Where the Sidewalk Ends | Poem| by Shel Silverstein

Where the Sidewalk Ends
by Shel Silverstein

There is a place where the sidewalk ends

And before the street begins,

And there the grass grows soft and white,

And there the sun burns crimson bright,

And there the moon-bird rests from his flight

To cool in the peppermint wind.

Let us leave this place where the smoke blows black

And the dark street winds and bends.

Past the pits where the asphalt flowers grow

We shall walk with a walk that is measured and slow,

And watch where the chalk-white arrows go

To the place where the sidewalk ends.

Yes we’ll walk with a walk that is measured and slow,

And we’ll go where the chalk-white arrows go,

For the children, they mark, and the children, they know

The place where the sidewalk ends.

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The Highwayman | Poem| by Alfred Noyes

The Highwayman
by Alfred Noyes

PART ONE

The wind was a torrent of darkness among the gusty trees,

The moon was a ghostly galleon tossed upon cloudy seas,

The road was a ribbon of moonlight over the purple moor,

And the highwayman came riding–

Riding–riding–

The highwayman came riding, up to the old inndoor.

He’d a French cocked-hat on his forehead, a bunch of lace at his chin,

A coat of claret velvet, and breeches of brown doeskin;

They fitted with never a wrinkle: his boots were up to the thigh!

And he rode with a jewelled twinkle,

His pistol butts a-twinkle

His rapier hilt a-twinkle, under the jewelled sky.

Over the cobbles he clattered and clashed in the dard inn-yard,

And he tapped with his whip on the shutters, but all was locked and barred;

He whistled a tune to the window, and who should be waiting there

But the landlord’s black-eyed daughter,

Bess, the landlord’s daughter,

Plaiting a dark red love-knot into her long black hair.

And dark in the dark old inn-yard a stable-wicket creaked

Where Tim the ostler listened; his face was white and peaked;

His eyes were hollows of madness, his hair like moldy hay,

But he loved the landlord’s daughter,

The landlord’s red-lipped daughter,

Dumb as a dog he listened, and heard the robber say–

“One kiss, my bonny sweetheart, I’m after a prize tonight,

But I shall be back with the yellow gold before morning light;

Yet, if they press me sharply, and harry me through the day,

Then look for me by moonlight,

Watch for me by moonlight,

I’ll come to thee by moonlight, though hell should bar the way.”

He rose upright in the stirrups; he scarce could reach her hand,

But she loosened her hair i’ the casement! His face burnt like a brand

As the black cascade of perfume came tumbling over his breast;

And he kissed its waves in the moonlight,

(Oh, sweet black waves in the moonlight!)

Then he tugged at his rein in the moonlight, and galloped away to the West.

PART TWO

He did not come in the dawning; he did not come at noon;

And out o’ the tawny sunset, before the rise o’ the moon,

When the road was a gypsy’s ribbon, looping the purple moor,

A red coat troop came marching–

marching–marching–

King George’s men came marching, up to the old inn-door.

They said no word to the landlord, they drank his ale instead,

But they gagged his daughter and bound her to the foot of her narrow bed;

Two fo them knelt at her casement, with muskets at their side!

There was death at every window;

And hell at one dark window;

For Bess could see, through her casement, the road that he would ride.

They had tied her up to attention, with many a sniggering jest;

They had bound a musket beside her, with the barrel beneath her breast!

“Now keep good watch!” and they kissed her. She heard the dead man say–

Look for me by moonlight;

Watch for me by moonlight;

I’ll come to thee by moonlight, though hell should bar the way!

She twisted her hands behind her; but all the knots held good!

She writhed her hands till her fingers were wet with sweat or blood!

They stretched and strained in the darkness, and the hours crawled by like years,

Till, now, on the stroke of midnight,

Cold, on the stroke of midnight,

The tip of one finger touched it! The trigger at least was hers!

The tip of one finger touched it; she strove no more for rest!

Up, she stood to attention, with the barrel beneath her breast,

She would not risk their hearing; she would not strive again;

For the road lay bare in the moonlight;

Blank and bare in the moonlight;

And the blood of her veins in the moonlight throbbed to her love’s refrain

Tlot-tlot; tlot-tlot! Had they heard it? This horse-hoofs ringing clear;

Tlot-tlot, tlot-tlot, in the distance? Were they deaf that they did not hear?

Down the ribbon of moonlight, over the brow of the hill,

The highwayman came riding,

Riding, riding!

The red-coats looked to their priming! She stood up, straight and still!

Tlot-tlot, in the frosty silence! Tlot-tlot in the echoing night!

