneur from a highly distinguished culinary family, she runs a thriving studio in Khar where state-of-the-art cooking stations and dining tables allow her to conduct a variety of workshops and sessions. Her grandfather is remembered as the man who migrated from Africa to London to found the brand that brought curry to the people of the UK — Patak’s. She took over as brand ambassador, having trained at Leiths School of Food and Wine and taught at one of Jamie Oliver’s schools in London. What’s more, Pathak is also the author of Secrets From My Indian Family Kitchen, a cookbook comprising 120 Indian recipes, published last year in the UK.

Most successful experiment

“When I was writing recipes for my cookbook, I had to test some more than once to ensure they were perfect and foolproof. One of my favourites was my slow-cooked tamarind-glazed pork. I must have trialled this recipe at least six times before publishing it, and after many tweaks I have got it to be truly sensational. It’s perfectly balanced with sweet and sour both.”

Future fantasy

“As strange as it sounds, I’d love to cater my own wedding. You want all your favourite recipes and you want to share this with your guests. I could hire a caterer to create my ideal menu, but I’d much prefer to finalise and finish all the dishes myself so that I’m supremely happy with the flavours I’m serving to my loved ones.”

Fresh elegance

“I’m in love with microgreens for entertaining and events…although not a new trend, they still carry the delicate wow factor and are wonderfully subtle when used well. I’m not into using foams and gels and much prefer to use ingredients that are fuss-free.”

This advertising professional first tested her one-of-a-kind amalgams at The Lil Flea, a popular local market in BKC, Mumbai. Her Indian fusion hot dogs, named Amar (vegetarian), Akbar (chicken) and Anthony (pork), sold out quickly and were a hit. Today, these ‘desi dogs’ are the signature at the affable home-chef-turned-businesswoman’s cafe-***-diner in Bandra, alongside juicy burgers, a fantastic indigenous crème brûlée, and an exciting range of drinks and Sikkim-sourced teas.

Loving the journey

“The best part of the job is the people I meet; the joy I get to see on their faces as they take the first bite. The fact that this is across all ages and social or cultural backgrounds makes it even better. Also, I can indulge a whim — whether it is about the menu or what I can do for a guest — without having to ask anyone. On the flip side, I have no one to blame but myself if the decision goes wrong. And, of course, I can’t apply for leave!”

Go-to comfort meal

“A well-made Bengali khichri or a good light meat curry with super-soft chapattis.”

What’s ‘happening’

“This is a very exciting time in food and entertaining — the traditional and ultra-modern are moving forward together. Farm-to-fork is very big; food is also more cross-cultural, and there is a huge effort to make your guest feel special. Plus, ‘Instagram friendly’ has become key…if it’s not on Instagram, it never happened! But essentially, a party works when everyone is comfortable and happy.”

A word to brides

“Let others plan your menu. You relax and look gorgeous!”

This Le Cordon Bleu graduate really knows her way around aromas that warm the heart. On returning to Mumbai from London, she began to experiment with making small-batch ice creams for family and friends. Now she churns out those ‘cheeky’ creations from a tiny kitchen in Bandra, where customers must ring a bell to get a taste of dark chocolate with Italian truffle oil, salted caramel, milk chocolate and bacon and her signature (a must-try) — blue cheese and honey.

The extra mile

“I’ll never forget the time I created three massive croquembouche towers (choux buns filled with assorted flavours of pastry cream, held together with caramel) for a wedding, and had to deliver them to Thane!”

Menu vision

“For a wedding, I would want to serve something light and fresh to start with, like seared scallops with fresh oysters and uni (sea urchin). For mains, I would serve something hearty and warm — roast duck and foie gras in a red wine jus. Dessert would be individual mini croquembouche!”

Having been raised by big-time foodie parents, the strongest motivation for their decision to take to this path came from their mother, who had two much-loved restaurants of her own while the sisters were growing up — Vandana in Mahim and Bandra Fest on Carter Road. Following the success of the first MeSoHappi in Khar, Mumbai, the duo known for wholesome cooking opened another outlet of the quirky gastro-bar adjoining The Captain’s Table — one of the city’s favourite seafood haunts — in Bandra Kurla Complex.

Chef’s own

AA: “We were the pioneers of the South African bunny chow in Mumbai and, even now, it remains one of my all-time favourites.”

On wedding catering

PA: “The most memorable for me will always be Aarathi’s high-tea bridal shower. I planned a floral-themed sundowner at our home in Cumballa Hill; curtains of jasmine, rose-and-wisteria lanterns and marigold scallops engulfed the space. We served exotic teas, alcoholic popsicles of sangria and mojito, and dishes like seafood pani puri shots and Greek spanakopita with beetroot dip, while each table had bite-sized desserts like mango and butter cream tarts and rose panna cotta.”Read more at:http://www.marieaustralia.com/formal-dresses-2016 | www.marieaustralia.com/red-carpet-celebrity-dresses
Mark Goodwin Feb 2012
I am The Shoes of Shoes,
which are Solomon’s. Let him polish
me with the oil from his brow, for his gloss
is better than sunshine.

Because of the fragrance of thy ointment buffed
upon me, thy name
is Scent Shine, therefore do the ****** shoes
love thy feet. Stretch me,
with your Shoe-Tree, and I will run
& rejoice with thy feet through
gardens & woods, and across mountains alike.

I am leather, but comely, O ye Daughters
of Shoeshopingham, as The Pile Beneath
the Prophesised Viaduct, and as in the abundant
bottom of The Wardrobe of Solomon.

Look not upon me, because I am leather,
but put me upon thy feet for I
am thy soles.

I am the Rose of Shoe, and the Lilly of The Laces.

As the strong shoes among thorns, so
is my love among The Shod.
As the tongue that tightens to the fruit of the foot, so is
my beloved among The Shod.
His left foot is in my left purse, and his right
foot is my right, tight.
The Polish of My Beloved, behold, cometh
glinting off llyns, he cometh leaping upon
the mountains, with both of me tight on his feet.

Looketh fourth through The Round Window
of Wisdom, through The Lattice see
him shoeing himself with my flesh.

Take us the socked foxes, the little foxes that chew & spoil,
for our shodding is tender.
My Loved Shod’s feet are mine and my leather is his.
Until the day break, and the unshod shadows flee, turn
my Loved Shod, and be thou like the shoe young on the mountains.

Behold, thou art fair, my shoes, behold thou art shoes as fast
as a flock of goats over the Mountain of Shoedon.
Thy laces are like soft strands of moss, which have been spun
& woven in the Workshops of Acorns by The Grubs of Oak.
Thy eyelets are like the sweet slots in which nestle
the seeds of the pomegranate.
Thy tongues are like scarlet leaves fallen from speaking
trees, and thy squeak as I walk in thee is comely.
Thy heal is like the shield that should’ve been
fashioned for Achilles.
Thy two toe caps are as sleek & pert as the twin otters
that fish among the lilies.
How beautiful are thee, shoes for feet, O Goddess’s daughters,
the joints of thy soft foot-slot smooth as the gleam
of jewels, the work of the hands of a cunning cobbler.

