Tag Archives: poetry

“Waiting”

Waiting-for

“Waiting”

Waiting. Waiting. From where I sit
I see but platitudes of prepositions in multitudes in wait,
Rapacious greyhounds―verbs and nouns cut off at the gate—
While dangling snails modify themselves in the gambit
Toward their verbal soup seeking refuge.
What’s quick and nearer are the terrors
Writ and easy abscess to blatant errors
In the long run baked in the heat of subterfuge:
Aye me! What act that roars so loud and thunders in the index?
Yet pundits scream and stream the name of truth
With the watchword “Breaking news!” Abstruse,
Perhaps, yes! Obtuse and perpendicular to a blatant text
Announcing nothing more than ounces first, then gallons
Of bile and holiness at the claw and retribution in the talons.

“He Will Not Compromise”

fox

“He Will Not Compromise”

He will not compromise the stock, his private petri dish.
A line of foxes frolicking through the sheep must prick
The curiosity of any pilgrim pausing at the brook; the brick,
And mortar, tools of what a man constructs, the wish
That something happen here. Daubs of oil in the dish
Will draw the brush to do what must be done. The stick
Will find his cousins own the table; wicks
Are there, (if left unused) while golden fish,
Apparently at rest, take turns about the bowl
If only to sustain the journey to the point of death.
And so the heady phrase and weighty line:
While others may or may not find the rhyme
We neither weigh the consequence of natural signs nor pay the toll,
The fee for what it means to know the glory of the seed
within the bank of blanket soils of every soul.

fox1

“A Respite”

“A Respite”

A respite in the air today and news,
And down the chute comes something nice,
Some piece of fond assurance, the sweetness of advice
To justify past days and weeks of toil and views
Obscured by all that’s loud and cumbersome above;
Below, scenarios of arteries and paths
Through streets on seamless days. No dragons’ nostrils’ wrath
Knows no better than to lie between the wings of doves
Or gentle nestlings in the palms of all the psalms of fortune.
Today a gentle width in avenues and boulevards
And all the right-of-ways are opened wide, the gloss of plastic cards
In bank machines, the brighter melodies of shallow i-Tunes
Whistled in the mind on buses at the hour of noon.
A mystery witnessed in the heart, eternity cut short too soon.

“What?”

night-in-crimea2

“What?”

What? could they not wait? Justice always outs in time;
What? since Abel, not enough blood? Soils do not leave
Themselves a choice in these matters; mothers grieve
As doctors weave solutions; where once their limbs aligned,
They are no more. And, for a bowl of soup this Esau
Yields at ought his heritage? Who isn’t fooled in the dimming eyes of Isaac
In the aftermath? Reconciliation, you say? Can a Caveat
To destiny be forgiven, and where the wound is raw
Can any skin but the tougher scars be grown from what is sown?
And when the perpetrators contemplate their last actions,
The rupture of the children; the bodies, the lasting hideous imagination
Of that day along the Ides of April for which no religous idyll can atone.
O Crimea now, O Syria then, O America ever vigilant!
O streets and markets free but never far from the malignant.

night-in-crimea

“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…

“The Cul-de-sac”

cul

“The Cul-de-sac”

The cul-de–sac within a maze does not wait
For introductions from the chair but bends the warp in time
To suit the labyrinth of audience, tempo and subtle rhyme
No greater than space required for one more trophy, a gilded plate
Or just another knickknack on the shelf; the current season’s wake
Allows so little time to plan for sudden guests whose line-up
At the door’s so crudely cumbersome and misaligned
That any gust of wind or shallow breeze contemplates
An exodus and the elevation of a queue to the rank of stampede.
No, we need no fire to raise alarms and no petrels to sing
The hourly anthem. Still it’s not so much what is, but what’s developing
That throws all order to the winds and what’s believed
Trumps what’s been gained upstaging all former rectitudes
And satisfaction, leaving grace disgraced and little left but platitudes.

… painting by Antonio Fontanesi…

“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.

“Someone Questions”

deep-colours-14s

“Someone Questions”

…a question of mood and atmosphere…

Someone questions; in the soul who asks,
A sense of limitless flight, as in a light cast against
A cosmic scrim, a naked form made indisposed, concupiscence
So well hedged in that even snakes and asps
Imagine kingdoms, place and calling. One seeks
Solace in the stars drawn loosely in the dawn in meadows where the lark
And scissortail fly with grace and prudence safe within the dark
And moonlit bosom of the ether side of night. These may speak
In early evening mists as harbingers of loss or sparks, a dawn’s execution’s stay
For both are lost at first appearances of the other’s prescient rites.
Someone’s asking too many questions, standing, stupid in astonishment―slights
To similitudes, approbation of the moon in the cold blue light of day―
And while away their twilight hours in repetitious casting of the bones and runes,
Hers the scarlet crystals, his the blue,
Placated in the midnight for a time. Softly moving, flowing purples
Prove longing in the hurried bower. Sentiments, interpreted
In their yearning by a greater sight, a gilded purity, requests to know
A deeper joy in stations far above their own. These! the strident yellows,
Richest apricots, stealth in forest greens, and in their mirrors’ prisms others
In the rainbow’s richest hues. Truculence and degradation spawn another
Third, a half note difference that in the hour makes no sense. These! their fellow
Travellers pause but moments in this place and for all intents
And purposes yield to what they think has come pass. Conclusions
Mount in efforts to remember who it was could do this to whom. Confusion
Circumvents the purpose of reunion when their synergies, delayed, are bent
Distorting content, vanities and what they both have willed:
A blindness in the heart and mind while all precocious certitude is stilled.

deep-colours

“Limbs”

“Limbs”

Limbs, appendages, extensions, sinew stretched
Across the chasms, voids, and axles
Of Creation, forms to occupy the mind; cosmic jackals,
Vain imaginings sprung from fractals, etched
In plaited mesh and skeletal remains combine
To people thought and populate scenarios.
Nothing ever quiets the machine, the interim’s need will borrow
Legitimacy and gravitas from life’s single habit, refine
Its use for lifetimes, the penultimate line in verses
Penned to presage the tentative, the simple strokes of time.
Transition’s in the air, my friends, and next in line
For what’s about to come to pass might well be curses
For the speed with which the world embraces in exchange for its mistakes.
Only the Creator weds the art of accident to apposition for its own sake.

“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.