The HyperTexts
Rejection Slips
by Michael R. Burch
I chose the title "Rejection Slips" ironically, since I question whether the
"slips" were made by the poet or his editors. These are poems of mine that were
rejected multiple times before being published; some have never been
formally published. I have given my "suspicions" why in some cases. Of course it
could be that the poems in question simply appeal to me more than to other
people, but I like to think these are publishable poems and that it was the editors who slipped up!
Autumn
Conundrum
by Michael R. Burch
It’s not that every leaf must finally fall,
it’s just that we can never catch them all.
Piercing the Shell
by Michael R. Burch
If we strip away all the accouterments of war,
perhaps we’ll discover what the heart is for.
Childless
by Michael R. Burch
How can she bear her grief?
Mightier than Atlas, she shoulders the weight
of one fallen star.
Styx
by Michael R. Burch
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—probably in
my teens—but I do remember it being part of a longer poem titled "Death."
The first four lines seemed better than the rest of the poem, so I opted for the
better part of valor: discretion.
She bathes in silver
by Michael R. Burch
She bathes in silver,
~~~~~afloat~~~~~
on her reflections ...
Less Heroic Couplets: Sweet Tarts
by Michael R. Burch
Love, beautiful but fatal to many bewildered hearts,
commands us to be faithful, then tempts us with sweets and tarts.
(If I were younger, I might mention
you’re such a temptation.)
Anti-Vegan Manifesto
by Michael R. Burch
Let us
avoid lettuce,
sincerely,
and also celery!
Be very careful what you pray for!
by Michael R. Burch
Now that his T’s been depleted
the Saint is upset, feeling cheated.
His once-fiery lust?
Just a chemical bust:
no “devil” cast out or defeated.
Parting is such sweet sorrow
by Michael R. Burch
The cosmos is flying apart.
Hush, Neil deGrasse Tyson’s irked heart!
Repeat, repeat.
Don’t skip a beat.
Perhaps some new Big Bang will spark?
Neil deGrasse Tyson told Stephen Colbert that what keeps him awake at night
is the fear that expansion will cause most of the universe to become invisible
to us.
Flu Fly Flew
by Michael R. Burch
A fly with the flu foully flew
up my nose—thought I’d die—had to sue!
Was the small villain fined?
An abrupt judge declined
my case, since I’d “failed to achoo!”
Menu Venue
by Michael R. Burch
At the passing of the shark
the dolphins cried Hark!;
cute cuttlefish sighed Gee
there will be a serener sea
to its utmost periphery!;
the dogfish barked,
so joyously!;
pink porpoises piped Whee!
excitedly,
delightedly.
But ...
Will there be as much glee
when there’s no you and me?
Belated Canonization
by Michael R. Burch
I loved you for the best.
I loved you through the worst.
I loved you fully dressed,
even when the water pipes burst.
But the gods were not impressed
and so they took you first.
I loved you nonetheless,
even when the earth seemed cursed.
I loved you at the prom.
I loved you in the hearse.
I still think of you as blessed.
Please excuse this morbid verse.
Only Flesh (II)
by Michael R. Burch
Moonlight in a pale silver rain caresses her cheek
but what she feels is an emptiness more chilling than fear ...
Nothing is questioned, yet the answer seems clear:
Night, inevitably, only seems to end ...
Flesh is the stuff that does not endure.
The sand slips sinuously through narrowing glass
as Time sums all things past, and to come.
Only flesh does not last.
Eternally, Night pirouettes with the Sun;
each bright grain, slipping past, will return.
Only flesh fades to ash though unable to burn.
Only flesh does not last.
Only flesh, in the end, makes its bed in brown grass.
Only flesh shivers, frailer than the pale wintry light.
Only flesh seeps in oils that will not ignite.
Only flesh rues its past.
Only flesh.
Only Flesh (I)
by Michael R. Burch
Moonlight in a pale silver rain caresses her cheek
but all she sees are dark nights when no stars
cohere.
Nothing is questioned, yet the answer seems clear:
Night, inevitably, only seems to end . . .
Flesh is the stuff that does not endure.
The sand slips sinuously through narrowing glass
as Time sums all things past, and to come.
Only flesh does not last.
Eternally, Night pirouettes with the Sun;
each bright grain, slipping past, will return.
Only flesh fades to ash though unable to burn.
Only flesh does not last.
Only flesh, in the end, makes its bed in brown grass.
Only flesh shivers, frailer than the pale wintry light.
Only flesh seeps in oils that will not ignite.
