A Quicksilver Trilling (Inspired by Leonard Cohen and Bob Dylan) A Poem by David L O’Nan

A Quicksilver Trilling 
(Inspired by Leonard Cohen and Bob Dylan)

Once upon a time we met the platinum blonde, with a letter in hand and a brown Loro Piana handbag.
She was quiet and frantic at the same time (the obstacles of running from beautiful to damnit!)
You popped the bubbles in the hot flames,
in flamenco streets with bleeding trains 
that lead you, from the whistles to the cheating rainfalls.

Now, she’s as quiet as the storm swept flower.
Now, she’s an atomic bomb in the heart of desire.
She’s as damaged as the ignorant meal to the fiery belly of a carnivore.
Meeting the vagrants are as easy as meeting you she’d laugh to herself.
Maybe, she’s just a little deaf when the city shakes in a quicksilver trilling.
A little blind when the joy begins to fade from a celebration to just a thronging. 

So, you missed the thrills of the small crowd now.
That city took your bravery and your crown.
It’s hard to be superficial in your walk.
The thrills of a million helicopters circling down.
Your heartbeats, a quilted bundle of wires.
In the Hollywood hideaways the public does watch with pinkies up in a permanent smirking 
shadow.
Hurry up to snap a picture of her durable nucleus falling apart.
Behind the bars, to the many alcohols and elixirs falling straight down the cold rocks.
Her beautiful monuments showing the crackles now,
and the drinking of the sweet fruit tree has become a little thick in the dust cloud social ball.
Maybe she’s just a little deaf when this city shakes in a quicksilver trilling.

Maybe, she’s a little thirsty when the water is sealed from the dams to her  willing lips.
This blessing is just a disguised curse when she’s dressed up for another Judy Garland downward
spiral. 
I’m starting to rethink this shadow looking at his shoes, playing little Mr. Socialite and wearing a
Poor man’s Bruno Maglis blues.
I’m standing here holding your golden cup catching the feathers of your golden goose,
and a shriveled-up ticket to the sacrifices you make at Tiffanys.
My culture lies behind the ropes holding the inside of my head.
To play lover and not to play dead.
So you can play elegant and hip for the artsy coffee shops.
They can spell your name in the drink and your heart melts, and you finally feel like a somebody.
So you tip the baristas and joke about the rats.
They don’t know art, don’t have MFA’s and haven’t been bought their gardens to thrive.
I just watch the fakeness leave your timid hazel eyes. 
And you try to adjust in the restroom and cry, I hear you in there weeping like a saturnine 
coyote.

There are a couple of genuine fools, 
Walking around pretending to be the rules of cool.
They folded under the pressures of rebellion, but they are beginning to wonder my darling.
They are wondering exactly how many canvases you have put your brush to.
Since you tell them all you’re so smart and like a branch.
I’m just this poetic clown stuck with oversized t-shirts and a smile of a stripped screw.
Don’t worry he’ll pay for this free meal at this simpering Italian restaurant.
Then he’ll be on his way back to the job of being a wonderful muse when the art professors 
aren’t calling you.
Never to share a true linen of a sunrise together. Tell me exactly what art is when you don’t 
Know the art that is a natural weather.
Oh, perhaps. Just perhaps, she’s a little deaf when the city shakes and is shrilling.
A little more quicksilver trilling.

The sunrise is a little overbearing. I can’t see the canvas from the golden glare I’m wearing.
Operation, a colorful tornado on a disco floor. We’ve got weak legs dancing.
Drunk and the quick pills are mixing.  And you’re a drunk and grinding against the pistons.
More strangers trying to keep from pissing. They want to call you up for a night of your 
skin glistening and introduce you to a hypodermic waterbed.
You forgot me behind the trees. A little dirty when you have to sit and plead.
You have nothing you really need, but everything you want is in the halos of that river.

