Category Archives: Pain

“This You Chose”

“This You Chose”

This you chose, you know, the lethal wound, external fire,
Internal final cut the cleanest; the choice was never mine.
This you chose; your arms, your scent defined
The borders, walls, the floors, the exposure. Your desires
Say nothing past the yesterdays of pre-dawn, and glad
I was to rest the while, and glad you are that I am gone.
But nothing’s rendered in the late night’s song,
The me in you, and yes! You know the sad
Result: that moon’s pain can not know a sequel.
The senses, these you know , with no contempt,
But radiant resignation in the hours of heat and pure idolatry. Spent,
The sentence stands within this world. These final sentiments rule;
The veil, the truths we’ve always known; the hourglass, the idols of our nights,
Its sands, a closing hush of breath at daybreak when all our meteors take flight.

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“The Greatest Sanctuary”

“The Greatest Sanctuary”

The greatest sanctuary saves, preserves, and seals
The last and latest treasure; final fears are entertained
And in the end repeat themselves penultimate in any age
That’s spent with nothing left to say. The morass of months reveal
Themselves as names, the briefer moments cast in isinglass,
And hung above the door as witness to emotions borrowed to defend
The journey of both giver and what it is that’s given–split ends
That pass at times for purity of desire. Consternation, then, at last
Effaced, those few peas remaining within the pod will spend
Themselves while outward bound to what is after all a dream
Or merely someone’s lunch. They groom together–the sheen
Is frayed–delay is shame when every effort to confirm or to renew offends.
Reconnoitred, what were formerly evergreens
disclose themselves as deciduous devotions
That decry their former riverbeds as puddles, watersheds of desiccated oceans
And long dead seas. . 

“Oh, He Knows”

Summer: Young September's Cornfield 1954 by Alan Reynolds born 1926

“Oh, He Knows”

Oh, he knows, he surely knows that pain,
And in the morning of his life he drew
Himself from deeper wells he knew
He could not fathom, nor did the rain
Object, no rival to his tears, and all he did was dance.
Departing early, Venus rising in the mists of cold Nebraska dawns
Found sweat and pleasures in his skin as he was drawn
To deeper paths beyond the last and lasting chance
To turn aside; but, no! He did not return. And neither
Did he stop till he was well beyond the sleeping town
And found himself the audience of a thousand feathered clowns
Atop the ocean rows of corn and maize and high above the purple ether
Of the shallow island’s edge. The vanities that irrigate his endless thoughts
Were rivers then, and there he danced until he dropped.

…painting at top by Alan Reynolds…

“Sad You Say?”

“Sad You Say?”

Sad you say? I knew you meant it;
Yes, my sadness drained through your fingers
Leaving little more than moisture. Something of me lingers
With you that you own is yours. Summits
Of either joy or pain remain to use the heart, the limits
Of the body—anywhere will do—from head to toe; these, the singers
Intone its presence, equations flatter integers
Enough to anoint themselves exclusive in finite intimates
And variations for the sake of form.  These flights of melancholy
You mistook for yours; as well,  your joys I imagined mine  in the mirror,
And neither of us were the wiser in the final calculation.
If one of us is right, we’ll see our satisfaction and salvation
In what little time remains to us in life; the eternal holy
Light is never long in coming. If one of us is wrong,
…there is no deliverer.

“Pain”

“Pain”

Pain, and the Pacific has had its way, so many tears;
The summons; natural deities, rushing devotees of Southern waters
Join discords of the North and oceanic rivers feed because the glaciers falter.
Nai-no-Kami will no doubt dance. She needs not move far while fears
Of millions, fields and city gates are prey with every passing day.
We view their sighs and gestures, calmly watch and lunch on wonders
At the thought and misery that gorges on the plunder
Of laboured mountains duly noted while we dine. Mere screens relay
Our sympathies as surrogates before us mouth the news in bites, remote,
Confounding empathy of others with our own, and with no more thought
Than is required to vote or tolerate yet another tired announced affair
Convinced we’ve performed our sacred duties. Filtered sage suggestions float
Between commercials; who is dead, and who is dying?
We resign ourselves to daily schedules, and retreat
To mindless repetition, and support of yet another public brawl,
and trash what cannot be understood, change the channel and eat.