Nearer he came and nearer! Her face was like a light!

Her eyes grew wide for a moment; she drew one last deep breath,

Then her finger moved in the moonlight,

Her musket shattered the moonlight,

Shattered her breast in the moonlight and warned him; with her death.

He turned; he spurred to the West; he did not know who stood

Bowed, with her head o’er the musket, drenched with her own red blood!

Not till the dawn he heard it, his face grew gray to hear

How Bess, the landlord’s daughter,

The landlords black-eyed daughter,

Had watched her love in the moonlight, and died in the darkness there.

Back, he spurred like a madman, shreiking a curse to the sky,

with the white road smoking behind him, and his rapier brain dished high!

Blood-red were his spurs i’ the golden noon; wine-red was his velvet coat.

When they shot him down in the highway,

Down like a dog on the highway,

And he lay his blood on the highway, with a bunch of lace at his throat.

And still of a winter’s night, they say, when the wind is in the trees,

When the moon is a ghostly galleon tossed upon cluody seas,

When the road is a ribbon of moonlight over the purple moor,

A highwayman comes riding–

Riding–riding–

A highwayman comes riding, up to the old inn-door.

Over the cobbles he clatters and clangs in the dark inn-yard;

He taps with his whip on the shutters, but all is locked and barred;

He whistles a tune to the window, and who should be waiting there

But the landlord’s daughter,

Bess, the landlord’s daughter,

Plaiting a dark red love-knot into her long black hair.

Last updated August 31, 2015

Highwayman Poem

The Highwayman poem tells the story of an unnamed highwayman who was in love with Bess, a landlord’s daughter. Betrayed to the authorities by Tim, a jealous ostler, the highwayman escapes ambush when Bess sacrifices her life to warn him. Learning of her death, he dies in a futile attempt at revenge, shot down on the highway. In the final stanza, the ghosts of the lovers meet again on winter nights. This poem is reputed to be the best narrative poem of all time for oral delivery.

The poem makes effective use of vivid imagery for the background and of repetitious phrases to create the sense of a horseman riding at ease through the rural darkness to a lovers’ tryst or of soldiers marching down the same road to ambush him. Almost half a century later, Noyes wrote, “I think the success of the poem… was because it was not an artificial composition, but was written at an age when I was genuinely excited by that kind of romantic story”.

4.4 stars – based on 285 reviews

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Love Arm’d | Poem| by Aphra Behn

Love Arm’d
by Aphra Behn

Love in Fantastique Triumph sat,

Whilst bleeding Hearts around him flow’d,

For whom Fresh pains he did create,

And strange Tryanic power he show’d;

From thy Bright Eyes he took his fire,

Which round about, in sport he hurl’d;

But ’twas from mine he took desire,

Enough to undo the Amorous World.

From me he took his sighs and tears,

From thee his Pride and Crueltie;

From me his Languishments and Feares,

And every Killing Dart from thee;

Thus thou and I, the God have arm’d,

And sett him up a Deity;

But my poor Heart alone is harm’d,

Whilst thine the Victor is, and free.

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Messy Room | Poem| by Shel Silverstein

Messy Room
by Shel Silverstein

Whosever room this is should be ashamed!

His underwear is hanging on the lamp.

His raincoat is there in the overstuffed chair,

And the chair is becoming quite mucky and damp.

His workbook is wedged in the window,

His sweater’s been thrown on the floor.

His scarf and one ski are beneath the TV,

And his pants have been carelessly hung on the door.

His books are all jammed in the closet,

His vest has been left in the hall.

A lizard named Ed is asleep in his bed,

And his smelly old sock has been stuck to the wall.

Whosever room this is should be ashamed!

Donald or Robert or Willie or–

Huh? You say it’s mine? Oh, dear,

I knew it looked familiar!

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Is an Angel a God or Schrödinger

Is an angel a God?
Is a molecule also a galaxy
where people are living lives
that go by so fast to us
that we can’t measure them?
Is our galaxy also a molecule in a world
that could not measure
my life because
it goes by so fast?
Is the kitchen there when I’m in the bedroom?
Quantum Quality from Amazon
We ship you a cat,
in a box.
If he lives
he lives

………David Michael Jackson…Operator in chief of this here thing

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Where the Sidewalk Ends | Poem| by Shel Silverstein

Where the Sidewalk Ends
by Shel Silverstein

There is a place where the sidewalk ends

And before the street begins,

And there the grass grows soft and white,

And there the sun burns crimson bright,

And there the moon-bird rests from his flight

To cool in the peppermint wind.

Let us leave this place where the smoke blows black

And the dark street winds and bends.