Well, those birds wake up a little earlier than you. And they seem sick without the worms to 
chew.  There isn’t a masterpiece for them to view.
You went right into the darkness with your colors and your strength. 
Frail bones fail frail forests.  Simple supernatural spells bring crumbles to a magic mountain,
The journeys are hard to walk when the valleys and the lakes are droughts for the scrawny to 
swim in.
Maybe she’s a little deaf when the animals stopped howling.
The wind is full of heat and rain is even melting. Around the curves the body is sealing.
The city is shaking to a quicksilver trilling.

From the windows, we used to see the clarity of the glass.
Now it’s a little oily and hell is seen through the overcast.
It’s a holocaust, razor sharp raindrops with teeth that bite, just like a brand new disease.
The queen must hide from the flee. Our humanity isn’t built anymore on heartbeats.
Sometimes humanity is built from cardboard signs. Hold a little higher and ask for a prayer.
Ask for a shave of cool air to save you from a Tinseltown cataclysm.
So what does the wonder girl do? When she goes from pretender to blue to the shrew?
Does she realize her hair wasn’t always so cute?
Does she realize the geniuses are all crooks?
Does she feel the jazzy palm trees have always been a little plastic and fake?

Much like the hypnotized starlets in the platinum blonde destruction game.
Oh, maybe she’s a little deaf from the chess game that keeps yelling checkmate!
Maybe she’s been blinded by the hysterical cut-throat authority waifs.
Maybe, she’s just part of this jealousy, a vanish haze they thrown on you to make you a product.
A little pill sick and when the city keeps shaking.
Tiny slits of cracks in this quicksilver trilling.
Now, she’s as naked as a blurry mirror. 
Now, she’s feeling as pitiful as a stuttering preacher.
Now, her art is less of a picture that hangs above bountiful nouveau vanity mirrors.
Her art is the magnetism that pulls the moon through her evening veins.
Her art is when the clouds move in and pulls the curtains of stars over her delicate frame.
Maybe she grew tired of her ears constantly ringing.
Loud masochisms and feminine leeches luring and lingering.

A city shook to pieces in a quicksilver trilling. 

 
 
 

 
 
 
Bio:
David L O’Nan is a poet, short story writer, prose & lyricist, an editor living in Southern Indiana. He is founder and lead editor for Fevers of the Mind Poetry, Art & Music. He has edited & curated anthologies under Fevers of the Mind (7 volumes) since 2019 in addition to anthologies inspired by and dedicated to Leonard Cohen (Avalanches in Poetry & Before I Turn Into Gold), Bob Dylan (Hard Rain Poetry: Forever Dylan), Joni Mitchell (The Blue Motel Rooms Poetry & Art) Tom Waits (The Whiskey Mule Diner), The Poetica Sisterhood of Sylvia & Anne (poetry & art inspired by Sylvia Plath & Anne Sexton), On the Highways with Many Miles…to Go! (poetry & art inspired by Jack Kerouac, Townes Van Zandt, Miles Davis, Langston Hughes, etc), Waltzin’ Through Rusty Cages (inspired by Elliott Smith & Chris Cornell), The website is
 
www.feversofthemind.com
 
He also has solo works “The Famous Poetry Outlaws are Painting Walls and Whispers” “The Cartoon Diaries”, “New Disease Streets”, “Our Fears in Tunnels”, “Taking Pictures in the Dark”, “Bending Rivers: A Collection”,”Lost Reflections” (micropoems), “Before the Bridges Fell” (2022), & “Cursed Houses” (2022) his work can be found in several litmags and books.
Twitter/X is @davidLONan1 and for Fevers of the Mind is @feversof and Facebook is the
Fevers of the Mind Poetry, Arts & Music Group.

