Tag Archives: #poetry

Parfüm der Liebe (Love’s Perfume)

My dearest’s eyes are nothing like the sun,
Her lips cannot match life’s red, not one;

If snow is white, her breasts are dun to sight,
Her hair like fire, red as stars delight.

I’ve seen roses, in colors bright and bold,
But none in her cheeks do I behold;

And in some scents there’s greater delight
than in the breath that from my love takes flight.

I love to hear her speak, though music’s strains

Which holds greater enchantment, ’tis truth I maintain;
I’ve ne’er seen a goddess, but my love walks the earth,
And when she treads, it’s with mortal girth.

Yet, by heaven, I deem my love so rare,
As any that false comparisons ensnare.

:: 04.30.2023 ::

Poet’s Notes:

The poem “Parfüm der Liebe (Love’s Perfume)” is a modern adaptation of Shakespeare’s Sonnet 130, with some variations in wording and imagery. The speaker describes his lover in unconventional terms, comparing her to elements that are not traditionally associated with beauty. The contrast between the natural and the idealized forms of beauty is a central theme of the poem.

The first quatrain compares the lover’s eyes and lips to the sun and coral, respectively, and finds them lacking. The second quatrain continues the unconventional imagery, comparing her breasts to dun-colored snow and her hair to black wires. In the third quatrain, the speaker admits to having seen more beautiful roses than those found in his lover’s cheeks, and suggests that some scents are more delightful than the breath of his beloved.

In the final couplet, however, the speaker asserts that his love is rare and precious, even if it does not conform to conventional beauty standards. The poem suggests that true love transcends appearances and external attributes, and that it is the inner qualities of a person that truly matter.

Overall, “Parfüm der Liebe (Love’s Perfume)” is a thought-provoking adaptation of a classic sonnet that challenges traditional notions of beauty and love, and emphasizes the importance of seeing beyond appearances.


What Love Opposed by Love?

WHAT more? If by love then by heart.

If by beauty then by lust.

One by Soul as the other by action while perjured,

the Soul, that is called blame and extreme,

is but a soundless song bird and sinking sun.

Both lost by Light requesting new days.

:: 04.30.2023 ::


River Creatures Speak

CLOSING these eyes
reaching outside all reality
you come inside inevitably
surreal being one
dancing twinkle little toes
being mice is little woe
i lost the bread crumbs of a path
inside this deep green forest
little feet wet upon green grass
stopping i look: out there, under stars,
i saw myself focus on the soul i am
reading, drawing, singing, i found a river
of rivulets and eddies swirling around me
the frog croaked, “important to be authentic!”
The tadpole, “Express your emotions with hesitation!”
The skies, “Those wo care about you won’t be bothered
by what you say, and those who are bothered
do not matter.”

:: 04.30.2023 ::


Clocks In Spring Time

Clocks are omnipresent, constantly ticking, urging us to stay on schedule. Spring, however, is a different story – it refuses to be bound by the limitations of time. The hands of Spring move slowly and steadily, devoid of the mechanical jolts that govern our lives.

Spring is not a machine with gears, weights or springs ticking away inside it. It is a delicate, slender and unencumbered thing that evades the heaviness of our time-obsessed world.

When Spring arrives, we can kiss our beloveds without the tyrannical hold of clocks seeking to govern our every move. In Spring, time loses its grip, and love can bloom freely, without the ticking of the clock interrupting our tender embraces.

:: 04.27.2023 ::


The Balloon Man

Amidst the season of mud,
The small, limping balloon man
Whistles a tune so soft and slight,
And Eddie and Bill, they come running.
Marbles and pirate ships left behind
For it is spring, and the world is full of wonder.

Puddles here and there,
The strange old balloon man
Whistles his song so light and free.
Betty and Isbel, they come dancing
From hopscotch and jump rope,
For it is spring,
And the world is full of life.

The goat-footed balloon man,
He whistles still,
His song so faint and sweet.
And we, like Eddie and Bill,
Like Betty and Isbel,
We run and dance in the spring,
For the world is full of joy.

:: 04.27.2023 ::


Flesh and Tree Barks

As her garments nearly slipped away,
A curious tree outside
Tapped a branch on her windowpane
To glimpse what was inside.

On the hill sat a lecher,
Half-dressed in his easy chair,
Clutching his limbs as they quivered,
As gentle as they could bear.

Meanwhile, a faint beam of light
Trapped in the tree outside
Flitted from his lips
To her breast, like a fly on a flower.

