The HyperTexts

Michael R. Burch: Early Poems

Okay, I admit it: I'm a masochist, a glutton for punishment. Why else would I publish my early effusions, my juvenilia, my wildly romantic flights of youthful poetic fancy? But then what have I got to lose, really? Contemporary poets are paid less than janitors, while being studiously ignored by readerslike pimply nerds by cheerleaders. So I may as well indulge my inner nerd. These are poems that I wrote, or began writing, while I was in high school, or shortly thereafter. One poem, "Playmates," is the second poem I remember writing; it appeared in a notebook that dates back to my sophomore year in high school. I believe I was 14 when I wrote it. My English teacher inscribed "this poem is beautiful" next to the missive. Convinced that I was the second coming of Percy Bysshe Shelley, I then proceeded to deluge the world with poems. The ones below were among the first waves of the Great Inundation. My early poems have since been published by literary journals which include The Lyric, Light Quarterly, Poet Lore, The Chariton Review, Romantics Quarterly, The Raintown Review, The Eclectic Muse, Blue Unicorn, The Neovictorian/Cochlea, Asses of Parnassus, Contemporary Rhyme, Better Than Starbucks, Nebo, Piedmont Literary Review, Penny Dreadful, Songs of Innocence, The Chained Muse, Glass Facets of Poetry, Poetry Life & Times, Fullosia Press, Homespun, The Lantern, Sonetto Poesia and Trinacria.

all poems by Michael R. Burch


The hazy, smoke-filled skies of summer I remember well;
farewell was on my mind, and the thoughts that I can't tell
rang bells within (the din was in) my mind, and I can't say
if what we had was good or bad, or where it is today.
The endless days of summer's haze I still recall today;
she spoke and smoky skies stood still as summer slipped away . . .

This poem appeared in my high school journal, the Lantern, in 1976. It also appeared in my college literary journal, Homespun, in 1977. I believe I had The Summer of '42 in mind when I wrote it. Ironically, I didn't see the movie until many years later, but something about its advertisement touched me. Am I the only poet who ever wrote a love poem for Jennifer O'Neil after seeing her fleeting image in a blurb? At least in that respect, I may be unique! In any case, the movie came out in 1971 or 1972, so I was probably around 14 when I wrote the poem.


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

I don't remember exactly when I wrote this poem, but I do remember it being part of a longer poem. It was originally titled "Death." The first four lines seemed better than the rest of the poem, so I opted for the better part of valor: discretion. Years later I submitted the epigrammatic version of the poem to Harvey Stanbrough, the founder and editor of The Raintown Review, and he responded: "When I find a submission like yours in the stack of generally mind-numbing pages, I feel both thrilled and honored. I hope you'll let me see more of your work in the near future. The poems I accepted are the excellent epigraph, 'Death,' and 'Rant: The Harvest of Roses,' an excellent exercise in dactylic rhythm. I know how difficult it is to write well AND maintain a dactylic meter throughout, and you handled it well." I remember being somewhat perplexed, because I wrote poetry purely by ear and had no idea what "dactylic meter" was. (Still don't!) Here's the other poem Harvey mentioned:

The Harvest of Roses

I have not come for the harvest of roses—
the poets' mad visions,
their railing at rhyme . . .
for I have discerned what their writing discloses:
weak words wanting meaning,
beat torsioning time.

Nor have I come for the reaping of gossamer—
images weak,
too forced not to fail;
gathered by poets who worship their luster,
they shimmer, impendent,
resplendently pale.

"The Harvest of Roses" is not quite as "early" as most of the other poems on this page. I'm not sure how old I was when I wrote it, but I remember having become disenchanted with poetry journals that were full of "concrete imagery" which I found mostly unmoving. I was also fed up with the bizarre idea that meter and rhyme were somehow "bad." While "torsioning" is one of my rare coinages, I think it works here.


Now it is winter—the coldest night.
And as the light of the streetlamp casts strange shadows to the ground,
I have lost what I once found
in your arms.

Now it is winter—the coldest night.
And as the light of my headboard fails to penetrate dark panes,
I have remade all my chains
and am bound.

This poem also appeared in my high school journal, the Lantern, in 1976. I seem to remember writing it around age 14 or 15.

Autumn Leaves

Brilliant leaves abandon battered limbs
to waltz upon ecstatic winds
until they die.

But the barren and embittered trees,
lament the frolic of the leaves
and curse the bleak November sky . . .

Now, as I watch the leaves' high flight
before the fading autumn light,
I think that, perhaps, at last I may

have learned what it means to say—

Several of my early poems were about aging, loss and death. Young poets can be so morbid! Like "Death" this poem is the parings of a longer poem. Most of my poems end up being sonnet-length or shorter. I think the sounds here are pretty good for a young poet "testing his wings." I believe this poem started out as a stanza in a much longer poem, "Jessamyn's Song" that dates to around age 14 or 15.

―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.

This was the first poem that I wrote that didn't rhyme. I believe I wrote it in 1977, which would have made me around 19 at the time. The poem came to me "from blue nothing" (to borrow a phrase from my friend the Maltese poet Joe Ruggier). Years later, I dedicated the poem to the children of the Holocaust and the Nakba.


Have you tasted the bitterness of tears of despair?
Have you watched the sun sink through such pale, balmless air
that your heart 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.

This is one of the first poems that made me feel like a "real" poet. I remember reading the poem and asking myself, "Did I really write that?" Many years later, I'm still glad that I wrote it, and it still makes me feel like a real poet! This is another poem that was longer and got "pared down" to its best lines.