The Gypsy Sea Poems by Sterling Warner

Gypsy Sea

Sunrise: necks stretched out like hungry clams
lurch for the Ibuprofen emperor 
whose numb fingers wave loners to café chairs—
rivet them to sticky alligator seats, bottom sides 
textured with chewing gum madness; daydreams
pull life’s canopy over sand and foam,  
seasick tides lick each empowered undertow
sheer bag luck burlesques diffident efforts, 
tête-à-tête conversations revealing 
epiphany-like promises through opaque glass.

Nightfall: along the coastline, bonfires blaze
bodies gather, mouths breathe desire, minds re-imagine; 
moving between cosmic and material worlds,  
cleaving mustard greens like an armful of roses,  
a gypsy mystic dances like a whirling dervish
toe-ring magic fractures limestone bones   
unbrushed by feet for millennia 
bangle bracelets and silver cymbals rouse
ever vigilant, sleepy-eyed centurions
stand guard over her Technicolor Roma.

Sun-up: astronomical dawn signals nocturnal closure,
dancing legs and burning feet cease
rhythmically rocking shellfish strongholds;
dense auburn moss calmly spreads its way south  
wraps a tranquil riverbed in nature’s sheath
guides an Arabesque estuary toward a
salt water fiord, lateral moraine, where
nourished sediment dwellers burrow home
high tides pull ashes, bathe shorelines 
littered with seaweed, driftwood, memories.

Grace
For G. M.

Grace leaned against parked cars 
at midnight, full crow moon rays bathing 
her body in luminescent grandeur. 
Poised. Seductive. Her touch extended
over an embankment like sprouting 
foxtail seeds resemble ballerinas that float
on the breeze and hook into dog paws 

Fragile. Elastic. Insubstantial. Like bubbles 
blown from hoops that burst unpredictably, 
Grace’s rainbow brow sought barn owl benedictions
waved goodbye to the summer solstice
welcomed the autumnal equinox—a September song
that harvested her deeply planted thoughts 
and sowed them in fields of winter wheat.

Wind passed through cedar branches, eclipsed 
Grace’s mantra of green card foreboding 
added frivolity and enhanced shorter days
and nights both waiting for December
to push back twilight’s rays—scatter them
in the upper atmosphere—brighten evening skies 
warm Dawn’s fingers on the rising sun’s heels.  

Wistful Lulamaes
For Audrey Hepburn

Tiffany windows display silver platters 
reflect morning light like vintage mirrors 
as pedestrians hide behind Oliver Goldsmith sunglasses,
dressed to the nines like Holly Golightly
pose then study its Manhattan showcase framed 
by granite walls on Fifth Avenue & 57th Street.

Disguised as stylish escorts, men and women peer
through double-pane glass, appreciate excess & exotica 
in equal measure, ponder fleeting holographic images 
of John the Baptist’s head etched sterling trays
murmuring silent prophecies, portend gentle greatness 
& Big Apple panache for life beyond Sodom’s avenging angels. 

Truman Capote’s phantom emerges from Central Park shadows 
wears a white suit & hat, moves forward like a garden snail, 
maintains a two-block buffer, his high-pitched voice mingling 
with car horns & cabbies where rainbows end announces 
breakfast availability to Broadway street singers, Soho artists, 
moon river enthusiasts, New York tourists, huckleberry friends.

Magyar Sleeves

“The Colour of my soul is iron-grey and sad bats wheel about the steeple of my dreams.”
 									—Claude Debussy

Grooming themselves 
    like cats, bat pups clutch 
    onto their perch upside down, 
    loosen artistic digits  
    emerge from slumber 
    in hollow trees, cave mouths, 
    attic eves & rocky crevices.
From inverted roosts, 
    they drop into flight mode 
    as membrane covered forelimbs 
    navigate ultrasonic waves 
    & echolocation identify 
    evening canvases to paint 
    with wings like a brush & palette.
Moonlight colonies undercover 
    zig-zag through mist & gnat clouds,
    rising from depths of stone lined wells,
    leave watercolor portraits 
    during witching hours
    as children trick or treat 
    wearing bat capes & cowls.