O Solomon set me twin shoes as seals
upon thy feet, for Love is as strong
as The Road to Dead we must follow. O
my Loved Shod! for every one
of thy steps you make

in me is my bliss.
from 'Shod', by Mark Goodwin, published by Nine Arches Press

digitally produced audio poem version: http://soundcloud.com/kramawoodgin/song-of-shoes
Because i'd rather avoid you, delete you, ignore you
because the last thing I wanted to was to find myself in the middle of the night before a full day of MEChA activities and workshops writing you a ******* tragic melancholic pathetic love poem
which makes me angry and sad at the same time
talk about intersectionality

because it's hard to survive
and I want to live
and feel loved
and I feel you take me for granted
and in order to honor the love I have for you
I need to let you go
until I can love you as a friend

you taught me to love you without limits
and that's so hard to unlearn

because I learned to wait, to listen, to save, to not expect, to serve, to accept

because I refuse to go on and pretend this love doesn't exist
because I can't be your best friend
comadre, sister or whatever the ******* call it

because you make me feel little, ugly, betrayed, silenced, guilty, unwanted, dependent, anxious,

and because you always expect a reason from me
mientras como de tu plato hondo de soledad y silencio

because I want you to cry like I cried
feel what I felt
believe what I believed
know what I once thought I knew

because I need me whole
and you taught me to love me in fragments.

Because I love you, and love like that is so hard to unlearn. Any theories for that?
Aroused and angry,
I thought to beat the alarum, and urge relentless war;
But soon my fingers fail’d me, my face droop’d, and I resign’d myself,
To sit by the wounded and soothe them, or silently watch the dead.

1

First, O songs, for a prelude,
Lightly strike on the stretch’d tympanum, pride and joy in my city,
How she led the rest to arms—how she gave the cue,
How at once with lithe limbs, unwaiting a moment, she sprang;
(O superb! O Manhattan, my own, my peerless!
O strongest you in the hour of danger, in crisis! O truer than steel!)
How you sprang! how you threw off the costumes of peace with indifferent hand;
How your soft opera-music changed, and the drum and fife were heard in their stead;
How you led to the war, (that shall serve for our prelude, songs of soldiers,)
How Manhattan drum-taps led.

2

Forty years had I in my city seen soldiers parading;
Forty years as a pageant—till unawares, the Lady of this teeming and turbulent city,
Sleepless amid her ships, her houses, her incalculable wealth,
With her million children around her—suddenly,
At dead of night, at news from the south,
Incens’d, struck with clench’d hand the pavement.

A shock electric—the night sustain’d it;
Till with ominous hum, our hive at day-break pour’d out its myriads.

From the houses then, and the workshops, and through all the doorways,
Leapt they tumultuous—and lo! Manhattan arming.

3

To the drum-taps prompt,
The young men falling in and arming;
The mechanics arming, (the trowel, the jack-plane, the blacksmith’s hammer, tost aside with precipitation;)
The lawyer leaving his office, and arming—the judge leaving the court;
The driver deserting his wagon in the street, jumping down, throwing the reins abruptly down on the horses’ backs;
The salesman leaving the store—the boss, book-keeper, porter, all leaving;
Squads gather everywhere by common consent, and arm;
The new recruits, even boys—the old men show them how to wear their accoutrements—they buckle the straps carefully;
Outdoors arming—indoors arming—the flash of the musket-barrels;
The white tents cluster in camps—the arm’d sentries around—the sunrise cannon, and again at sunset;
Arm’d regiments arrive every day, pass through the city, and embark from the wharves;
(How good they look, as they ***** down to the river, sweaty, with their guns on their shoulders!
How I love them! how I could hug them, with their brown faces, and their clothes and knapsacks cover’d with dust!)
The blood of the city up—arm’d! arm’d! the cry everywhere;
The flags flung out from the steeples of churches, and from all the public buildings and stores;
The tearful parting—the mother kisses her son—the son kisses his mother;
(Loth is the mother to part—yet not a word does she speak to detain him;)
The tumultuous escort—the ranks of policemen preceding, clearing the way;
The unpent enthusiasm—the wild cheers of the crowd for their favorites;
The artillery—the silent cannons, bright as gold, drawn along, rumble lightly over the stones;
(Silent cannons—soon to cease your silence!
Soon, unlimber’d, to begin the red business;)
All the mutter of preparation—all the determin’d arming;
The hospital service—the lint, bandages, and medicines;
The women volunteering for nurses—the work begun for, in earnest—no mere parade now;
War! an arm’d race is advancing!—the welcome for battle—no turning away;
War! be it weeks, months, or years—an arm’d race is advancing to welcome it.

4

Mannahatta a-march!—and it’s O to sing it well!
It’s O for a manly life in the camp!
And the sturdy artillery!
The guns, bright as gold—the work for giants—to serve well the guns:
Unlimber them! no more, as the past forty years, for salutes for courtesies merely;
Put in something else now besides powder and wadding.

5

And you, Lady of Ships! you Mannahatta!
Old matron of this proud, friendly, turbulent city!
Often in peace and wealth you were pensive, or covertly frown’d amid all your children;
But now you smile with joy, exulting old Mannahatta!
Mary McCray Apr 2014
(NaPoWriMo Challenge: April 12, 2014)


Can poetry survive? Can we survive as poets?
There are more poets than tigers or black rhinos.
There are more readers of verse than Leatherback Turtles
or all of the Yangtze Finless Porpoise.

Grand Theft Auto, Strive-and-Thrive books,
Brave-New-World movie rentals—
they may have taken over living room pleasures.
But now with our tweets and submittables,

our bad poems travel fast.
The wires and workshops are still full of weedy thinkers
and word-tinkers. Maybe the distribution will change
and who makes the money, like the printing press

set the monks to the curb. The medium was always unstable.
As soon as an invention is born, it begins to die.
Don’t put all your eggs in one anthology.
Speaking of which, we’re not as big as a chicken-

processing lobby, nor our players as emboldened
as enthusiasts visiting Comic-Con. But we’re full of deviance
and underground custom, perfectly respectable as a cult:
religious, novel, obsessively durable.
Sa Sa Ra Dec 2012
In his breakthrough work of channeled literature, I Am the Word, author and medium Paul Selig recorded an extraordinary program for personal and planetary evolution as humankind awakens to its own divine nature. I Am the Word is an energetic transmission that works directly on its readers to bring them into alignment with the frequency of the Word, which Paul's guides call the energy of "God in Action."
Paul was born in New York City and received his Master's Degree from Yale. He had a spiritual experience in 1987 that left him clairvoyant. As a way to gain a context for what he was beginning to experience, he studied a form of energy healing, working at Marianne Williamson's Manhattan Center for Living and in private practice. In the process, he began to "hear" for his clients, and much of Paul's work now is as a clairaudient, clairvoyant, channel, and empath.
Paul has led channeled energy groups for many years. In 2009 he was invited to channel at the Esalen Institute's Superpowers symposium, where he was filmed for the upcoming documentary film Authors of the Impossible. He is the subject of the feature-length documentary film Paul & the Word which will be released late summer, 2011. His workshops in 2011 include Edgar Cayce's A.R.E. in New York City, the Jungian Center in Vermont and the Esalen Institute in Big Sur, Calfornia. Also a noted playwright and educator, Paul serves on the faculty of NYU and directs the MFA in Creative Writing Program at Goddard College. He lives in New York City, where he maintains a private practice as an intuitive and conducts weekly, channeled energy groups.*