Here the hills are old and rolling
carefully in their old age;
on the horizon youthful mountains
bathe themselves in windblown fountains . . .

By dying leaves and falling raindrops,
I have traced time's starts and stops,
and I have known the years to pass
almost unnoticed, whispering through treetops . . .

For here the valleys fill with sunlight
to the brim, then empty again,
and it seems that only I notice
how the years flood out, and in . . .

This is the other early poem that made me feel like a real poet. I remember writing it in the break room of the McDonald's where I worked as a high school student. Once again, I pared a longer poem down to its best lines. This poem was originally titled "Reckoning," a title I still like and may return to one day. As a young poet with high aspirations, I felt that "Infinity" and "Reckoning/Observance" were my two best poems, so I didn't publish them in my high school or college literary journals. I decided to hang onto them and use them to get my foot in the door elsewhere. And the plan worked pretty well. "Observance" was originally published by Nebo as "Reckoning." It was later published by Tucumcari Literary Review, Piedmont Literary Review, Verses, Romantics Quarterly, the anthology There is Something in the Autumn and Poetry Life & Times. "Infinity," which started out as "Dream of Infinity," has been published by TC Broadsheet Verses (my first paying gig, a whopping ten bucks!), Penny Dreadful, the Net Poetry and Art Competition, Songs of Innocence, Poetry Life & Times, Mindful of Poetry and Better Than Starbucks.

hey pete

for Peter Edward Rose

hey pete,
it's baseball season
and the sun ascends the sky,
encouraging a schoolboy's dreams
of winter whizzing by;
go out, go out and catch it,
put it in a jar,
set it on a shelf
and then you'll be a Superstar.

Pete Rose was my favorite baseball player; this cummings-ish poem is not a slam at him, but rather an ironic jab at the term "superstar."

Have I been too long at the fair?

Have I been too long at the fair?
The summer has faded,
the leaves have turned brown;
the Ferris wheel teeters . . .
not up, yet not down.
Have I been too long at the fair?

I believe this poem was written around age 14 or 15. My grandfather used to live close to the Tennessee state fairgrounds, so I had grown up watching people hanging suspended in mid-air, waiting for carnies to deposit them safely on terra firma again.

An Illusion

The land was as hushed as the breath of a bee
and the world was bathed in shades of palest gold
when I awoke.

She came to me with the sound of falling leaves
and the scent of new-mown grass;
I held out my arms to her and she passed

into oblivion

This little dream-poem appeared in my high school literary journal, the Lantern, so I was no older than 18 when I wrote it, probably younger. I will guess around age 16.


And so I have loved you, and so I have lost,
accrued disappointment, ledgered its cost,
debited wisdom, accredited pain . . .
My assets remaining are liquid again.

I think I wrote this poem around the time my sister Debby decided to major in accounting. I took an accounting class either my freshman or sophomore year, so I was familiar with debits and credits. A guess for the composition date might be 1978-1980.


It was early in the morning, in the forming of my soul,
in the dawning of desire, with passion at first bloom,
with lightning splitting heaven to thunder's blasting roll
and a sense of welling fire and, perhaps, impending doom—
that I cried out through the tumult of the raging storm on high
for shelter from the chaos of the restless, driving rain . . .
and the voice I heard replying from a rift of bleeding sky
was mine, I'm sure, and, furthermore, was certainly insane.

I may have been reading too many gothic ghost stories when I wrote this one!


Memories flood the sand’s unfolding scroll;
they pour in with the long, cursive tides of night.

Memories of revenant blue eyes and wild lips
moist and frantic against my own.

Memories of ghostly white limbs,
of soft sighs
heard once again in the surf’s strangled moans.

We meet in the scarred, fissured caves of old dreams,
green waves of algae billowing about you,
becoming your hair.

Suspended there,
where pale sunset discolors the sea,
I see all that you are
and all that you have become to me.

Your love is a sea,
and I am its trawler—
harbored in dreams,
I ride out night’s storms.

Unanchored, I drift through the hours before morning,
dreaming the solace of your warm breasts,
pondering your riddles, savoring the feel
of the explosions of your hot, saline breath.

And I rise sometimes
from the tropical darkness
to gaze once again out over the sea . . .
You watch in the moonlight
that brushes the water;

bright waves throw back your reflection at me.

This is one of my more surreal poems, as the sea and the lover become one. The poem is obviously a wild flight of romantic fancy, but I think it has nice images and sounds. I believe this one was written when I was 19. If I remember correctly, it was first published by Penny Dreadful, then later by Romantics Quarterly. The poem may have had a different title when it was originally published, but if so, it escapes me.

The Last Enchantment

Oh, Lancelot, my truest friend,
how time has thinned your ragged mane
and pinched your features; still you seem
though, much, much changed—somehow unchanged.

Your sword hand is, as ever, ready,
although the time for swords has passed.
Your eyes are fierce, and yet so steady
meeting mine . . . you must not ask.

The time is not, nor ever shall be,
for Merlyn’s words were only words;
and now his last enchantment wanes,
and we must put aside our swords . . .

I have long been fascinated by the tales of Arthur and Merlin, including the older Celtic myths (hence the Merlyn spelling).

Roses for a Lover, Idealized

When you have become to me
as roses bloom, in memory,
exquisite, each sharp thorn forgot,
will I recallyours made me bleed?

