Category Archives: Lyric Poetry

“Stylish Sandals”

“Stylish Scandals”

Stylish scandals serve as fodder in mists of lotteries  just so
For use in apparitions and delusions of synergies,
Lubricants that cushion stress and emerging currencies
Of incremental confusion bestowed
On callow mettle once more greatly desired than gold
And spun in threads of obsequious obstinacy,
cocoons of comfort from birth to birth I took to be
 Death and dying in the failing in my years of fire and snow:
In short, I will always fell. Pride postponed and sentiments excused,
Somewhere in my purchases rest a greater need
To arrest all that is before it’s brought to naught
And put away and forgotten, the pedestrian slipper and clog untried, unused
With no need to embroider, exacerbate or mark the  erstwhile Golden Rule
Of simple certitude’s aplomb well beyond the need of classic paths and shoes.

“I Found The Day’s Messiah”

Adam

“I Found The Day’s Messiah”

I found the day’s messiah breathing as if to pray;
No prayer, of course, no sign, no moon, no stars, silence—
Balm to souls and solace in a crisis
Of questions—so many hopes lay absurd, what they must say
Gives Animas to eternity and shields a simple fear, the terror
Of these days. I would not ask outright, “I have no words,” then,
Took flight so very tight in twilight when
From cancer and fallen branches—errors,
Really, to the whole—innocence conjures lasting alibis,
Sentinels that never come to rest, fruits of thought pressed
With violence enough to produce the wine—more from less,
Inebriation from what the old man once said. Patient sighs
Amongst the sparrows egg him on while sitting on a porch with me.
“Make peace with the Fathers,” says he, “from Sons of Adam flee.”

Ivory_Cain_Abel_Louvre_AO4052

“This Wishing”

Sitting__Waiting__Wishing_by_eurai

“This Wishing”

I know this wishing to be as natural as breathing; none of us avoids it.
Having said this, still, while it is natural to the head,
It’s anathema to the heart as every affair noises over and over again.
Still, while we know desire, again, we hear that since it’s natural, it’s inevitable, And because it is inevitable, we must accept its rising fevers and all rude and Tumultuous downfall;
Both are natural and both are inevitable.
As there is a hairline difference between virtue and vice,
So too much the same between the crown of natural want
And its evil twin, lust.
Yes, of course I have wishes and hopes
And all that goes with both,
But again, having said this,
I know I am a fool, and there’s an end to it.

…photograph by eurie of DeviantArt…

“The ‘Once’, the ‘Ever'”

…dedicated to Hermann Bloch
1 November 1886– 30 May 1951
“”I shall not die of a cold. I shall die of having lived.”

“The ‘Once’, the ‘Ever'”

The once, the ever, standing in the atrium must burn;
The nexus of the meeting of the feeble lamps are lit as Virgil sits alone,
The flint stone at the confluence of the rivers; a tone
Once heard, a trace no more than words. Ever then discerns
A wisdom in the lengthening of days on end;
A reconciliation of the first sun’s now within
The pale of the last night’s then and all its many-eyed kin;
The End, scintilla of a notion’s distant toast:
“To Cæsar!” Distractions in the movement defer to mortality, defend
The pattern as it is, the peoples’ choice, a proud
Morbidity based in universal song on this, a night of leaving, joy
On this, a day of meeting. Stars and verses, voids,
A universe of empty consummation never executed while clouds
Obscure the moon, as ever toils below;
Perspicuous, yes! the once and only suns express,
So dark a night as never and one more day of less.

.

Block’s Death of Virgil had to be the most ambitious reading of any single novel I have ever read with James’ The Ambassadors right up there with it, but a close second. The stimulus of both novels, however, is incomparable in value and I can suggest that anyone who values the language should read both of them at least once before death simply because they exist; as Everest has been for the mountain climbers, so both novels have been to anyone who reads and loves the language.

Block’s “Virgil” is not fun to read, but it represents an incomparable challenge and once conquered, a kind of badge of honour having braved the greatest storms of both prose and poetry that could be imagined short of blowing out the circuits of both.

With the James novel, it was said that it was his favourite, but apparently almost impenetrable to some readers of his time. To one “Lady ‘whomever’” who complained of this, he advised sticking with it and that once having arrived at a certain point in the narration, the specific gravity or gravitas of that novel would hit and the worth of the whole vindicated. And so it was; I had to read that novel page by page, reading each several times to get anything near clarity in what was being said or where the action of that novel was going. Then, one late afternoon, while cooling off from a very hot shower in preparation for going out for the evening, I decided to sit on my bed, pick up that novel and continue plugging away at it. Suddenly, there it was! A catharsis of unimaginable majesty that hit so hard that I almost cancelled my evening out in order to continue reading to the end. Great works are like that.

For me, there is no “fun” involved in reading, but the rewards are everlasting, something that is rare in the reading of secular prose. Block’s work is a combination of poetry and prose in a mixture I never thought possible until reading “Virgil,” and I cannot imagine now, an equal to this. My sonnet alludes to but one of the thoughts that seem to dance throughout that work in spite of laborious, endless poetry, all of which may be beautiful, but only in small doses like genuine truffles; like chocolate, there are some things in this world that are “legal” but close to lethal in effects, and Block’s “Virgil” comes quite close to that.