 
 
 
 
An award-winning author, poet, and educator, Sterling Warner’s works have appeared in literary magazines, journals, and anthologies including Danse Macabre, Poetry Life and Times, Ekphrastic Review, and Sparks of Calliope. Warner’s collections of poetry include Rags and Feathers, Without Wheels, ShadowCat, Edges, Memento Mori: A Chapbook Redux, Serpent’s Tooth, Flytraps, and Cracks of Light: Pandemic Poetry & Fiction 2019-2022—as well as Masques: Flash Fiction & Short Stories. Currently, Warner writes, participates in “virtual” poetry readings, and enjoys retirement in Washington.
 

 
https://www.amazon.com/Cracks of Light: Pandemic Poetry & Fiction

Afterlife. A Poem by Debashish Haar

 
 
 

 
Debashish is a machine learning scientist, who has been published in literary magazines several
times across the globe, including Poetry Life & Times, where he was interviewed twice.
He is currently contending with a severe writer’s block spanning a decade, when he has hardly
produced any publishable content. He is also losing emotional connection with his own work
gradually, and spends more time to edit/tighten his old poems than creating any new content.
 

The Kingdom of Chaos Poems by Scott Thomas Outlar

Silver Primroses & Golden Strigiformes Planted by the Curb

Carrying your own 
          dead body
                back to its grave
      in a dream
                 then happening upon
          an expired owl
                              stricken & smashed
                        in the street

Ominous signs
        along Five Forks Trickum
            birth into
                patterns of indigo 
                                  & scarlet wildflowers
                       
Spirit animals
             taking a dive
       before rush hour fevers
                        commence
        
    learn to sip
              from the parched throat
        of roadkill brunch

eating the 
        organs
   of our own
               totem


Stomach Lining

I came to eat the lies you coin

and serve them back half bitter
across the divide of tables turned

I didn’t ask for this evil eye

it was forced down my throat from the jump
been begging for a bulimic leap ever since


Spells of the Stoic Pewter 

& I will
        set you (free) here
    to be made safe by the wizard / window
                                                 (fly, birdie)
               black obsidian
                     gray of mind & beard
             wise & dangerous
                     streaked/laced down the middle
                                    balanced of accord
                                           (harmony 
                                                  & likewise
                                               rhythm)

you are the melody of a soft glow


Lament of Prey

Hello to all the hawks
who have yet to have their fill,
& the vultures, too,
waiting for what’s left over.

Spoiled minds & spoiled hearts
lead to spoiled guts,
but it seems to be
that’s what nature intended
in this twisted realm
of divided time & space.

Dog eat dog
isn’t even the worst part;
it’s flesh unto flesh
in the fire.

Goodbye to all the dreams
that forgot how to conquer,
& the visions still
yet to crystallize in cancer.

Rotten bones & rotten marrow
flow in rotten rivers,
but that’s the taste
acidic blood delivers
when signs of sickness
flash neon & electric in the night.

Tail chase tail
isn’t the end of the story;
it’s a snake that never sheds
the fade to black.


Kingdom of Chaos

We don’t want your money,
just your soul
on a silver platter
served to order
for our warm feast
while we spit out your raw famine.

We don’t want your respect,
just your energy and time,
just your mind
numbed
to the frequency
of propagandized pestilence.

We don’t want your love,
just your heart
bled dry
as every vein
withers in the winter wind
while our chalice remains
ever full to the point of overflowing.

We don’t want your vote,
just your faith
that such a course of action
can actually influence
the order in which our puppets
dance to a song of chaos
upon the public stage.

We don’t want your salute,
just your obedience,
just your hands
kept where we can see them
while your feet continue marching
to the drumbeat of our wars.

We don’t want your laws,
just your land,
just your culture,
just your customs,
just your heritage,
just your traditions
snuffed out
beneath the global kingdom
collectivized
at our command. 