When winter makes me think of you,
whorls petrified in frozen dew,
bright promises blithe spring forgot,
will I recall your wordsbarbed, cruel?

I don't remember the exact age at which I wrote this poem, but it was around the time I realized that "love is not a bed of roses." It may be the most "mature" poem on this page, as I wrote it after breaking up with my first live-in girlfriend, in my early twenties. We did get back together, before a longer, final separation. The poem has been published by The Lyric, Trinacria, Better Than Starbucks, The Chained Muse and Glass Facets of Poetry. It has also been translated into Italian by Comasia Aquaro and published by La luce che non muore.


When you were my playmate and I was yours,
we spent endless hours with simple toys,
and the sorrows and cares of the world in those days
were uncomprehended . . . far, far away . . .
for the temptations and trials we had yet to face
were lost in the shadows of an illumined haze.

Then simple pleasures were easy to find
and if they cost us a little, we didn't mind;
for even a penny in a pocket back then
was one penny too many, a penny to spend.

Then feelings were feelings and love was just love,
not a strange, complex mystery to be understood.

Then sin and damnation meant little to us,
for we never pondered salvation, or trust;
and we never worried about what we had,
and we were both sure—what was good, what was bad.

And we sometimes quarreled, but we didn't hate;
we seldom gave thought to injustice, or fate.

Then we never thought about the next day,
for tomorrow seemed hidden—adventures away.

Though sometimes we dreamed of adventures past,
and wondered, at times, why things couldn't last.

Still, we never worried about getting by,
and we didn't know that we were to die . . .
when we spent childish hours with simple toys,
and I was your playmate, and we were boys.

This is probably the poem that "made" me, simply because my high school English teacher liked it, and called it "beautiful." It's not one of my best poems, but I think it has a number of good lines and does a pretty good job of capturing what it's like to be a young boy who has suddenly wizened into wisdom, becoming aware of aging, loss and death. I believe I was 14 or 15 when I wrote it.

Am I

Am I inconsequential;
do I matter not at all?
Am I just a snowflake,
to sparkle, then to fall?

Am I only chaff?
Of what use am I?
Am I just a flame,
to flicker, then to die?

Am I inadvertent?
For what reason am I here?
Am I just a ripple
in a pool that once was clear?

Am I insignificant?
Will time pass me by?
Am I just a flower,
to live one day, then die?

Am I unimportant?
Do I matter either way?
Or am I just an echo—
soon to fade away?

This seems like a pretty well-crafted poem for a teenage poet just getting started. I believe I was around 14 or 15 when I wrote it. The title is a reversal of the biblical "I Am."


where have you gone?
What turned out so short,
had seemed like so long.

where have you flown?
What seemed like mere days
were years come and gone.

see what you've done:
for now I am old,
when once I was young.

do you even know why
your days, minutes, seconds
preternaturally fly?

This is a companion piece to "Am I." It appeared in my high school project notebook "Poems" along with "Playmates," so I was probably around 14 or 15 when I wrote it.

Having Touched You

What I have lost
is not less
than what I have gained.

And for each moment passed
like the sun to the west,
another remained,

suspended in memory
like a flower in crystal
so that eternity

is but an hour, and fall
is no longer a season
but a state of mind.

I have no reason
to wait; the wind
does not pause for remembrance

or regret
because there is only fate and chance.
And so then, forget . . .

Forget we were utterly
happy a day.
That day was my lifetime.

Before that day I was empty
and the sky was grey.
You were the sunshine,

the sunshine that gave me life.
I took root and I grew.
Now the touch of death is like a terrible knife,

and yet I can bear it,
having touched you.

Odd, the things that inspire us! I wrote this poem after watching The Boy in the Bubble: a made-for-TV movie, circa 1976, starring John Travolta. So I would have been around 17 or 18 at the time. It may be an overtly sentimental poem, but I still like it. I don't think poets have to be too "formidable" to feel. But how many contemporary poets are foolhardy enough to admit writing sappy poems in response to other people's tear-jerkers? Once again, I may be unique!



a bitter
ache to bear . . .

once starlight
in your hair . . .

a shining there
as brief
as rare.


Regret . . .
a pain
I chose to bear . . .

the torrent
of your hair . . .

and show me
once again—
how rare.

I wrote this poem around 1980. It's not based on a real experience, to my recollection.


Poetry, I found you
where at last they chained and bound you;
with devices all around you
to torture and confound you,
I found youshivering, bare.

They had shorn your raven hair
and taken both your eyes
which, once cerulean as Gogh's skies,
had leapt at dawn to wild surmise
of what was waiting there.

Your back was bent with untold care;
there savage brands had left cruel scars
as though the wounds of countless wars;
your bones were broken with the force
with which they'd lashed your flesh so fair.

You once were loveliest of all.
So many nights you held in thrall
a scrawny lad who heard your call
from where dawn’s milling showers fall
pale meteors through sapphire air.

I learned the eagerness of youth
to temper for a lover’s touch;
I felt you, tremulant, reprove
each time I fumbled over-much.
Your merest word became my prayer.

You took me gently by the hand
and led my steps from child to man;
now I look back, remember when
you shone, and cannot understand
why now, tonight, you bear their brand.


I will take and cradle you in my arms,
remindful of the gentle charms
you showed me once, of yore;
and I will lead you from your cell tonight
back into that incandescent light
which flows out of the core
of a sun whose robes you wore.
And I will wash your feet with tears
for all those blissful years . . .
my love, whom I adore.