She giggled with a soft, abrupt sound
That shattered into glittering shards,
As her feet slipped under her chemise
And she pleaded, “Please, stop it, Bard!”

Yet I laughed at her cries and moans,
Knowing she truly savored it,
And her eyes quivered beneath my lips,
Closing softly with each little bit.

As her head fell back, she exclaimed,
“Really, this is too much!”
But I silenced her with a kiss,
And she chuckled, wanting more such.

Her clothes were nearly all off,
While outside, the inquisitive tree
Rattled its branches against the pane
To glimpse the secrets it could see.

:: 04.26.2023 ::


BROKEN HEARTS

b(r

ok
en
he
ar
t

s)pli
t

so
ul

b(r

ea
th
le
ss

lo
ve)em
br

ac
ed

sc
ar(s)bu
rst
w
i
th

p
a
i
n

:: 04.23.2023 ::

Poet’s notes:

Form and structure: This poem adopts a distinctive visual form, reminiscent of Cummings’ style, characterized by words and letters fragmented and dispersed throughout the lines. This structure enhances the theme of broken hearts by isolating and splitting individual letters and words, mirroring the shattered and disjointed state of a heart experiencing pain.

Wordplay: The poem features wordplay, including “b(r/ok/en/he/ar/t/s)” and “b(r/ea/th/le/ss/lo/ve).” When read in sequence, these words form “broken hearts” and “breathless love,” respectively. The segmentation of words across multiple lines accentuates the fractured and disjointed nature of a broken heart.

Theme: The poem tackles the theme of broken hearts through vivid imagery such as “split soul” and “scars burst with pain.” These images evoke the emotional distress and suffering accompanying heartbreak, while the poem’s structure and wordplay underscore this theme.

Imagery: The poem employs striking imagery to portray the pain of broken hearts, including “split soul” and “scars burst with pain.” These images elicit the emotional wounds caused by heartbreak, while the mention of “breathless love” alludes to the intensity of love that preceded the heartbreak.

In summary, this visual poem, inspired by E. E. Cummings’ style, effectively employs form, structure, wordplay, theme, and imagery to depict broken hearts powerfully. The poem’s fragmented structure and evocative language collaborate to express the profound pain and emotional turmoil linked to heartbreak, resulting in a poignant and compelling piece.


DEATH, OH DEATH!

When feeling reigns supreme,
What matter as rules of syntax it would seem?
Those who obsess over structure and form
Will never truly experience passion’s storm.

Better to be a fool, wholly consumed,
While spring’s vibrant colors are still in bloom.

My blood boils with a fiery passion,
For kisses are the truest expression,
A greater fate than wisdom can provide,
Lady, I swear by all flowers that preside.

Do not shed a tear for what may never be,
For my greatest thoughts pale in comparison to see
Your eyelids flutter, affirming our love’s rightful place,
Together we will navigate life’s surrealist maze.

So laugh, my love, and recline in my arms,
For life is not a mere paragraph of charm,
And death, oh death, I believe to be no mere punctuation mark.

:: 04.23.2023 ::

Poet’s notes:

The poem celebrates passion and emotion over rationality and structure. I, the poet, suggests that those who are obsessed with structure and syntax will never truly experience the full intensity of emotions. Instead, it is better to be consumed by passion, even if it makes one look foolish. I value physical expressions of love, such as kisses, over intellectual pursuits like wisdom. The poem states that death is not the end, as it is not just a mere “punctuation mark.”

Overall, my poem advocates for the importance of living in the moment, experiencing strong emotions, and embracing love, rather than worrying about the rules of language or the uncertainties of life and death.


Upon the Mighty Mississippi River We Youths

THROUGH lifeless streams,
no guides to steer,
redmen shriek, bowstrings’ gleam,
lashed to stakes, a gruesome leer.