Personal and planetary evolution- Live channeling with Paul Selig
http://www.youtube.com/watch?v=CAgh2pXDDls&feature;=youtu.be
Waking Universe With Guest Paul Selig
http://www.youtube.com/watch?v=Z7BI0Lgb9Kk&feature;=youtu.be
You are the first in a generation of conscious beings coming into form and you will make it possible for those that follow to exist more easily in the higher frequencies that are now available.
This is a gift, but this is a massive change.
It’s a tidal wave of light ascending into you as you ascend into it.
--from I Am the Word, a channeled text by Paul Selig
http://www.paulselig.com/welcome/

Paul will be here private event at retreat center New Years Eve,
in PA, USA just over NY border I-84 West;
info and tickets available still here is info!!!
https://www.facebook.com/events/441324579253629/486222241430529/?notif_t=plan_mall_activity

David Bryson is hosting creator of Evolvefest:
http://evolvefest.com/
We are hoping to manifest and barter admission with a video artist who is able to capture this event with 100+ photos and 3 hours of footage and interviews and who can then make and upload a professional 10 minute HD Vimeo/YouTube video of this event for future promotional purposes.
Please let us know of anyone who comes to mind~ ♥


The Juicy Living Tour is about following life – wherever it leads.
This is a healing journey – for all of those participating in this co-creation and who want to let their soul guide them.

Lilou’s mission is to create and host an international communication network to
“inspire, motivate and empower millions of people to pursue their dreams”
and to “help spread joy, freedom and personal awakening”.  
Currently Lilou resides “on the road”  
Where ever the Juicy Living Tour guides her.


To support the juicy living tour and to watch more video interviews, visit;
http://juicylivingtour.com/
I am a poor man
sitting on the corner of
Your Conscious
and Your Reality.
All day everyday
I sit in that spot and
beg for change.
But keep your quarters, nickels, dimes
for someone else
'cause all I want is a cup of change.
A cup of change
to water my feeble hope, thorny rose
rooted in concrete hatred.
Roots, like my fingers,
too feeble to hold anything
but this patch of dirt to remind
me, I exist.
ALMS! ALMS! ALMS for the poor of heart!
But keep your quarters, nickels, dimes
for someone else
'cause all I want is a cup of change.
A cup of change
to wash away the muck kicked in my face.
A cup of change
to cleanse the wounds made
by verbal bullets shot out of nine millimeter mouths
wielded carelessly by boys society has deemed as men.
I sit in this spot and fester,
like a dream deferred.
My skin, cracked and brittle
like aged parchment, hangs over my frame
like sheets over antiqued furniture.
I sit in this spot with
arms open wide, heart open wide, eyes open wide
BEGGING FOR CHANGE!
But keep your quarters, nickels, dimes
for someone else
'cause all I want is a cup of change.
A cup of change
to strip the lies and propaganda
from the decrepit facades of your ideas,
storefront workshops left from the age of enlightenment.
My body yearns for nourishment
but I can't afford your lies.
But keep your quarters, nickels, dimes
for someone else
'cause all I want is a cup of change.
Now I'm not asking for a Jesus on Galilee moment,
just a cup of change to feed what's left of my soul.
But who am I to ask for anything?
I am just the poor man
sitting on the corner of
Your Conscious
and Your Reality.
All day everyday
I sit in that spot and
beg for change.
But keep your quarters, nickels, dimes
for someone else
'cause all I want is a cup of change.
Victor Tripp Jan 2015
DR MARTIN LUTHER KING trained us in workshops based on non-
Violence to resist the water hoses soaking us and knocking us down
On hate filled sidewalks  or the sharp teeth police dogs set upon
Men women children biting our private parts and making meals of
flesh,the billy clubs sprayed tear gas on the EDMUND PETTUS
Bridge, but somehow as I walked saying inside that time will tell about
Me and I glimpsed ahead the resurrection of my soul and manhood
Rising from the dust of shame. We all locked arms together with our
Wounded bodies determined minds and hearts spirits soaring
From DR KING's I HAVE A DREAM words and marching right
On into history
Seán Mac Falls Mar 2015
Things I Can Say About MFA Writing Programs Now That I No Longer Teach in One


"You’re going to need to spend a lot of time alone." - James Yamasaki


I recently left a teaching position in a master of fine arts creative-writing program. I had a handful of students whose work changed my life. The vast majority of my students were hardworking, thoughtful people devoted to improving their craft despite having nothing interesting to express and no interesting way to express it. My hope for them was that they would become better readers. And then there were students whose work was so awful that it literally put me to sleep. Here are some things I learned from these experiences.

Writers are born with talent.

Either you have a propensity for creative expression or you don't. Some people have more talent than others. That's not to say that someone with minimal talent can't work her *** off and maximize it and write something great, or that a writer born with great talent can't squander it. It's simply that writers are not all born equal. The MFA student who is the Real Deal is exceedingly rare, and nothing excites a faculty adviser more than discovering one. I can count my Real Deal students on one hand, with fingers to spare.

If you didn't decide to take writing seriously by the time you were a teenager, you're probably not going to make it.

There are notable exceptions to this rule, Haruki Murakami being one. But for most people, deciding to begin pursuing creative writing in one's 30s or 40s is probably too late. Being a writer means developing a lifelong intimacy with language. You have to be crazy about books as a kid to establish the neural architecture required to write one.

If you complain about not having time to write, please do us both a favor and drop out.

I went to a low-residency MFA program and, years later, taught at a low-residency MFA program. "Low-residency" basically means I met with my students two weeks out of the year and spent the rest of the semester critiquing their work by mail. My experience tells me this: Students who ask a lot of questions about time management, blow deadlines, and whine about how complicated their lives are should just give up and do something else. Their complaints are an insult to the writers who managed to produce great work under far more difficult conditions than the 21st-century MFA student. On a related note: Students who ask if they're "real writers," simply by asking that question, prove that they are not.

If you aren't a serious reader, don't expect anyone to read what you write.

Without exception, my best students were the ones who read the hardest books I could assign and asked for more. One student, having finished his assigned books early, asked me to assign him three big novels for the period between semesters. Infinite Jest, 2666, and Gravity's Rainbow, I told him, almost as a joke. He read all three and submitted an extra-credit essay, too. That guy was the Real Deal.