This is yet another of my wild flights of romantic fantasy. It is probably my Ars Poetica and my Prufrock, along with "These Hallowed Halls." In this poem I profess to be Poetry's lover and savior. Of course such things are no longer allowed in respectable poetic circles. But then . . . why be a conformist?

An Obscenity Trial

The defendant was a poet held in many iron restraints
against whom several critics had brought numerous complaints.
They accused him of trying to reach the "common crowd,"
and they said his poems incited recitals far too loud.

The prosecutor alleged himself most stylish and best-dressed;
it seems he’d never lost a case, nor really once been pressed.
He was known far and wide for intensely hating clarity;
twelve dilettantes at once declared the defendant another fatality.

The judge was an intellectual well-known for his great mind,
though not for being merciful, honest, sane or kind.
Clerics called him the "Hanging Judge" and the critics were his kin.
Bystanders said, "They'll crucify him!" The public was not let in.

The prosecutor began his case
by spitting in the poet's face,
knowing the trial would be a farce.
"It is obscene,"
he screamed,
"to expose the naked heart!"
The recorder (bewildered Society)
greeted this statement with applause.

"This man is no poet.
Just look—his Hallmark shows it.
Why, see, he utilizes rhyme, symmetry and grammar!
He speaks without a stammer!
His sense of rhythm is too fine!
He does not use recondite words
or conjure ancient Latin verbs.
This man is an imposter!
I ask that his sentence be
the almost perceptible indignity
of removal from the Post-Modernistic roster."
The jury left in tears of joy, literally sequestered.

The defendant sighed in mild despair,
"Please, let me answer to my peers."
But how His Honor giggled then,
for no poets were let in.

Later, the clashing symbols of their pronouncements drove him mad
and he admitted both rhyme and reason were bad.

A well-known poet criticized this poem for being "journalistic." But then the poem is written from the point of view of a journalist who's covering the trial of a romantic poet about to be burned at the stake by his peers. Whether the poem succeeds or not is, of course, up to the reader. I invariably grin when I read it, so I don't think the "unpoetic" language is a deal-killer, although I don't plan to make a living writing in this (or any other) vein. This poem was completed by the end of my sophomore year in college. It appears in my 1978 poetry contest folder.


Yesterday the wind whispered my name
while the blazing locks
of her rampant mane
lay heavy on mine.
And yesterday
I saw the way
the wind caressed tall pines
in forests laced by glinting streams
and thick with tangled vines.
And though she reached
for me in her sleep,
the touch I felt was Time's.

This poem is a bit "later" than most of the poems on this page.

Excerpt from "Jessamyn's Song"

By the window ledge where the candle begs
the night for light to live,
the deepening darkness gives
the heart good cause to shudder.
For there are curly, tousled heads
that know one use for bed
and not any other.
"Goodnight father."
"Goodnight mother."
"Goodnight sister."
"Goodnight brother."
"Tomorrow new adventures
we surely shall discover!"

"Jessamyn's Song" was a long poem about a relationship that began when a boy and girl were very young and lasted into "old age." At the time I wrote the poem, forty seemed to be beyond superannuated, so I believe I killed off the hero at that ripe old age.

Moon Lake

Starlit recorder of summer nights,
what magic spell bewitches you?
They say that all lovers love first in the dark . . .
Is it true?
    Is it true?
        Is it true?

Starry-eyed seer of all that appears
and all that has appeared—
What sights have you seen?
What dreams have you dreamed?
What rhetoric have you heard?
Is love an oration,
    or is it a word?
        Have you heard?
            Have you heard?
                 Have you heard?

I believe I wrote this poem in my late teens. I think the questions are interesting. Do all lovers love first in the dark? Is love an oration, or is it a word?


Nevermore! O, nevermore
shall the haunts of the sea—
the swollen tide pools
and the dark, deserted shore—
mark her passing again.
And now the raging sea
shall never kiss her lips
nor caress her trembling hips
as she dreamt it did before,
one night, attuned to the surf's savage roar.
The waves will never rape her,
nor take her at their leisure;
the sea gulls shall not have her,
nor could she give them pleasure . . .
she sleeps forevermore.

She sleeps forevermore,
a virgin save to me
and her other lover,
who lurks now, safely covered
by the restless, surging sea.
Yet though they sleep together,
they share no love today,
for the sea has wracked and torn
the one I once adored,
and washed her flesh away.
He does not stroke her honey hair,
for she is bald, bald to the bone!
And how it fills my heart with glee
to hear them sometimes cursing me
out of the depths of the demon sea . . .
their skeletal love—impossibility!

This is one of my Poe-like creations, written around age 19. I think the poem has an interesting ending, since a male skeleton is missing an important "member."


What did I ever do
to make you hate me so?
I was only nine years old,
lonely and afraid,
a small stranger in a large land.

Why did you abuse me
and taunt me?
Even now, so many years later,
the question still haunts me:
what did I ever do?

Why did you despise me and reject me,
pushing and shoving me around
when there was no one to protect me?

Why did you draw a line
in the bone-dry autumn dust,
daring me to cross it?
Did you want to see me cry?
Well, if you did, you did.

. . . oh, leave me alone,
for the sky opens wide
in a land of no rain,
and who are you
to bring me such pain? . . .

This is one of the few "true poems" I've written, in the sense of being about the "real me." I had a bad experience with an older girl named Sarjann (or something like that), who used to taunt me and push me around at a bus stop in Roseville, California (the "large land" of "no rain" where I was a "small stranger" because I only lived there for a few months).