Past the pits where the asphalt flowers grow

We shall walk with a walk that is measured and slow,

And watch where the chalk-white arrows go

To the place where the sidewalk ends.

Yes we’ll walk with a walk that is measured and slow,

And we’ll go where the chalk-white arrows go,

For the children, they mark, and the children, they know

The place where the sidewalk ends.

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Walking Around | Poem| by Pablo Neruda

Walking Around
by Pablo Neruda

It so happens I am sick of being a man.

And it happens that I walk into tailorshops and movie

houses

dried up, waterproof, like a swan made of felt

steering my way in a water of wombs and ashes.

The smell of barbershops makes me break into hoarse

sobs.

The only thing I want is to lie still like stones or wool.

The only thing I want is to see no more stores, no gardens,

no more goods, no spectacles, no elevators.

It so happens that I am sick of my feet and my nails

and my hair and my shadow.

It so happens I am sick of being a man.

Still it would be marvelous

to terrify a law clerk with a cut lily,

or kill a nun with a blow on the ear.

It would be great

to go through the streets with a green knife

letting out yells until I died of the cold.

I don’t want to go on being a root in the dark,

insecure, stretched out, shivering with sleep,

going on down, into the moist guts of the earth,

taking in and thinking, eating every day.

I don’t want so much misery.

I don’t want to go on as a root and a tomb,

alone under the ground, a warehouse with corpses,

half frozen, dying of grief.

That’s why Monday, when it sees me coming

with my convict face, blazes up like gasoline,

and it howls on its way like a wounded wheel,

and leaves tracks full of warm blood leading toward the

night.

And it pushes me into certain corners, into some moist

houses,

into hospitals where the bones fly out the window,

into shoeshops that smell like vinegar,

and certain streets hideous as cracks in the skin.

There are sulphur-colored birds, and hideous intestines

hanging over the doors of houses that I hate,

and there are false teeth forgotten in a coffeepot,

there are mirrors

that ought to have wept from shame and terror,

there are umbrellas everywhere, and venoms, and umbilical

cords.

I stroll along serenely, with my eyes, my shoes,

my rage, forgetting everything,

I walk by, going through office buildings and orthopedic

shops,

and courtyards with washing hanging from the line:

underwear, towels and shirts from which slow

dirty tears are falling.

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Life and Opinions of Doctor BOP the Burnt-Out-Prof. Collected Poems by EM Schorb. Reviewed by Robin Ouzman Hislop

 
Excerpt from
Life and Opinions of Doctor BOP

 
A poem is a posit, an assertion, an act,
and in action we forget fear: respite
in creation, the maker takes a stand, in making,
but is it a stand no better than gimmick-makers make?
Well, poetry possesses the virtue of being a record,
at least, and you can date a poem, if you wish,
thus giving it the merit of a worldly fact
contained in a system of time, which, admittedly,
is a system which is perhaps pseudo-fact itself,
or will become so as matter completes its withdrawal
upon itself to revisit its beginnings in a black hole in space;
and yet, until then, something like a fact,
a fact in the sense that Sherlock Holmes is almost real
and lives in Baker Street in a fictional series
in a real world that may exist only in a dream
that is being dreamed elsewhere, perhaps—dare I say—
by Yahweh; and so poetry becomes an actual little stab
and, poets hope, rip in the black sheet
that covers the deserted, haunted mansion.
 
 
Reviewed at:
 
Amazon.co.uk Life and Opinions of Doctor BOP the Burnt-Out-Prof and Other Poems . See also: Amazon.com
 
Amazon.co.uk Emanations from the Penumbra Poems EM Schorb See also: Amazon.com
 
Review of
Life and Opinions of Doctor BOP
by
Robin Ouzman Hislop (Editor of PLT)
 