 
 

 
 
Scott Thomas Outlar is originally from Atlanta, Georgia. He now lives and writes in Frederick, Maryland. His work has been nominated multiple times for both the Pushcart Prize and Best of the Net. He guest-edited the Hope Anthology of Poetry from CultureCult Press as well as the 2019-2023 Western Voices editions of Setu Mag. He is the author of seven books, including Songs of a Dissident (2015), Abstract Visions of Light (2018), Of Sand and Sugar (2019), and Evermore (2021 – written with co-author Mihaela Melnic). Selections of his poetry have been translated and published in 14 languages. He has been a weekly contributor at Dissident Voice for the past nine years. More about Outlar’s work can be found at 17numa.com

Mapplethorpe, Lethe, via crucis, Poems by Krystle Eilen

Mapplethorpe

after Robert Mapplethorpe’s Self Portrait, 1980

half youthful, half emaciated,

he reflects the epicene
and the languishing.

his head is all shock and flurry;
his mouth a toothless brevity.

half Madonna, half Antinous,

he reflects a decadent flower
both wilting and transcendent.

his eyes suggest a having seen,
two eternally startled interims.

a princely pauper
whose aspect reflects that of
a parched orchid culled
too soon.

published in Hive Avenue Literary Journal


Lethe

i am a winged thing flailing,
driven into my bovine body, and
back into my savage infant soul.

in the beginning, nature
conceived another deadweight,
and i find myself stillborn.

i am forever waiting to
open my welkin eyes
and outwit the brute.

i want the earth wrested from me;
i want no longer to acquiesce to
the stranglehold of gravity.

i am forever looking forward to
eclipsing the round
seared by fantasy.

published in Hive Avenue Literary Journal 


via crucis

            i.

to behold paradise
god must be heaved up,—
for to become seraph
is to gouge the eye out.

            ii.

always at one remove
is to be found divinity,
otherwise effaced
by twin identity.

            iii.

riven apart
by mimetic sparagmos,
man is condemned
to die on the cross.

            iv.

to shed the serpent’s skin
is but to reiterate its meander,
for conquest precedes
the bind of surrender. 

 
 

Krystle Eilen is a 22-year-old poet who is currently attending university. Her works have been featured in Dipity Literary Magazine, BlazeVOX, and Hive Avenue Literary Journal, and are soon to be published in The Orchards Poetry Journal and Young Ravens Literary Review. During her spare time, she enjoys reading and making art.

Poetry. Five Sonnets from Richard Vallance

Image: Keats on his Deathbed. Artist Joseph Severn.

I saw a sparrow

for Emily Dickinson (1830-1886)

I saw a sparrow in the snow,
who hovered by a boy nearby;
It swayed a little to and fro,
small wonders they, small wonder why.

The boy, the flautist all alone
amidst the misty spruce around
where snow was so serenely sown,
played tremolo the fairest sound. 

The little sparrow lingered there,
the boy, the flautist of her soul;
Iʾll never tell wherever where
they warbled to attentive snow.

If anyone found a place so rare 
would there have been anyone there?
 

I found a soldier all too fair

for all the fallen in the war in the Ukraine

I found a soldier oh so fair,
an apparition in the vale;
oh there were reasons for despair
to see a face so ghastly pale.
 
I listened for the faintest breath,
a hint of colour on his lips,
but was confronted with a death
the setting sun could not eclipse.

I lingered there and wept a while;
the poppies seemed to mourn him too.
I heard a thunder from a mile,
where clouds assumed an ashen hew.

A wounded straggler passed me by;
oh how I feared he too would die!  


Listen oh listen!

Listen oh listen! ... the tanager trills!
... he arrays the blue spruce with feathers as light
as gossamer fronds the forest just thrills
to veil in his voice lost in the moonlight!
However whoever alights on this place
may find my tanagerʾs warbled refrains
leave en passant over teal leaves the trace
of whose emotions? ... whose tremolo strains?
Is this the rare moment April declares
the seasonʾs rife for my chanson, the song
the sunrise with cirrus so silently shares?
... only I, tanager, knew all along.
Were I the sole tanager of your desmesne,
well, Iʾd be voiced in your glass of champagne!