Step Into Starlight

Step into starlight,
lovely and wild,
lonely and longing,
a woman, a child . . .

Throw back drawn curtains,
enter the night,
dream of his kiss
as a comet ignites . . .

Then fall to your knees
in a wind-fumbled cloud
and shudder to hear
oak hocks groaning aloud.

Flee down the dark path
to where the snaking vine bends
and withers and writhes
as winter descends . . .

And learn that each season
ends one vanished day,
that each pregnant moon holds
no spent tides in its sway . . .

For, as suns seek horizons—
boys fall, men decline.
As the grape sags with longing,
remember—the wine!

I believe I wrote the original version of this poem in my early twenties.

for Vicki

Time unfolds . . .
Your lips were roses.
. . . petals open, shyly clustering . . .
I had dreams
of other seasons.
. . . ten thousand colors quiver, blossoming.

Night and day . . .
Dreams burned within me.
. . . flowers part themselves, and then they close . . .
You were lovely;
I was lonely.
. . . a virgin yields herself, but no one knows.

Now time goes on . . .
I have not seen you.
. . . within ringed whorls, secrets are exchanged . . .
A fire rages;
no one sees it
. . . a blossom spreads its flutes to catch the rain.

Seasons flow . . .
A dream is dying.
. . . within parched clusters, life is taking form . . .
You were honest;
I was angry.
. . . petals fling themselves before the storm.

Time is slowing . . .
I am older.
. . . blossoms wither, closing one last time . . .
I'd love to see you
and to touch you.
. . . a flower crumbles, crinkling—worn and dry.

Time contracts . . .
I cannot touch you.
. . . a solitary flower cries for warmth . . .
Life goes on as
dreams lose meaning
. . . the seeds are scattered, lost within a storm.

I wrote this poem for my first college girlfriend. I intensely wanted to be with her best friend, who was dating my best friend at the time. When I finally got my chance with my best friend's girlfriend, I was so drunk, I couldn't seize the opportunity. Meanwhile, when my girlfriend was so drunk she offered me the opportunity I had always wanted, I felt compelled to be a gentleman. So it was all very strange, as if the Fates had ordained that none of us should end up being together. It was a very sad, confused time . . . a time when longings threatened to overwhelm us, and yet a strange sort of honor seemed to win the day, although none of us really meant to act with honor. Perhaps we were all saving ourselves for other people we hadn't yet met, or perhaps hormones and alcohol have completely different agendas . . .

Ince St. Child

When she was a child
     in a dark forest of fear,
          imagination cast its strange light
               into secret places,
               scattering traces
           of illumination so bright,
     years later, she could still find them there,
their light undefiled.

When she was young,
     the shafted light of her dreams
          shone on her uplifted face
               as she prayed . . .
               though she strayed
          into a night fallen like woven lace
     shrouding the forest of screams,
her faith led her home.

Now she is old
     and the light that was flame
          is a slow-dying ember . . .
               what she felt then
               she would explain;
          she would if she could only remember
     that forest of shame,
faith beaten like gold.

This was an unusual poem, and it took me some time to figure out who the old woman was. She was a victim of childhood incest, hence the title I eventually came up with.


Alone again as evening falls,
I join gaunt shadows and we crawl
up and down my room's dark walls.

Up and down and up and down,
against starlight—strange, hopeless clowns—
we merge, emerge, submerge ... then drown.

We drown in shadows starker still—
shadows of the moonlit hills,
shadows of the souls we spill,

tumbling, to the ground below.
There, caked in grimy, clinging snow,
we flutter feebly, moaning low

for days dreamed once an age ago
when we weren't shadows, but were men ...
when we were men, or almost so.

This poem was published in my college literary journal, Homespun. It was substantially finished by my sophomore year in college and appeared in a folder of poems I submitted to a poetry contest. 



The men shined their shoes
and the ladies chose their clothes;
the rifle stocks were varnished
till they were untarnished
by a speck of dust.

The men trimmed their beards;
the ladies rouged their lips;
the horses were groomed
until the time loomed
for them to ride.

The men mounted their horses,
the ladies did the same;
then in search of game they went,
a pleasant time they spent,
and killed the fox.

This poem was published in my college literary journal, Homespun, in 1977, along with "Smoke" and four other poems of mine. I have never been a fan of hunting or fishing, or inflicting pain on other creatures.

Easter, in Jerusalem

The streets are hushed from fervent song,
for strange lights fill the sky tonight.
A slow mist creeps
up and down the streets
and a star has vanished that once burned bright.
Oh Bethlehem, Bethlehem,
who tends your flocks tonight?
"Feed my sheep,"
"Feed my sheep,"
a Shepherd calls
through the markets and the cattle stalls,
but a fiery sentinel has passed from sight.

Golgotha shudders uneasily,
then wearily settles to sleep again,
and I wonder how they dream
who beat him till he screamed,
"Father, forgive them!"
Ah Nazareth, Nazareth,
now sunken deep into dark sleep,
do you heed His plea
as demons flee,
"Feed my sheep,"
"Feed my sheep."

The temple trembles violently,
a veil lies ripped in two,
and a good man lies
on a mountainside
whose heart was shattered too.
Galilee, oh Galilee,
do your waters pulse and froth?
"Feed my sheep,"
"Feed my sheep,"
the waters creep
to form a starlit cross.