Conversely, I've had students ask if I could assign shorter books, or—without a trace of embarrassment—say they weren't into "the classics" as if "the classics" was some single, aesthetically consistent genre. Students who claimed to enjoy "all sorts" of books were invariably the ones with the most limited taste. One student, upon reading The Great Gatsby (for the first time! Yes, a graduate student!), told me she preferred to read books "that don't make me work so hard to understand the words." I almost quit my job on the spot.

No one cares about your problems if you're a ****** writer.

I worked with a number of students writing memoirs. One of my Real Deal students wrote a memoir that actually made me cry. He was a rare exception. For the most part, MFA students who choose to write memoirs are narcissists using the genre as therapy. They want someone to feel sorry for them, and they believe that the supposed candor of their reflective essay excuses its technical faults. Just because you were abused as a child does not make your inability to stick with the same verb tense for more than two sentences any more bearable. In fact, having to slog through 500 pages of your error-riddled student memoir makes me wish you had suffered more.

You don't need my help to get published.

When I was working on my MFA between 1997 and 1999, I understood that if I wanted any of the work I was doing to ever be published, I'd better listen to my faculty advisers. MFA programs of that era were useful from a professional development standpoint—I still think about a lecture the poet Jason Shinder gave at Bennington College that was full of tremendously helpful career advice I use to this day. But in today's Kindle/e-book/self-publishing environment, with New York publishing sliding into cultural irrelevance, I find questions about working with agents and editors increasingly old-fashioned. Anyone who claims to have useful information about the publishing industry is lying to you, because nobody knows what the hell is happening. My advice is for writers to reject the old models and take over the production of their own and each other's work as much as possible.

It's not important that people think you're smart.

After eight years of teaching at the graduate level, I grew increasingly intolerant of writing designed to make the writer look smart, clever, or edgy. I know this work when I see it; I've written a fair amount of it myself. But writing that's motivated by the desire to give the reader a pleasurable experience really is best. I told a few students over the years that their only job was to keep me entertained, and the ones who got it started to enjoy themselves, and the work got better. Those who didn't get it were stuck on the notion that their writing was a tool designed to procure my validation. The funny thing is, if you can put your ego on the back burner and focus on giving someone a wonderful reading experience, that's the cleverest writing.

It's important to woodshed.

Occasionally my students asked me about how I got published after I got my MFA, and the answer usually disappointed them. After I received my degree in 1999, I spent seven years writing work that no one has ever read—two novels and a book's worth of stories totaling about 1,500 final draft pages. These unread pages are my most important work because they're where I applied what I'd learned from my workshops and the books I read, one sentence at a time. Those seven years spent in obscurity, with no attempt to share my work with anyone, were my training, and they are what allowed me to eventually write books that got published.

We've been trained to turn to our phones to inform our followers of our somewhat witty observations. I think the instant validation of our apps is an enemy to producing the kind of writing that takes years to complete. That's why I advise anyone serious about writing books to spend at least a few years keeping it secret. If you're able to continue writing while embracing the assumption that no one will ever read your work, it will reward you in ways you never imagined. recommended

Ryan Boudinot is executive director of Seattle City of Literature.
gray rain Aug 2016
I miss the bright blue hair that doesn't stand out.
I miss the croaky voices when we all decided to shout.
I miss the midnight raves in all of their madness.
I miss the people being free and just pure happiness.
I miss just the people and how amazing they are.
I miss the walk to the village 'cause we're all too young to drive a car.
I miss the henna on my arms which instantly washed away.
I miss the pride march and queer disco all of which were pretty ******* gay.
I miss the ****** baloons 'cause why the **** not.
I miss the one ******* girl who I didn't tell was hot.
I miss the political jokes and the question time Q&A.;
I miss the jokes about consent and the woodcraft way.
I miss the workshops on politics, on science, on the war (against fracking).
I miss everything including the café and folk suply store.
V Camp finished today and I miss it already.
Maggie Emmett Jul 2014
This carpet - a Turkish Smyrna -
is made with Gordian knots,
tied by the fine fingers of a child
tied to a loom
by a thin, pale leg.

Every centimetre - a hundred knots
This carpet - two and a half million knots
all Gordian  
tied tightly
by the fine fingers of a child.

Each thread is dyed
with plants
picked by nomad hands
from shifting lands
Henna oranges and Madder reds
Saffron yellows and Indigo blues
Colours bloom and fade
with the change of seasons.

Patterns are centuries old,
never drawn or sketched,
only sung to the young
by the old blind weavers,
who walk the workshops
and the aisles of looms.

In this shadow world
of soured and fetid air
dreamless children
live threadbare under a black sun.

Wide borders holding everything in place
no figures or stories, just a labyrinth
of abstract shape and colour
drawing you in to the treasure
at the centre of the rug.

And the knowledge of the knots
the Gordion knots
tied by the fine fingers of a child
tied to a loom
by a thin, pale leg.
This poem tries to capture the rythmn of the old men singing the patterns. It tries to capture their rich colours an beauty but present the misery of the child labourers.
M Eastman Dec 2014
We are here to remember a woman. For indeed. She was one of those. A woman so vile. So repulsive. We remember her today because we are glad she is dead; for certainly, she may have become the next Idi Amin; for she wore a similar countenance, a hideous sneer permanently grimacing upon her wicked face. Also her love of torture. I recall the other day, when her black steps still cursed our earth, her slapping a cup of change from a homeless man’s hands while a nerve grating cackle escaped from her lips. She screamed into his face, him very frightened, her quite drunk, “Get a job you worthless Jew!”

On top of being a wicked ice queen who was a fan of Aaron Carter, this rotten corpse;  who will more than likely sour the soil here and create a pet cemetery effect on the other corpses, was an insatiable ****. She was the female Wilt Chamberlain. She will add one more to her long list after this service, when the gravedigger defiles her body for the last time, but really, he is the one who will be defiled and I feel sorry for the poor corpse ****** autistic mute who shall soon insert his semi-flaccid member into our not-so dearly departed. His **** will probably fall off.

How unlovable this creature. Quickly now. Help me grab her legs and heave-** her into the woods to be torn apart by the beasts she resembled, body and soul. If indeed she possessed a soul. Who can say? If she did, console yourselves in the fact she is gargling on gallons demon ***** at this very moment.  Her suffering will be legendary, as was assured to me by the Hell raiser himself in a dream I had.

Her death was a brutal one. And ******. Good riddance. Thank you to mortuary affairs for providing a closed casket. The smell was overwhelming. Especially when she was alive.

She leaves behind not just a cheering crowd of happy people, but a child, who now an orphan, will be put to the workshops immediately. Sewing Nike swooshes onto LeBron James limited edition pumps in the triangle shirtwaist factory. Which our society has deemed appropriate for soot covered orphans and their small hands.

Of course. None of these terrible things are true. The deep love I feel for this woman is only matched by the loss I feel at her passing. She was beautiful in life, generous and giving, she expected nothing in return for her many kindnesses. She loved to experience life, and I loved experiencing it with her. I enjoyed every minute I was lucky enough to spend with her.
Certainly, she was a magical girl. Colors will dim, Sounds will be muted, and the world itself is lessened. Goodbye my love for the last time. Rest easy draped in your silken clothing, forever underneath the shades of mountain wildflowers.