Flemish wheat or English thread,
amidst the din, my guides play,
rivers lead wherever I tread.

gleeful, I dared the stormy brine,
reckless as children in winter’s mirth,
peninsulas freed, chaos divine,
a triumphant hubbub, untamed and unearthed.

skimming lifeless waterways,
guides absent from my course,
redskins’ shouts, quivers’ blaze,
staked haulers, a brutal force.

crews mere shadows,
Flemish wheat and English cloth,
amidst the uproar, guides aglow,
rivers lead wherever I go.

tides raging, a thrill,
reckless as children’s winter play,
wild peninsulas unleashed, fulfillment shrill,
a hubbub of triumphant disarray.

storms blessed my sea watch,
lighter than cork, I danced on waves’ crest,
eternal rollers of doomed botch,
ten nights, defying lighthouse’s quest.

hard apples’ nectar,
green water on my fir’s lap,
blue wine’s wash, a dull vector,
rudder, grappling hook, and vomit’s trap.

immersed in the Sea’s Poem,
stars and light infused,
azure verses devoured, a dream,
a pensive drowned figure, sight diffused.

blue hue, delirious tinge,
slow rhythm beneath daylight’s streak,
love’s pandemonium, wild binge,
lyres surpassed, red ferment it seeks.

skies burst with lightning’s glow,
waterspouts, surf, and currents flow,
evening and dawn strike, aglow,
exalted, a flock of doves in a row.

mystic horrors, sun’s low sight,
violet clots extend their light,
dramatic actors, an ancient rite,
waves roll off quivering shutters in flight.

nights green, snow’s glare,
slow rising kiss to sea’s gaze,
unknown saps, circulating with care,
yellow-blue awakening, singing phosphorous in blaze.

months heavy, following swells,
reefs assaulted, hysterical cows’ shout,
Mary’s feet aglow, calming hells,
oceans wheeze, arousing belief devout.

Floridas mingle, unbelievable to see,
flowers, panthers’ eyes, and human skin,
rainbows stretched like bridal reins, lively,
under seas’ horizon, greenish herds akin.

swamps enormous, fermenting foul,
fish-traps, where Leviathan decays,
avalanches of water, amidst calm’s scowl,
cataracting distances, abyssal pathways.

glaciers, silver suns, nacreous waves and skies ablaze,
hideous strands, at end of brown gulfs witnessed to amaze,
giant serpents devoured by bedbugs’ fray,
fall down from gnarled trees, black scent in dismay.

showing children sunfish of blue wave,
fish of gold, singing fish, all aglow,
foam of flowers rocking in rave,
ineffable winds winging, aglow.

martyr, tired of poles and zones,
sea’s sob creating a gentle roll,
dark flowers with yellow cones,
like a woman on her knees, remaining whole.

resembling island tossing on my sides,
quarrels and droppings of noisy birds endured,
sailing on, through fragile ropes in strides.

:: 04.19.2023 ::

Poet’s Notes:

The poem depicts a journey through various landscapes and experiences, ranging from peaceful to violent, from beautiful to grotesque. The poet is navigating through lifeless streams, where there are no guides to steer them. He witnesses the brutality of native people being lashed to stakes and the gleam of their bowstrings. The poet then reflects on the joy he experiences in daring the stormy brine and being reckless like children at play. The poem takes a surreal turn as the poet becomes immersed in the sea’s poem, seeing mystical horrors and experiencing love’s pandemonium.

The poem is divided into several stanzas, each focusing on a different aspect of the journey. The language used is rich and vivid, evoking strong sensory images and creating a dream-like atmosphere. The use of repetition, such as the phrase “rivers lead wherever I,” reinforces the sense of the journey’s flow and continuity. The poem also makes use of poetic devices such as alliteration and internal rhyme, adding to the musicality of the text.

Overall, the poem is a reflection on the journey of life and the varied experiences it can bring. The imagery and language used create a sense of both wonder and danger, reminding us that life can be both beautiful and brutal.


Let the World Laugh at Me

I see you walking down the street
Head down, eyes glued to your feet
You try to hide the love you feel
But your heart, it just won’t heal

How you feel two foot small

You don’t have to hide your love from me
Let your heart and soul be free
Take a chance and you will see
Love can be your destiny

And everywhere, how people stare
but never listen to their laughs

How I know it’s hard to take that leap
And let your heart skip a beat
But don’t be afraid to take that chance
And let love lead you in the dance

Love will find it’s way

You don’t have to hide your love from me
Let your heart and soul be free
Take a chance and you will see
Love can be your destiny

How could anything you say be less
than what my heart hears!

Hey! Love can be the brightest light
And guide you through darkest nights
Don’t let your fears hold you tight
Take a chance and let your love take flight!

Love will find it’s way

You don’t have to hide your love from me
Let your heart and soul be free
Take a chance and you will see
Love can be your destiny

So take my hand and let’s go
Together, we’ll let our love grow
Don’t be afraid to let it show
Love can be the greatest thing you know.

:: 04.19.2023 ::