This poem was published in my college literary journal, Homespun, in 1978, along with another poem, "A Pledge for Ignorance." It also appeared in a folder of poems I submitted to a poetry contest after my sophomore year in college.

I Remember You

for Kevin Hickman (1958-1975)

Now that winter has passed away
and spring is in the air,
it seems so wrong that you are gone;
it seems so unfair.
It doesn't seem right that I am here
when you have passed away.
It seems so sad that you have fled
and cannot see the breaking day
or see the flowers everywhere,
or hear the robin's song so fair . . .

And now that summer is on the way
and school's-end is closing fast,
it doesn't seem right you've taken flight
now that we're free at last.
It doesn't seem fair that you're not here
now that the sun will shine;
it seems so cruel that you were doomed
now that the weather's fine,
now that we can swim again,
now that there's no snow or rain . . .

Now that winter's days have flown
and summer's are here again,
it seems so sad you've left this life
and suffered so much pain.
It seems so wrong that you have gone
and can't enjoy the summertime.
It seems unfair that I'm left here
now that the gardens bloom with thyme,
now that the flowers line the lane,
now that the fields stand tall with grain,
now that there's no snow or rain . . .

This is one of my earliest poems. A Maplewood High School student, Kevin Hickman, died in 1975, and although I didn’t know him, this poem resulted. Or, if I remember correctly, I had written it before he died, then dedicated the poem to his memory.


Turn your eyes toward me
though in truth you do not see,
and pass once again before me
though you are distant as the sea.

And smile once again, smile for me,
though you do not know my name . . .
and pass once again before me,
and fade, and yet remain.

Remain, for my heart still holds you
—soft chord in love’s dying song!
Stay, for your image is with me
though it will not linger long.

And smile, for my heart is breaking
though you do not know my name.
Laugh, for your image is fading
though I wish it to remain.

But die, for I cannot have you,
though I want you more than life;
darken, and fade and be silent
though your voice and presence are light.

Yet frown, for you cannot touch me
though I have touched you now;
wonder, for you have not met me
and never, never shall.

I believe I wrote this poem my first year in college, around age 18. I had seen Olivia Newton-John on TV, and was thinking about the strangeness of being attracted to someone I didn't know, and who had no idea I even existed. The "but die" simply means for her image to disappear. The "I have touched you now" imagines her reading the poem and wondering about the person who wrote it.


Freedom is not so much an idea as a feeling
    of open roads,
        of the hobo's call,
            of autumn leaves in brisk breeze reeling
        before a demon violently stealing
    all vestiges of the beauty of fall,
preparing to burden bare tree limbs with the heaviness of her icy loads.

And freedom is not so much a letting go as a seizing
    of forbidden pleasure,
        of lusty sport,
            of all that is delightful and pleasing,
        each taken totally within its season
    and exploited to the fullness of its worth
though it last but a moment and repeat itself never.

Oh, freedom is not so much irresponsibility as a desire
    to accept all the credit and all the blame
        for one's deeds,
            to achieve success or failure on one's own, to require
        either or both as a consequence of an inner fire,
    not to shirk one's duty, but to see
one's duty become himself—himself to tame.

I believe I wrote this poem circa 1978, when I was 19 or 20 years old. I had the image of a train-hopping hobo in mind when I wrote it. I'm not sure that I care for the poem's "wisdom" today, but I like its meter.

Tell Me

Tell me what I am,
for I have often wondered why I live.
Do you know?
Please, tell me so . . .
drive away the darkness from within.
For my life is black with sin
and I have often wondered why I am;
and my thoughts are black as night
though I have often sought what was right.
Shed some light . . .
drive away the darkness from without
for I doubt that I will see
the coming of the day
without your help.

This poem appeared in my high school journal, the Lantern.


These are my personal rankings of my ten best early poems, in chronological order, all written (or at least started and largely created) by age twenty:

"Playmates" (1972)
"Smoke" (1972)
"Time" (1972-1973) and "Am I" (1972-1973)
"Observance" (1975) written in a McDonald's break room
"Infinity" (1976)
"These Hallowed Halls" (1976-1977)
"In the Whispering Night" (1976-1977)
"Something" (1977)
"The Communion of Sighs" (1978)

Honorable Mention: "Have I Been Too Long at the Fair" (1973-1974), "Stones" (1974), "Pilgrim Mountain" (1974-1976), "Autumn Leaves" from "Jessamyn's Song" (1974-1978), "i (dedicated to u)" (1975), "Sarjann" (1975), "Death/Styx" (1976), "Having Touched You" (1976), "Something of Sunshine" (1976), "Hey Pete" (1976), "The Beautiful People" (1976), "Son" (1977), "For Vicki" (1977), "Christy" (1977), "Floating/Entanglements" (1977), "Mare Clausum" (1977), "Shock" (1977), "The Sky Was Turning Blue" (1977), "The Toast" (1977), "Ince St. Child" (1977), "Shadows" (1978), "Earthbound" (1978), "Flying" (1978), "Freedom" (1978), "Moon Lake" (1978), "Premonition" (1978), "Reflections on the Loss of Vision" (1978), "Sea Dreams" (1978), "Sanctuary at Dawn" (1978)

This is a chronology of the earliest-written poems that I can remember:

"Happiness" (1972)
"Playmates" (1972)
"I Remember You" (1972)
"Time" (1972-1973)
"Am I" (1972-1973)
"Gone" (1973)
"There Is Peace Where I Am Going" (1973, see notes below)
"Paradise" (1973)
"Be Back Soon" (1973)
"Looking for Love" (1973)
"Heaven Help Us" (1973)
"Ain't It Beautiful" (1973)
"Prisoner" (1973)
"I Need You" (1973)
"Rose Colored Glasses" (1973)

NOTE: The poems above other than "Happiness" and the mostly-missing "Gone" appeared in a high school project titled "Poems" that I still possess, and which I remember working on for my 10th grade English class in 1973-1974. So all the poems above had been written by the time I was 16, but several had been written earlier. I vividly remember writing "Happiness" because it was my first poem. The first eight poems above were written as poems; the others were written as song lyrics (or potential song lyrics). But because I was a terrible singer and had no musical ability, my songwriting career never took off! At some point, probably in 1973, I destroyed all the poems I had written, out of frustration. I was able to recreate some of the poems from memory, but not all of them. "Gone" is the poem that haunts me the most. I have "resurrected" a few lines from the poem and may try to recreate it completely one day.

"Smoke" (1972)
"So Little Time" (1972)
"Illusion" (1974)
"Have I Been Too Long at the Fair" (1974)
"Man" (1974) also published by a vanity press called World of Poetry before I knew what a vanity press was!
"Something of sunshine" (1974) one of my earliest attempts at e. e. cummings "flattery"
"As time walked by" (1974) another cummings-ish poem
"(Oh God) I Am Lonely" (1975)
"(It Was) Morning" (1975)
"Why Did I Go?" (1975)
"Tell Me What I Am" (1975)
"The Resurrection" (1975)
"Sheila" (1975)
"Parting" (1975-1976)
"Of You" (1975-1976)
"Red Dawn" (1975-1976)

NOTE: The poems above were published in my high school literary journal, the Lantern, in 1976.

"Smoke" (1972)
"When last my love left me" (circa 1974-1976)
"Jack" (circa 1975-1976)
"Stryx" (1976)
"Gentry" (1976)
"With My Daughter, By a Waterfall" (1976)

NOTE: The poems above were published in my college literary journal, Homespun, in 1977.

"A Pledge for Ignorance" (circa 1973-1976)
"Easter, in Jerusalem" (1974)

NOTE: The poems above were published in my college literary journal, Homespun, in 1978.

"Shadows" (circa 1977-1978)

NOTE: The poem above was published in my college literary journal, Homespun, in 1979.

Following are other early poems of Michael R. Burch, in alphabetic order by title. Many of the dates are "educated guesses" but all poems were substantially complete by 1978, when I submitted them to a poetry contest.

"A Midnight Shade of Blue" (circa 1974-1976; appears in 1978 poetry contest folder)
"A Pledge for Ignorance" (circa 1973-1976; appears in 1978 poetry contest folder)
"Rant: An Obscenity Trial" (1978; appears in 1978 poetry contest folder)
"Blue Cowboy" (circa 1974-1976; appears in 1978 poetry contest folder)
"By and By" (circa 1973-1976; appears in 1978 poetry contest folder)
"Cowpoke" (circa 1974-1976; appears in 1978 poetry contest folder)
"Damp Days" (circa 1974-1976; appears in 1978 poetry contest folder)
"Dance With Me" (circa 1976-1977; written as a college freshman after conversations with George King)
"El Dorado" (circa 1974-1976; appears in 1978 poetry contest folder)
"Every Time I Think of Leaving" (circa 1975-1978; appears in 1978 poetry contest folder)
"Flying" (circa 1975-1978; appears in 1978 poetry contest folder)
"I Held a Heart in My Outstretched Hand" (circa 1977-1978; appears in 1978 poetry contest folder)
"Impressions of Darkness in the Aspects of Light" (circa 1977-1978; written at TTU for an English class; appears in 1978 poetry contest folder)
"Let's Dance" (circa 1976-1977; written at TTU; appears in 1978 poetry contest folder)
"Jessamyn's Song" (circa 1974-1978; appears in 1978 poetry contest folder)
"Oh Say That You Are Mine" (circa 1973-1976; appears in 1978 poetry contest folder)
"Pilgrim Mountain" (circa 1974-1976; appears in 1978 poetry contest folder)
"Remembrance" (circa 1977-1978; appears in 1978 poetry contest folder)
"Rock" (circa 1977-1978; appears in 1978 poetry contest folder)
"Sailor's Dreams / Seadreams" (circa 1975-1978; appears in 1978 poetry contest folder)
"Sanctuary at Dawn" (circa 1973-1976; appears in 1978 poetry contest folder)
"Shanie" (circa 1977-1978; appears in 1978 poetry contest folder)
"Spirare and Amora" (circa 1977-1978; appears in 1978 poetry contest folder)
"Sweet Inspiration" (circa 1975-1976; appears in 1978 poetry contest folder)
"Thoughts of the Everglades in Ontario" (circa 1977-1978; appears in 1978 poetry contest folder)
"There Is Peace Where I Am Going" (circa 1973 after watching a TV show about Woodstock; appears in 1978 poetry contest folder)
"Where Have All the Flowers Gone" (circa 1974-1978; appears in 1978 poetry contest folder)
"Where, Oh Where Was I" (circa 1975-1976; appears in 1978 poetry contest folder)
"Why Did You Leave" (circa 1975-1976; appears in 1978 poetry contest folder)
"Writing" (circa 1977-1978; appears in 1978 poetry contest folder)
"You Didn't Have Time, and Now You Have None" (circa 1975-1978; appears in 1978 poetry contest folder)

These are my early poems, roughly in the order they were written, according to the notes I have been able to find, abetted at times by an admittedly imperfect memory. The better poems, in my opinion, are bolded ...