Robert E. Howard — 'All fled—all done, so lift me on the pyre—The Feast is over, and the lamps expire.'

William Butler Yeats’ epitaph:
Cast a cold eye
On life, On death
Horseman, pass by!
Some Explanation: The love of my life told me once that if she died, she didn't want anyone to say anything nice about her, mostly about how she stinks, at her funeral. (no one cares when she was alive why should i have anyone pretend they cared now) I promised her i wouldn't say anything nice and we agreed to write each other super mean eulogy's about how we both ****. this is mine for her.  Along with a few of my favorite quotes regarding death
Hands Nov 2012
they have sought me out
when others would not--
could not
find the world that I had
gone off to fall into
and off the edge
into the terrible abyss
where I have made my home.
I
can't find the words to describe
what this is I'm
feeling.
depression
doesn't exist,
a single word cannot describe
the vast and neverending icy oceans
that gently freeze your flesh,
petting and washing your soul
while hoping for its prize.
that cruel and dark mistress
I have many times known,
it has taken me to its darkest depths,
yet
always floats me back up to the top.
that's my problem,
it is
gravity
that always finds me--
gravity
that is on the hunt,
that chases me through the ocean
deep,
the dark-touched caverns and the
crevices full of nothing.
it is
gravity
which always finds me and
surrounds me,
entangles me in its
gentle pressure,
slowly pressing me into
a single point,
a dot on the grid.
I have truly fallen off the map,
untracked and
untouched,
though
they have hunted me in my loneliness,
have sought the scents of my sweet,
bitter tears
to taste and touch and
bottle in their dark and
sinister workshops
where the devil does the disco and
Satan serves his smile.
that
horrible
smile.
it is a wildfire
burning in his mouth,
a burning,
white-hot inferno
which burns me alive
and also
burns me when I'm dead.
I have lived
many lives,
before,
I have died and
come back from the flames
hundreds of times,
before.
I have scattered my ashes in the
chilly ocean of
night's black face,
have lost myself in the rippled edges
of the cold and uncaring cosmos.
these bits of me,
pieces and parts that are gone beyond recognition
coalesce in the waters
and
come together to re-form--
they
shine like stars,
bright and burning
white-hot
distant
points
on the silent grid
of depression's endless oceans
and night's eternal smile.
they have tasted my fear before
Stu Harley Nov 2015
steam-puff
white clouds
bellowed out
from
the
workshop of
the Gods
The meaning of the trustees and the ablution of the signs respectively were based on the word ficare "in the proportion of providing signs and building", as a complement to the concept, in the case of Zefian's Virola, it is given to the ring that rotates in its elliptical as a virtual particle, similar to the Muon. But always in a semantic ring or circle look. Linguistics will attribute both the Virola and the Fero; in this case "leading or leading" The dissociation here is the semantics in the object not entrenched to be used as a common kind of language, but rather as "Virolifero", it is understood that this word will forge the Zefian Arrow into the amalgamation of the ring that leads, to abduct all energies towards a Central Whole. The product of all this energy will be called channeling of the mental representations of the "sign" of signifying, evoking independence in each terminology by itself and represented, rather in the theological physical elementality, associated with the Virolifera plane.

As the treatise of this codex suggests, a term between terms, to assign mnemonic and etymological chaining of meaning most of the appropriation of terminologies attached to a properly vernacular word. The horizon that is stipulated is of a Vernathian nature, where the average life-turning receptacle is of enormous proportions in its multi dynamics, especially in the moral, ethical and theological, especially in matters of emotional articulation associated with a significant meaning. Vernarthian dreams are of Speed of Quantum Physics, therefore they are pure metaphysical and meta-biological, appending to restricted spaces of stimulus and impulse speed, hiding in the residual mass of the unknown, to attribute to them chromatics that is settled in the Corpus Callosum of both hemispheres. Neuroscience yes, but that deposits physical values in the concentration of rest and active energy in areas of the cerebellum, to unleash a choice of names or anthroponyms. Where all the names with a certain alacrity of reason, meaning is attached according to their toponymy, in this case, Virolifero, could be a factor of canceling choices and adaptation of higher energies, on the universe, as a patronage of the Universe "called Rings of Zefian ”endowed with electron elliptical Muon particles.

The signifier of Virolifero will be its phoneme, perhaps more associated with the subject being the ring, associated with its mental representation. This force of Vernarthian thought indicates semantics and phonetics of speculative endowment, for becoming of building rings associated with an eco-physical and eco-environmental scheme. The entire philosophical Vernarthian range has a Sacred Geometry in its verbal and numeral composition, either in the connotation of concepts-ideas and of signs that represent the mental cultural heritage.  Literality will advocate the chronology of gap and verbal-linguistic space, contributing figurative, Greco-Latin barbarisms, such as Virolifero's verbal vigor if we place it in the reference of a building ring, being able to be figurative as a ring that makes or leads according to its practical verbal use dialectical. And in context, it would appear as something sacred in what will be referred to in this Codex of Nuraga Complexes, where each fold of lithosphere will be of the geological relationship between Stonehenge or Nuraga in Sardinia, each one appropriating age in what could be more or less an archaeological conflict of origins, or of comparative aspects of the referenced union, for the end of times, nations, civilizations, political states, and generations of socio-economic persistence. Making an archaeological contextual fact as in these terms, of such references of reception or political exile, but also cultural, adding the terminology of the intracultural contribution of the region. In the argument of Pythagoras and his self-exile in Italy, it is said that he had been condemned to exile from Samos because of his aversion to the tyranny of Polycrates. Around 530 BC settled in Crotona, a Greek colony in southern Italy, where he founded a movement with religious, political, and philosophical purposes, known as Pythagoreanism, and which generated duplicity of context in his sacred mathematical pilgrimage, towards a process of exercise contrary to his own Pythagorean School, expropriating a persona non grata in internal conflicts with personalities from Crotona itself, where he had to flee later. Here ipso facto the verbal exercise exemplifies his transliteration by an unfailing fact, in favor of what emerges from a coercive task, abandoning the same in what placidly sheltered him, and virtually ostracized as an immigrant from Samos.

Hosted the Pythagoreans in Sardinia, Italy.  Being in the colorimetry of the 6th century BC. He was peering into a universe that wasted infusion, clinging to the unknown roots themselves, with undulating harmonies in what we inhabit as an ethical and religious wave and vibrational entity. The prefix Vilori will indicate sacred mathematics, adapting to the numeral and algorithmic harmony of three plus three + 1, which would be the suffix, Fero. The external exaltation of numerical sensations will lie in human sensations already pre-established as a socio-environmental existential order, towards a divine-human being. What is strictly formative is a sacred legacy, since its equivalence is composed of mathematical formulas and figures that all point to the creation of an ambivalent whole, upward and downward proportionate. Focusing on originality of thought and work, embodying the prose, prophecies,  and intensely solid parables.