 
Many poets often turn to playwrites, more so than the other way about, and undoubtedly, imo, EM Schorb’s early background in theater has led to his latest theme in poetics “Life and Opinions of Doctor BOP ( the Burnt – Out – Prof and other Poems)”. In fact, it seems to me, the entire text hovers between sketches, vignettes, and biographic autobiographical narration in the first person. As a European, but one who has followed, as well, with keen interest North Amercan academia in poetics. As much as philosophy, related to cosomology and evolutionary concerns in the new sciences. It comes as an edifying experience to be introduced to the home grown frantics of North American Campus life, or insomuch, the affect it has had on our character in question, Doctor BOP. Actually, in the reading of the first part of this three part volume, a practically epic poem consisting of some seventeen pages, I was strangely reminded of the later short story writings of JD Salinger’s depiction of University life as an undergraduate English lecturer. He was in fact, as he describes himself, a rather reclusive English lecturer. And one of his passages springs vividly to mind, as he mentions in a more or less autobiographical narration, how as a now muchly graying and aging professor, he hastily makes himself scarce, the moment a group or anything like of under 40’s looms on his horizon, (on the Campus). A far cry from the days of Catcher in the Rye, perhaps we might encounter our Doctor BOP, as Schorb portrays him, as having travelled a somewhat similar way, perhaps a universal way of all burnt-out-profs. At least for the birth of our Doctor BOP, as he emerges from the Yiddish community, where due to a series of social phenomena peculiar to North American modern history, he finds himself born into the world of academia at midriff with his family’s origin, social background and status. Here Schorb brings his own background knowledge of Yiddish custom and vocabulary into full play in all its richness, in the first part of the central theme to the work. It is but one of the literary treats he devises. The whole text is replete with a classical apotheosis, religious epitomes, literary analogues and philosophical allusions, all of which abound in the head of Doctor BOP, as he makes his final but defiant bow before the world. The poems obviously are tragico/comico, there is satire, irony, bitterness, humour and kindness blended together with eruditeness. The text is littered with phrases in Latin, Greek, Yiddish, Spanish, we even have augenblick (in the blink of an eye, or in the moment) for Hamlet in German, and of course, Orator fit, poeta nascitur, poeta nascitur, non fit. (A speaker is made, a poet is born, not made). According to Doctor BOP, who quotes extensively from bibliographies of writers past and present and salutes us in the final part of the first part with vaya con Dios, my Darlings. Doctor BOP makes a delightful read, which the two latter parts of this small volume only serve to embed, and is well worth the buy, if only to raise the dust from our minds to reminisce over our studious years and the host of miscellenious trivia that is the heritage of our race in all its travail – a poor player who struts and frets his hour upon the stage and then is heard no more – to coin yet another allusion.
 
 
 
Biography
 

 

E. M. Schorb attended New York University, where he fell in with a group of actors and became a professional actor. During this time, he attended several top-ranking drama schools, which led to industrial films and eventually into sales and business. He has remained in business on and off ever since, but started writing poetry when he was a teenager and has never stopped. His collection, Time and Fevers, was a 2007 recipient of an Eric Hoffer Award for Excellence in Independent Publishing and also won the “Writer’s Digest” Award for Self-Published Books in Poetry. An earlier collection, Murderer’s Day, was awarded the Verna Emery Poetry Prize and published by Purdue University Press. Other collections include Reflections in a Doubtful I, The Ideologues, The Journey, Manhattan Spleen: Prose Poems, 50 Poems, and The Poor Boy and Other Poems.
 
Schorb’s work has appeared widely in such journals as The Yale Review, The Southern Review, The Virginia Quarterly Review, The Chicago Review, The Sewanee Review, The American Scholar, and The Hudson Review.

 
At the Frankfurt Book Fair in 2000, his novel, Paradise Square, was the winner of the Grand Prize for fiction from the International eBook Award Foundation, and later, A Portable Chaos won the Eric Hoffer Award for Fiction in 2004.

 
Schorb has received fellowships from the Provincetown Fine Arts Work Center and the North Carolina Arts Council; grants from the Ludwig Vogelstein Foundation, the Carnegie Fund, Robert Rauschenberg & Change, Inc. (for drawings), and The Dramatists Guild, among others. He is a member of the Academy of American Poets, and the Poetry Society of America.

 
PRIZE-WINNING BOOKS
BY E.M. SCHORB
Books available at Amazon.com
_______________________________________
 
Dates and Dreams, Writer’s Digest International Self-
Published Book Award for Poetry, First Prize
 
Paradise Square, International eBook Award
Foundation, Grand Prize, Fiction, Frankfurt Book Fair
 
A Portable Chaos, The Eric Hoffer Award for Fiction,
First Prize
 
Murderer’s Day, Verna Emery Poetry Prize, Purdue
University Press
 

Time and Fevers, The Eric Hoffer Award for Poetry
and Writer’s Digest International Self-Published Book
Award for Poetry, each First Prize

 
 
 
 
 
Robin Ouzman Hislop is Editor of Poetry Life and Times his publications include All the Babble of the Souk and Cartoon Molecules collected poems and Key of Mist the recently published Tesserae translations from Spanish poets Guadalupe Grande and Carmen Crespo visit Aquillrelle.com/Author Robin Ouzman Hislop about author. See Robin performing his work Performance (University of Leeds) and his latest Collected Poems Volume at Next-Arrivals

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