"Happiness" (1972)
"Playmates" (1972)
"Smoke" (1972) was published by The Lantern and Homespun, my high school and college literary journals
"Time" (1972-1973) and "Am I" (1972-1973) were written on or about the same day, if I remember correctly

Other 1972 poems: "I Remember You," "So Little Time" (all other poems from this period were destroyed and could not be recovered)

"Gone" (1973)
"There Is Peace Where I Am Going" (1973)
"You'll Never Know" (circa 1973)
"A Pledge for Ignorance" (circa 1973-1976)

Other 1973 poems and songs: "Paradise," "Be Back Soon," "Looking for Love," "Heaven Help Us," "Ain't It Beautiful," "Prisoner," "I Need You," "Rose Colored Glasses" (all other poems from this period were destroyed and could not be recovered)

"Illusion" (1974)
"Have I Been Too Long at the Fair" (1974)
"Autumn Leaves" from "Jessamyn's Song" (1974-1978)
"Stones" (1974)
"Pilgrim Mountain" (1974-1976)
"Eagle, Raven, Blackbird, Crow" (1974)
"El Dorado" (circa 1974-1976)
"Something of sunshine" (1974)

Other 1974 poems: "As time walked by," "When last my love left me" (circa 1974-1976), "Easter, in Jerusalem," "49th Street Serenade," "Yesterday my father died," "Man," "The Poet"

"Observance" (1975)
"i (dedicated to u)" (1975)
"Sarjann" (1975)

Other 1975 poems:
"(Oh God) I Am Lonely," "(It Was) Morning," "Why Did I Go," "Tell Me What I Am," "The Resurrection," "teacher," "Sheila," "Jack," "Parting," "Of You," "Stewark Island (Ambiguity)," "Sharon," "Red Dawn," "Aubade," (a poem written in Ms. Davenport's English class at Maplewood High School), "Alice," "Autumn Lament," "Embryo," "Hills," "Twelve-Thirty" (the last two were written on or around the same day, I believe)

"Infinity" (1976), my first cash payment ($10); this early poem has since been published by several literary journals
"Death/Styx" (circa 1976)
"In the Whispering Night" (1976-1977), a poem I wrote for a college English teacher, George King
"These Hallowed Halls" (1976-1977)
"Because You Came to Me" (circa 1976)

"Hey Pete" (1976)
"Having Touched You" (1976)
"Shadows" (1976-1978)
"The Beautiful People" (1976)
"We Kept the Dream Alive" (1976), a poem opposing the Vietnam War poem
"impressions of a desert" (1976)
"Stryx" (1976) and "The Song of the Wanderers" were written around the same time on the same theme
"Gentry" (1976)
"With My Daughter, By a Waterfall" (1976)
"Where have all the flowers gone?" (1976)
"Whereas I am twenty" (1976)
"What is this 'love'?" (1976), one of my first attempts at the sonnet form
"Will you walk with me? (1976), another early attempt at a sonnet 
"Phantasmagoria" (1976)
"The Black Hills" (1976)
"Something" (1977)
"For Vicki" (1977)
"Christy" (1977), a poem I wrote in college for a "major crush"
"Floating/Entanglements" (1977)
"Mare Clausum" (1977)
"Shock" (1977)
"The Sky Was Turning Blue" (1977)
"The Toast" (1977)
"Ince St. Child" (1977)
"Nevermore!" (1977)
"Ambition" (1977)
"Sonnet 130" (1977), a poem written in college as a response to Shakespeare's Sonnet 130
"Hush, my darling" (1977)
"Charlie Hustle" (1977)
"Olivia" (1977)
"Son" (1977)
"The Communion of Sighs" (1978)
"Accounting" (circa 1978)
"Earthbound" (1978)
"Moon Lake" (1978)
"Premonition" (1978)
"Reflections on the Loss of Vision" (1978)
"Sea Dreams" (1978)
"Sanctuary at Dawn" (1978)
"Freedom" (1978)
"Belfast's Streets" (1978)
"Huntress" (1978)
"Flying" (1978)
"Poet to Poet" (1978)
"Born to Run" (1978), a poem written in college after hearing Bruce Springsteen's hit song
"You didn't have time" (1978)
"All the Young Sailors" (1978)
"Every time I think of leaving ..." (1978)
"The Song of Roland" (1978)
"Again and Again and Again" (1978)
"Be Strong" (1978)
"Damp Days" (1978)
"Step Into Starlight" (1979) was published by The Lyric many years later
"Hushed, Yet Melodic" (1979)
"Cameo" (1979)
"War" (1979)
"Lay Down Your Arms" (1979)
"Absinthe Sea" (1979)
"Adagio" (1979)
"Go down to the hoe-down" (1979)
"I'll meet her in a memory" (1979)
"The Swing" (1979)
"The Offering" (1979)
"Chains" (1979)
"Regret" (1980)
"She Was Kinder Than Light" (1980)

"Recursion" (1980)
"Lying" (1980)
"Perspective" (1980)
"The Latter Days" (1980)

"Fairest Diana" (circa 1980)
"Ashes" (1980)
"Eternity Beckons" (1980)
"When I was in my heydey" (circa 1980)

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