Vernarth and Etréstles began the attached Rituals in these megalithic complexes. On each Solstice, they arranged sectarians related to this phenomenology, in such a way as to incorporate them into this millenary civilization. They always attacked the archaeological area of Orroli, which is in the center of the soft plateau of Pran'e muru, in a strategic position to control the territory along the middle course of the Flumendosa River. Normally here they performed twilight liturgies similar to those perpetually held in La Mandragora, Sudpichi, Horcondising Region - Chile. Vernarth, always got all the provisions and utensils off the sailboat. Pyramid Torches, Oil Fuels, Sacred Drums, Proved Firewood, Stonework for Obsidian Workshops. Mapuche  wind instruments such as Trutruca, Cultrún and trompe. Buzzers to repel zoomorphic beings of the Bestiary, Alchemy, and Esotericism. Etréstles, coordinated content and other related duties by illuminating all the souls who once lived here. To which Vernarth masterfully adhered, filing them with impressive themes of the prehistoric world. To consider more than five volumes by concept before departure, to then break into the sacred space and meaning, limpid and originating from the session of totem animals and trance with Navajo drums. Each oar looked like a Karibu daunting a maple or a conifer that wanted to change its bark skin for those of the goring of the Karibu or the Moose him. While the eagle with its claws dropped crashing down on the Rehue line to Gnegechen, on the Cultrun, whose plural palpitations of the mandrake wanted to seem to be more than a hallucinogenic thrilling herb.

Describes Vernarth in Regression of him: Theater and Aeschylus, Dance and Athena, gifts from Stonehenge and Borrehaugene in Norway on Viking ships. They walked over the suspicious stones of the Nuragas.  In each ritual in these sets, they concelebrated next to the gorges, through which said river ran, being globally submerged in two artificial lakes until today. A territory deeply marked by man since prehistory, confirming the extraordinary concentration of remains found; from the Neolithic to the Bronze and Iron Ages, Roman times, and the Middle Ages. The Arrubiu was the main bastion, around it, satellite Nuragas gravitated, dominating strategic points and access roads. Near the complex is the tomb of Giants from the Sword, here they would consecrate their dynamics of the Xiphos Hoplite sword, to develop the bronze rites,  as a heritage from the linear insertion of Sardinia with Patmos,  to which they will go after the Solstice from the Nuraga complex. In his prehistoric speeches, he always had to stand out and go back to years prior to 1000 BC. Today it has become the symbol of Sardinia and its distinctive culture. The typical Nuraga is located in a panoramic place and has the shape of a tower with a geometric shape of a truncated cone or divided in half, some higher, others very low, reminiscent of a Tholos (Ancient Greek circular construction). Right here Vernarth, they poured milk and Pranayama, to delineate the points of the Sun to align them with the whims of Brahma and Xifos; swords that are gleaming over the eyes of a stingray. Vernarth, as post-frontal poetry, in treachery that decorated such a hendecasyllable, undertook to rescue the largest real estate fire, from where his own subsistence will hang. In the main protocol, in a drumming trance, he pierced the brains of all those present. Fragments remained everywhere ever imagined, on the timeless Nuragha ruins under the treetops and their Templum. Misleading beings that attacked the underworld of Persephone, and the Nuragic Gods who were elemented, by prevailing in this ceremony that they did not know if it was their own, not knowing that they were included.

Isaías sings (bis): “The presence in the corresponding versed folio makes it relative to the prophecy of the Immanuel born of a ******, which is associated with a similar Virgilian prophecy of Cumana, justifying its prophetic symbolism. Here is the warning that blackens the skies where the light retracts, thousands of attendants in the Nuragas are chained during the announcement of a thousandth that climbs abysses like the fateful Strigoi, and only tribulated pasture will have to transplant rebellions, which lie asleep for the wind of the ideal of incipient spiritual ******* dressed in execration. Has the conflagration of the heart that resists death and agonizes several times in the Templum ritual been unleashed ... The conditions await for the apostates when they refuse the water that does not make them optimal, and makes the radius of obedience of the Vernarthian heart elliptical, full of granules of lumpy Physconia, whose frequency will become embedded in bodies of treacherous, kingdoms and fungal lineages. The reign of the saints will judge diversity on the thrones with devastation in the fatuous beatifications in Pergamum, already admonished by me also in Sardinia”
Codex XIX -  Ultramundis  Nuragas
Fah Jan 2015
I returned to where i fit like a puzzle piece into the transparent rock and the crystalline water,
where the trees grew prehistoric palm fronds, wild grass with a view over islands and shades of blue
where the sand felt like silk
birds flashed by the water, visions of grey bodies, yellow legs and wings shaped like pterodactyls,
the waters reflective surface barely alludes to the cosmos beneath
a teeming reef with blue starfish, red starfish, all manners of little fish, parrot fish, shiny squid in hues of blue purple iridescent as I snorkel I see eye to eye with fishies
the coral how they move or don’t ,
their shapely curves in brain wave formations or flowers in perpetual bloom, perhaps akin to a large mushroom

So I breathe and let my fear go.

This is where showers are outside and doors open all night for the breeze to wash me as I sleep.

Where the sky is shifting all in sight,
miles away rain falls and I delight in the visual ecstasy
of the creative flow
the ease of the wind and the lap lap lap of waves
at tidal flows bubbling in, sloshing out -


No skyline disturbing “skyscrapers” but horizons are in vision and further further
inside and out as
I watched a stacked Cumulus mediocris cloud rain onto the ocean, progressively getting smaller and smaller top down,
I saw a lightning storm illuminate the rising sun behind as moon slice smiles
I saw the reason why the heavens are called heavens
the stars almost close enough to touch, an expansiveness of space
when I breathed
it came inside me and filled me
with the vibrancy of billions upon billions of alchemical workshops, working in conjunction with each other, some element created here, some element come together there.
I paused at the highest point of the rock hill a shooter slings on by
past condensed galaxy middles.