“She Drops Her Mysteries”

Fabian Perez 1967 - Argentine Figurative painter - Tutt'Art@ (34)

“She Drops Her Mysteries”

She drops her mysteries, her veiled hints,
And off! “And I’ll be back,” she says, she will
Return with more. The wineglass chilled,
He’s left to savour what remains, discarded lint
From promises that have no manners. What remains
Is no concern: “We’ll touch on that when I return…”
And in the vagaries of something learned
In all of this lies a pattern, some blue vein
Of thought, a misnomer finely wrought
In filigree though no one really cares to hear the tale. Here,
Perhaps, the story should end, so then of course he waits, preferring fear
To anger in the end to fuel the blight and conjure bitter thoughts
That were the table turned there’d be a fresher start,
A simple dinner leaning more toward matter and very little art.

…painting by Fabian Perez….

“They Linger”

estrangement

“They Linger”

They linger by the window; they seek
What’s just beyond not so much from desire but punctuation.
Souls in single file grant noteworthy unction
To the slightest glance howsoever intently; no more than a peek,
And as it happens simply walk on by. Innocuous.  The poet says
That passion will consume its fruits,
And I believe him as the notion suits
The age in which I live or the page I read; but if he seeks a “Yes!”
doubts evaporate like myrrh as she’s quite forgot
When she airs her rooms and threads her loom as if the purpose
in his witness were merely ballast for pain–
All her earthbound joys share the momentary respite
of a rural mailbox, at best a little shelter from the rain
For those who still receive their letters with the circulars. Caught
In fantasies defined in galaxies that disappear at sunrise
there remains the death knell of all wounds and worlds,
A poverty of nouns and adjectives that obfuscate reality
beyond the pale of words.

Stairs

…in interaction and appreciation of the poetic words of Alexander M. Zoltai…

All is
Lost but the
Chance to
Lose it
All.


…in interaction and appreciation of the poetic
words above of

Alexander M. Zoltai…
nfaa.wordpress.com [wordpress.com]

Aptly expressed; a delicious thought, actually.
There is unequalled truth to this, the bailiwick
of those who know no doubt that blessings and curses
of this life are in fact inexhaustible, inextinguishable.

What is left then, but Creation, itself? What courage
does it take to approach all aspiration and consummation
in the ashes? Every planet’s doom is reunion with its star;
every star, its own appointment with the beginning

and the end of all that matters and energy’s just what’s left over.
And perhaps this is, after all, the raison d’être
for the inexhaustible,
the indivisible, inextinguishable

pain or sorrow, joy or bliss
within the mansions of this world.
If it is of God, it will last beyond leaving,
and as the longed for inauguration into the Next.

Be it the either which, expressed quite simply,
the Heavens and Earth may cease to exist–
in fact must in the end expire–but His Word
will never pass away, and neither the one

privy to Its existence;
and like all that is, we are in the end,
indivisible, inextinguishable.
Whilst we breathe, so, too, breeds our sacred company,

so, too, our own clear magnification in direct proportion
to recognition of one another and in the reality
of His oneness, our own dear being,
indivisible, inextinguishable.

“He Lingers”

“He Lingers”

He lingers to the left then for years and more;
She satisfies herself with seconds to the right and even less,
A glance or two at captive lantern lights and sparks addressed
To moths who do not know the reason for
Their fascination nor what sweet dangers lay
In this or that confection spread between days and weeks with little time
To verify the obvious–candles all but disappear
in sunlight and words that rhyme
With fire usually point the way to fatuous invection,
the pox of every yesterday;
And in the convalescence of the early dawn,
her doubts evaporate like myrrh she’s quite forgot
When she airs her rooms as if the purpose
in his witness were merely balm for pain–
All her earthbound joys share the momentary contents
of a rural mailbox, shelter in the rain
For those who still receive their letters with the circulars. Caught
In fantasies defined in galaxies that disappear at sunrise
there remains the death knell of worlds,
The casuistries of nouns and adjectives
that sue for peace beyond the pale of words.

“From Chaos”

“From Chaos”

From chaos comes ordre; it’s a promise
Not a threat, and see to it that you heed
A willing radiance, an acquiescence, the need
For civility in the journey from initial surprise
To final recognition, from knowledge in the eyes
And from the illumined page while both are lost in wanderlust and steal
Away to what for all the world seems
Neither here nor there. Umbrage seeds both choice and compromise
As winter’s cold surrounds the heart’s dissatisfaction,
colder still than death
Itself and not at all to anyone’s liking. Where do joys of spring
Lead but to sorrows in the coming fall and from that fall, the season’s
Proceeds, naked trunks and brittle branches, reason
Feeding hollow hopes and simple traffic in dreams? What’s left,
My friend, but bones of separation
in the present and reunion in eternity?