The poetry of Keats

Keats on his deathbed, Joseph Severn

John Keats on his death bed, by Joseph Severn

For W.T.

The poetry of Keats is replete with death:
an owl more ominous than a blue moon
had hooted sans merci til his final breath,
as he passed away in a fitful swoon
before the sky was flush with fading blue,
before ambrosial roses withered, strewn
before the autumn breeze all too wanly blew  
to the long-lost score of some mournful tune.
As if the nightingale could warble love
might I implore you if her song recalls
as quietly as would a cooing dove
our barren prayers before the wailing walls; 
  I too recall my all too cherished friend,
  who wasted away to an ill-timed end.


Huskies Mush!

I'll slide my sled from the frozen-in stream
towards the lake where snow rolls down me, blind;
me sled is all wedged in by me husky team,
whose hunger drives em wild with single mind.
They lunge, they'll lunge in vain. What? Can't break out.
Me lungs could bust with frost I'se just gulped in.
Me lips all blue, I'se stiff with icy doubt. 
Me dogs, all panicked, tangled, yelp chagrin;
I grits me teeth, jerk hard the sled, and hear
that cursed ice cave! “Come on! Bust loose!”, I yell,
“Mush!”, snaps the whip! Aw, we'se gotta break clear!
“We'se broken out!” Them huskies dash like hell.
Did we break loose? Those snapped up rapids yawn
behind us as we vanish, good as gone. 

 
 
 
 
Richard Vallance was a frequent contributor to the earlier issues of Poetry Life & Times, from 2001-2008, where several of his sonnets and rhymed poems appeared, and where he was the resident poetry critic of the Vallance Review, which featured reviews of sonnets and rhymed verse by some of the world’s most famous historical sonneteers and poets.
 
Richard Vallance has also been featured from time to time in more recent issues of Poetry Life & Times, Poetry Life and Times (artvilla.com), from 2012-2018.
 
He has also been published in several other international venues, among others: Decanto Poetry Magazine/Anthology (Sara Russell, ed.) – no longer in publication The Deronda Review, Neo/Victorian Cochlea, The Deronda Review – Home, Sonnetto Poesia ISSN 1705-4524 (25 quarterly issues) SEE:
Sonnetto poesia. | Bibliothèque et Archives Canada / Library and Archives Canada (worldcat.org)
 
Richard Vallance is also the Editor of a multilingual anthology of sonnets. The Phoenix Rising from the Ashes = Le Phenix Renaissant de Ses Cendres – Anthology of Sonnets of the Early Third Millennium = Anthologie de Sonnets a: Vallance, Editor-In-Chief Richard: 9781460217016: Books – Amazon.ca

Beyond the Limit & Tyne Cot. Ekphrastic Poems by Jan Theuninck

 

BIO: Jan Theuninck (born 7 June 1954) is a Belgian painter and poet. Although born in ZonnebekeBelgium, and a native speaker of Dutch, he writes in French and occasionally English. His painting is abstract, falling somewhere between minimalism
 and monochrome expressionism.

The Hearthside Poems by Michael R. Burch

Something

for the children of the Holocaust and the Nakba

Something inescapable is lost—
lost like a pale vapor curling up into shafts of moonlight,
vanishing in a gust of wind toward an expanse of stars
immeasurable and void.

Something uncapturable is gone—
gone with the spent leaves and illuminations of autumn,
scattered into a haze with the faint rustle of parched grass
and remembrance.

Something unforgettable is past—
blown from a glimmer into nothingness, or less,
which finality has swept into a corner ... where it lies
in dust and cobwebs and silence.


Styx

Black waters—deep and dark and still.
All men have passed this way, or will.