When I breathed the expansiveness of ocean and rocks, reefs and prehistoric vegetation I was filled with expansiveness

It was there that I felt the shadows held friends too
my heart beat slowly , quickly, round up down
until one morning I woke up, transparent too
vibrating so highly becoming nothing
even just for a moment
I felt in unison with the rocks and the waves and the sand
the being I currently am
made up of the same stuff and in there
Oneness
B J Clement Jun 2014
We followed the road for six hundred miles, there were no turnings off except one in all that length . The South Australian desert seemed endless.
We eventually landed at Maralinga on a newly constructed runway with new buildings and workshops, we were impressed to see it all, but we were not allowed to hang about, a peppery little sergeant directed us  to a waiting vehicle, and we were driven to the camp, there were quite a few buildings, offices and stores mostly. But there were three messes, an officers mess, a seargeants mess and an airmans mess, all of the buildings were temporary- corrugated iron roofs and walls, which could get hot enough to burn any unprotected skin. We reported for duty and were allocated a small two man tent each. My tent was located at the end of a long row, there were about three hundred tents I believe, Gordon's tent was located at the opposite side to mine, he was required to work in the decontamination unit, I was to work in the cookhouse- a humble cook's assistant. I grew to love cooking and still do! At that time all national sevice men were only allotted assistant trades, that was ok by me, I loved to eat as well as the next man! Working in the mess was unbearably hot during the day, but pleasant enough at night. The Australian food was excellent, and there was plenty of it. One thing that surprised me was the size of the potatoes, you only got about thirty to a hundred weight, and they were often hollow, caused by the rapid growing season and the sudden start of the dry season. I had the tent to myself. Almost! During the night, a large Iguana-which lived under the duckboards in my tent- would come out of his hole and climb up the side of my tent, between the actual tent and the fly sheet, then it would slide down the other side. this was repeated half a dozen times every night! Some times I used to drop pieces of meat down for it. Then I discovered that there were other less welcome guests! So I stopped feeding them. The first night that I slept there I was puzzled to see a great pile of blankets on the bed, thirteen in all, I thought that must be for two beds. That night when I lay down  to sleep, I only used one blanket, the night was reasonably warm at that time, I woke up later feeling cold, and added another blanket.  This process continued until I had all of the blankets on my bed. The night time temperature plummetted almost to freezing!  One morning when we were off duty after working all night, I and my friends climbed the one hundred foot high water tower to sunbathe. Big mistake, the silver painted tank grew hotter until by ten 'oclock it was too hot to touch, fortunately we had a blanket each, but decending a one hundred foot tower when all the metalwork, including the steel ladder is too hot to touch is a tricky and dangerous pastime!  More anon.
Emayne Jun 2014
For the young who want to

Talent is what they say
you have after the novel
is published and favorably
reviewed. Beforehand what
you have is a tedious
delusion, a hobby like knitting.

Work is what you have done
after the play is produced
and the audience claps.
Before that friends keep asking
when you are planning to go
out and get a job.

Genius is what they know you
had after the third volume
of remarkable poems. Earlier
they accuse you of withdrawing,
ask why you don't have a baby,
call you a ***.

The reason people want M.F.A.'s,
take workshops with fancy names
when all you can really
learn is a few techniques,
typing instructions and some-
body else's mannerisms


is that every artist lacks
a license to hang on the wall
like your optician, your vet
proving you may be a clumsy sadist
whose fillings fall into the stew
but you're certified a dentist.

The real writer is one
who really writes. Talent
is an invention like phlogiston
after the fact of fire.
Work is its own cure. You have to
like it better than being loved.


Marge Piercy
Mike Essig Oct 2015
(Note: The first two lines of this poem were used by Diane Wakoski as a prompt for students in her poetry workshops. I couldn't resist the challenge. The result was this poem. Try it yourself.  - mce)

Next time we meet,
let's keep our clothes on.
Let us observe
the proprieties,
proper and Puritan.
Let us maintain
the distance of fools.
Let us smile
the waxed smiles
of corpses.
Let us pretend
we have never
danced within
one another,
have never sung
unlikely songs
of flesh and desire.
It will be awkwardly
exact and Victorian,
but it will be safe.
No heartbreak will ensue.
Next time we meet,
let's keep our clothes on.
  - mce
rp
Anton Mar 2019
Armed guards, perimeter fences,
no this is not a prison camp.
Are you having a good time?
Solar panels, composting toilets, weaving workshops,
sedation, not sedition.
Our partners distracted,
we find freedom.
I was looking for you for ages,
just not where we agreed.
My friends have taken too much.
I can't find my tent.
I don't know what to do.
The trees are so beautiful
when illuminated by lasers.
I am a ball of light, an orb of perception,
intimately mingling with those that didn't pick me up hitchhiking.
But here we are brothers, and sisters,
don't drop your phone.
see www.messedupthinking.com for more
Paras Jul 2021
Started from ‘call your seniors sir’
these four years have been on roller coaster.
From never missing any lab or lecture,
to going online of entire semester.
From finding every face new in the corridor,
to opening of bottles behind every door.

Long lines running out of the cafeteria,
and now running wild on unemployment hysteria.
Myriad hours spent staring at laptops
and did I mention long boring workshops?
Bonds with eternal laughs and tears
some worth, some broken love affairs.

Timidly walking through the hallway of classrooms,
to bursting crackers inside bathrooms.
Don’t know about the insights on this way;
but guaranteed were new experiences every day.
All these years we had an August run,
or should I say four years of endless fun?

Curiously wandering in pursuit of new teams,
now running against time, chasing dreams.
These bolted doors are testimony to all the screams,
morphing to adulthood from our silly teens.
Unfearful moments strolling in the common hall,
and endless hours practicing basketball.

Cheers to everyone who was part of this journey,
opening up paths of limitless learning.
And some answers I’m still searching,
like who left that chair outside my room; burning!
janet chavarria Aug 2015
A three day extravaganza
of traditional folk music,
and rustic camping bonanza,
relaxing and therapeutic.

dance, crafts, children's activities
presented at the Old Poole Farm.
the ultimate of festivities
in upper salford, a schwenksville charm.

an event you won't want to miss!
workshops, showcases and concerts,
rain or shine, foods galore, what bliss!
lots of sleeveless shirts and short skirts.

jamming and camaraderie share
a great way to spend summer's end.
the Philadelphia folk fair,
an experience to attend!
ConnectHook Apr 2018
Apr 28
Hi all !

Having a great time here in post-modern poetry.
We’ve been on the island since Sylvia Plath croaked in ’63.
It’s been a bit smoggy, incoherent  and gratuitously cryptic, but the prison-guards are super-nice and they let us write Haiku once in a while. There’s this MFA creative-writing place just up the road from the gulag, it’s really charming. They publish a chapbook that 4 people on the island read. They also host workshops, like How to Find Your Authentic Voice and Pushing Language Beyond the Boundaries. Last night we saw some non-identity-politics-driven verse in the nearby wilderness reserve. It had beautiful plumage and made totally weird sounds. (Hey Dylan, you’re remembering to feed my muse, right? Don’t let her out after 5 since she might stay out all night. She does NOT like the free-verse abstract work. Feed her the structured message-oriented stuff to the right of the editorial literary-elite. Thanks ☺ ) Anyway, we’re trapped on this island so if you find someway to get us off, do your best.
PLEEZ tell the editorial prison-guards that we are working on our English Lit MA degrees.
P.S: send the Maya Angelou and Adrienne Rich books soon !!!!!
                                                       Love,
                                                     ­     Rita Dove’s Bookshelf
PROMPT:   draft a prose poem
in the form/style of a postcard
Big Virge Aug 2018
The thought of ... Communities ...
Interests Me .....

because communities NEED ... " UNITY " ...
If they're gonna succeed ...
In ... Keeping The ... " Peace " ... !!!

Peace and Love ...
Can Create ... Harmony ...