 

“Yes, Of Course”

“Yes, Of Course”

Yes, of course, until the consummate act;
That short sweet penultimate gust of wind’s a hurricane
If given half a chance; your word of caution, one’s whispered vain
Imagining breathed from one lost soul to yet another seals a pact
That places infinite variation at naught before the fact
And utter chaos in the glossary. The perfectly inane
Remains so long as everyone understands the midnight train
No longer runs its comforts here between abandoned stations
Formerly retained withal despite the costs and weathered till the waiting
Wooden benches are no longer polished to a shine by anxious travellers’
Backsides, these who only yesterday were soberly assured by cavillers
In all sincerity, “There’s greater worth to companies than to nations;
More to gain from printing presses than revenue beyond debating.”

“Asking Nothing”

Queen-Bee
“Asking Nothing”

Asking nothing, pride itself knows no shame
But that it is not easily offended
By its authors, lasting aeons never once rescinded
As they bear hard against themselves with holy arrogance. Abel’s fame
Was no more great in folly than in triumph; blame,
The greater satisfaction, feeds upon itself, suspended
High above its frozen haven’s wasted heaven, extended
Low and lower than the expectations of his brother, Cain:
“Why,” then, “art thou wroth?” is heard with “What hast thou done?”
And in that instant, seconds into centuries cast their burdens
Leaving only fools to gather and surmise how long it’s been
Since innocence so easily spent itself pursuing means to every end.
If we breathe, we cannot be more anxious than the moon and sun,
And stars whose certain execution and anastrophe scribbles embroidered patterns equal to the physics of a nano-drop, as well, the roaring war of infinitives bound in verses primed that rhyme with energy and matter in the greater cosmic run.

“Happenstance”

Catherine Manchester

“Happenstance”

Happenstance and glory of a measured breath, the sun and moon
And distant scintillating light deranged and rearranged
To suite the insignificance of magnificence of a single scene and page.
Another sentence, a paragraph in which I find myself within a backlit room
To mark the hours the Doppler shadows all misfortune casts.
I have revelled in these signs, these periodic tedious monotonies,
Their very rising at once the thrall before the fall, monopolies
Of time and times again that only now appear to mask
Because when all that is has come to pass I happen to be standing here
A witness to creation’s synergies newly birthed. In the cold stare
Of noonish sunlight I sense with fragile accuracy the beneficial glare
Of all my peculiars, entities and particles that occupy the ear,
Delight the eye, and not so subtly remind me that I am,
And need not doubt the ground on which I stand.

…painting by Catherine Manchester…

“He Delights in Convenient Signs”

vintage_radio_by_jesse-d4xymyv

“He Delights in Convenient Signs”

He delights in convenient signs: the sun, the moon, the stars
The universe, and through illusion his eyes declares the day
And night are one. His view will see its way
Through symbols. He sees all points of value from within or far
Above their azure prison bars of graphs, these atmospheres
That parent all the earth, extending parts per million through to voids
Above, below, and far behind the splay of asteroids,
And solitudes in comets, sunspots, suspect planets, clear
Blue skies, and all twelve scions in the heavens and this
With ease and loving faith with no regard for certitude. Who
Is not taken with parades, grand processions,
Multiples of keen perception spliced with clear impressions,
Curtain calls for universes, wholes in which the paper defines the clues
To occupy the crude sophistication of our many-billioned eyes?
And after all, these cosmic nosegays raise all souls, and take us to the skies.

parallel_universe

…at top, photograph by Jesse on deviantArt.com…

“But That We All Are”

index

“But That We All Are”

But that we all are on the List and die
And once again appear on someone’s right
Or left-hand honoured roll in fame and light
And all that can be cherished, or idolised
Within a spectrum visible, allied,
Augmented well beyond the common sight,
Imagination rife with conjecture’s might,
A lunacy to thoughtful evidence, despised,
The greatest fear to those who would have it so,
Impediment to all that is the mind,
Bliss to hearts who bear the Holy Texts
Of all humanity; the choices grow
To what has sanctified the quest, the line
Of clear succession of life and what comes next.

Matt Adnate

…paintings above, Matt Adnate;  below, Michael Staniak…

“Elevation”

1000000189

“Elevation”

Elevation to a legend, some distant memory
Within a sutra following surely but words that pace themselves
In chalk on blackboards or filling multicoloured leaves in shelves,
Gemutlichkeit in the every room of schools. Their halls must now be
As filled with youth and years as mine have been,
The hours and back again, the morning smiles, the greater lesser thought
By thousands scribbled more or less in haste that are or ought
To be the natural quota on desks and doors. Beauty rests still and unseen
Within the fragile folds of lives and fortunes and in what was planted there
For generations; precursors to a sometime cause begun within my room,
Virtues nurtured, multiplied, and now extending beyond those stalls, and soon,
So very soon, beyond that august spot, the state and bailiwick of mirrors
That were my teachers and what I became to all I knew and all I had to teach:
The world need not wait now for what I gave to every child I ever reached.