Spring Was Delayed

Winter came early:
the driving snows,
the delicate frosts
that crystallize

all we forget
or refuse to know,
all we regret
that makes us wise.

Spring was delayed:
the nubile rose,
the tentative sun,
the wind’s soft sighs,

all we omit
or refuse to show,
whatever we shield
behind guarded eyes.

 
Infinity

for Beth

Have you tasted the bitterness of tears of despair?
Have you watched the sun sink through such pale, balmless air
that your soul sought its shell like a crab on a beach,
then scuttled inside to be safe, out of reach?

Might I lift you tonight from earth’s wreckage and damage
on these waves gently rising to pay the moon homage?
Or better, perhaps, let me say that I, too,
have dreamed of infinity . . . windswept and blue.


Hearthside

“When you are old and grey and full of sleep...”  — W.  B.  Yeats

For all that we professed of love, we knew
this night would come, that we would bend alone
to tend wan fires’ dimming bars—the moan
of wind cruel as the Trumpet, gelid dew
an eerie presence on encrusted logs
we hoard like jewels, embrittled so ourselves.

The books that line these close, familiar shelves
loom down like dreary chaperones. Wild dogs,
too old for mates, cringe furtive in the park,
as, toothless now, I frame this parchment kiss.

I do not know the words for easy bliss
and so my shriveled fingers clutch this stark,
long-unenamored pen and will it: Move.
I loved you more than words, so let words prove.


Love Has a Southern Flavor

Love has a Southern flavor: honeydew,
ripe cantaloupe, the honeysuckle’s spout
we tilt to basking faces to breathe out
the ordinary, and inhale perfume ...

Love’s Dixieland-rambunctious: tangled vines,
wild clematis, the gold-brocaded leaves
that will not keep their order in the trees,
unmentionables that peek from dancing lines ...

Love cannot be contained, like Southern nights:
the constellations’ dying mysteries,
the fireflies that hum to light, each tree’s
resplendent autumn cape, a genteel sight ...

Love also is as wild, as sprawling-sweet,
as decadent as the wet leaves at our feet.


Remembering Not to Call

a villanelle permitting mourning, for my mother, Christine Ena Burch

The hardest thing of all,
after telling her everything,
is remembering not to call.

Now the phone hanging on the wall
will never announce her ring:
the hardest thing of all
for children, however tall.

And the hardest thing this spring
will be remembering not to call
the one who was everything.

That the songbirds will nevermore sing
is the hardest thing of all
for those who once listened, in thrall,
and welcomed the message they bring,
since they won’t remember to call.

And the hardest thing this fall
will be a number with no one to ring.

No, the hardest thing of all
is remembering not to call.


Sunset

for my grandfather, George Edwin Hurt Sr.

Between the prophecies of morning
and twilight’s revelations of wonder,
the sky is ripped asunder.

The moon lurks in the clouds,
waiting, as if to plunder
the dusk of its lilac iridescence,
                                                                                    
and in the bright-tentacled sunset
we imagine a presence
full of the fury of lost innocence.

What we find within strange whorls of drifting flame,
brief patterns mauling winds deform and maim,
we recognize at once, but cannot name.

 

Michael R. Burch is an American poet who lives in Nashville, Tennessee with his wife Beth and two incredibly spoiled puppies. He has over 6,000 publications, including poems that have gone viral. His poems, translations, essays, articles, letters, epigrams, jokes and puns have been published by TIME, USA Today, BBC Radio 3, Writer’s Digest–The Year’s Best Writing and hundreds of literary journals. His poetry has been translated into 14 languages, taught in high schools and colleges, and set to music by 23 composers, including two potential operas if the money ever materializes. He also edits www.thehypertexts.com, has served as editor of international poetry and translations for Better Than Starbucks, is on the board of Borderless Journal, an international literary journal, and has judged a number of poetry contests over the years.

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