Harmony ...
Creates ... Peaceful Streets ...

Streets that require ...
LESS police ... !!!
Because Police are required ...
TOO FREQUENTLY ... !!!!!

Police NEED To ... Recognise ...
How They ... BE ... !!!
cos' Harassment of youth ...
Can UPSET Their ... " Chi " ... !!!

They ...
NEED TO feel .......... FREE ............
to be ... Who They BE ...
Without always fearing ... BRUTALITY ... !!!!!

This comes from ... " Patience " ...
MORE ... " Race Integration " ... !!!!

MORE ... Workshops for THEM ...

They NEED ... Education ... !!!!!

On how our youth are ...
Black Youngsters and Asians ...
and Youthful ... Caucasians ... !!!

Racists NEED .................................................................­................................ REMOVAL ...
from our ... " Police Stations " ... !!!!!

That WASN'T ... " A Dig " ... !!!
But ..........

ABUSE of ... " The Law " ...
Makes .....
Most People ... SICK ... !!!

and this can bring ... TROUBLE ...
when dealing with ... KIDS ... !!!

Communities NEED ...
to ... FIGHT OFF ............... *** - isi - on ... !!!!!

They NEED ... POSITIVE Leaders ...
With Singular ... Visions ...

People, who ... LISTEN ...
to Statements with ... Missions ... !!!!!
NOT People who have ...
"Narrow Minded" ... Opinions ... !!!

From groups run by ... " Muslims " ...
to ... groups run by ... " Christians " ...

DON'T Use Your Religion ...
to ... Build A ...................................................... Partition ... !!!!!

Use Your ... Religion ...
to UNIFY Children ...
cos' UNITY is ...
What Most People are ................................... Missing .......................... !!!

We NEED ... Education ...
That FEEDS ... Information ...
to Help us ................................... AVOID ...
Social .... "depravation" .... !!!!!

There is ... NO EXCUSE ...
for Children's ... STARVATION ... !!!!!!

Private Investment ...
Can Save populations ...
From ...... Discrimination ......

FORGET The ... " Playstation " ... !!!

The games of TODAY ...
NOW NEED ... Alterations ... !!!

Investment is ... NEEDED ...
In REAL .... Recreation .... !!!

Sports Clubs and Parks ...
This ISN'T ... A Call ...

But PLEASE ......
Hear My ... HARK ... !!!!!
cos' ... Those Who DON'T LISTEN ...
REMAIN ... "in the dark" ...

This piece has been ... Written ...
For Peoples' ... PROTECTION ...

Crime DOES NEED ... Inspection ... !!!

Our Youth NEED ... Direction ...
BEFORE They ... End Up Hearing ... !!!!!

"Son you've been sectioned !"

cos' violence can lead to ...
Psychiatrists Questions ... !!!!!!!

Violence is SPREADING ...
A DEADLY ... Infection ... !!!!!!!

THE CURE ... is ...

PREVENTION.

PEACE ... is a word ...
That DESERVES ...

One More Mention ... !!!!!

I Hope what you've read ...
INSPIRES ... " Reflection " ...

So to those who've read this ...
REFLECT ... Upon This ...

Communities WON'T GROW ...
Without ... STRONG CONNECTIONS ... !!!!!
Written upon request, for a community group who wanted something to cover youth crime, and other issues affecting their community ........



Good that LOVE is not life
Good that LOVE is not work
Good that LOVE is not a marriage
Good that LOVE is not an agreement
Good that LOVE is not a signed contract
Good that LOVE is not a Terms of reference
Good that LOVE is not a Job description
Good that LOVE is not an Annual plan
Good that LOVE does not have a budget
Good that LOVE does not have to give account of expenses
Good that LOVE does not have targets
Good that LOVE does not come under HR rules
Good that LOVE does not come under LEGAL laws
Good that LOVE does not follow rules, regulations
Good that LOVE does not care for moral, ethics
Good that LOVE does not get awards, trophies,
Good that LOVE does not get citations, certificates
Good that LOVE does not get applause, fame
Good that LOVE is not a post or position
Good that LOVE does not care of hierarchy
Good that LOVE is not about status and power
Good that LOVE does not fetch you friends
Good that LOVE is not a job or business
Good that LOVE is not about 9 to 5 job
Good that LOVE does not expect meetings, conferences
Good that LOVE does not expect workshops symposiums
Good that LOVE does not make you pretentious
Good that for LOVE one has to wear a fake mask
Good that LOVE does not let you follow any ideology
Good that LOVE is not reimbursed by salary, wage
Good that LOVE is not paid for your work done
Good that LOVE is not found on Internet, social media
Good that LOVE does not bother about likes, dislikes
Good that LOVE does not exist on laptop and mobiles
Good that LOVE is unlike any other relationship
Good that LOVE is not restricted to family & friends
Good that LOVE is not about learning, knowledge
Good that LOVE is not about literacy and education
Good that LOVE does not care for wealth and riches
Good that LOVE is not about decisions and making choice
Good that LOVE does not believe in religions, God/dess
Good that LOVE does not suffer from phobias & neurosis
Good that LOVE does not hide behind ideologies & doctrines
Good that LOVE is liberal and progressive
Good that LOVE is a rebellion against everything
Good that LOVE is the one that kills EGO "I"
Good that LOVE is.... "LOVE"...!




Man is evil ,
he stole from the tree ,
he ate from the orchard ,
the apple ,
the plum ,
the pear ripe ,
yet no fruit did it bear .

How he builds to his own Glory ,
Majesty power  .
How resplendent his works on the sea's ,
Andrews designs his workshops in the ghost of Brunel ,
' even God himself could not sink ,      
    this ship '

How proud am I that New Yorks lights may shine bright tonight .'


Faster and faster she sailed burning coal fires roared ,
pitch black smoke they roared ,
like an uncontrollable beast foaming at it's mouth ,
Child and mother and Father did not awake ,
or like cattle with rats left to their fate .

Nothing was spared for the great and the good ,
Oysters ,
French ice cream ,
Cream of Barley ,
Hors Doeuvie ,
Roast Duck and apple sauce .
lumps of ice on deck enter this cold spring dawn that could only bring death .

The wealthy sailed in boats that heard Angels cry ,
dolls and chairs ,
Kitchen pots and plates ,
mothers held their babies as salt waters swell .

Only the moon that night could ever give away it's secrets to it's starry hosts .
Children were tossed into sacks ,
then into nets pulled up into the Carpathias  ***** ,
Women wandered like lost souls looking for the're men as dawn broke so did the reality of their never ending night .


New Yorks lights shone bright that night ,
not for Titanics waters did they part ,
Pier fifty four greeted the survivors to such surprise .
The thousands that gathered with grief and questions in their eyes .
How many dead ? the death toll rise,
to this never ending night until the violin played and fell forever silent to the sea ,
nearer my God ,
yes nearer my God to thee .

All that remained the crashing of each wave ,
the Atlantic Ocean swollowed whole ,

Swollowed whole .

— The End —