Only flesh rues its past.
Only flesh.
Hell-Bound Hounds
by Michael R. Burch
We have five dogs and every one’s a sinner!
I swear it’s true—they’ll steal each other’s
dinner!
They’ll hump before they’re married. That’s unlawful!
They’ll even screw in public. Eek, so awful!
And when it’s time for treats (don’t gasp!), they’ll beg!
They have no pride! They’ll even hump your leg!
Our oldest Yorkie murdered dear, sweet Olive,
our helpless hamster! None will go to college
or work to pay their room and board, or vets!
When the Devil says, “Pee here!” they all yip, “Let’s!”
And yet they’re sweet and loyal: thus I doubt
the Lord will dump them in hell’s dark redoubt . . .
which means there’s hope for you, perhaps for me.
But as for cats? I say, “Best wait and see.”
Rising Fall
by Michael R. Burch
after Keats
Seasons of mellow fruitfulness
collect at last into mist
some brisk wind will dismiss ...
Where, indeed, are the showers of April?
Where, indeed, the bright flowers of May?
But feel no dismay ...
It’s time to make hay!
I believe the closing line was influenced by this remark J. R. R. Tolkien
made about the inspiration for his plucky hobbits: “I've always been impressed
that we're here surviving because of the indomitable courage of quite small
people against impossible odds: jungles, volcanoes, wild beasts ... they
struggle on, almost blindly in a way.” Thus, whatever our apprehensions about
the coming winter, when autumn falls and fall rises, it’s time to make hay.
How It Goes, Or Doesn’t
by Michael R. Burch
My face is getting craggier.
My pants are getting saggier.
My ear-hair’s getting shaggier.
My wife is getting naggier.
I’m getting old!
My memory’s plumb awful.
My eyesight is unlawful.
I eschew a tofu waffle.
My wife’s an Eiffel eyeful.
I’m getting old!
My temperature is colder.
My molars need more solder.
Soon I’ll need a boulder-holder.
My wife seized up. Unfold her!
I’m getting old!
The Bear on the Delhi Road
by Michael R. Burch
after the poem of the same title by Earle Birney
I want to create a myth.
The myth I create is me.
Of dreams, I sip a fifth,
and dance, most delicately.
Like the Himalayan bear
entranced to dance by men
of Kashmir, keen and spare,
who walk beyond his ken,
I teach myself to dance,
then rise and tower here.
Spellbound, in myth’s vast trance,
I catch a whiff of fear ...
I should pursue the fakirs,
amid odd berries sweet,
then make them fly, shot-putted,
into next week ...
but I merely cuff the fakers,
take clues from their mad song,
and then become dreams’ Nadir
as I shuffle-dance along.
For I want to create a myth,
and the Myth I Create Is Me.
Of dreams, I sip five fifths,
and dance, dervishly.
Well, Well
by Michael R. Burch
Yes, I thought you did well
when she proffered her cheek—
to kiss her (so lightly, so well!)
and to speak
(so politely, so well!),
and I hope she can tell
that you’re doing well.
Perhaps she’ll remember
to call you next week
now that you are out
(and are doing so well!);
and you’ll say, “This is swell!
By the way, can we meet
for a drink at that café
we once loved so well?”
And you’ll laugh and she’ll smile
through the phone—smiles as sweet
as she once used to smile,
till your heart skips a beat,
and she’ll say, “Yes, I will,
for I’m fond of you still.
Very well.”
Over coffee, she’ll note
that you still do not gloat
that you won the divorce
(for you hide it so well!).
You’ll talk of the weather
and murmur together—
the whispers of lovers
intoning a spell.
And you’ll say, “I’m quite pleased
that we need not conceal
how we feel for each other.”
And as you reveal
how well you have loved her,
how well you’ve recovered,
she’ll regret that she ever
said you were unwell.
Sinking
by Michael R. Burch
for Virginia Woolf
Weigh me down with stones ...
fill all the pockets of my gown ...
I’m going down,
mad as the world
that can’t recover,
to where even mermaids drown.
The Drawer of Mermaids
by Michael R. Burch
This poem is dedicated to Alina Karimova, who was born with severely deformed
legs and five fingers missing. Alina loves to draw mermaids and believes her
fingers will eventually grow out.
Although I am only four years old,
they say that I have an old soul.
I must have been born long, long ago,
here, where the eerie mountains glow
at night, in the Urals.
A madman named Geiger has cursed these slopes;
now, shut in at night, the emphatic ticking
fills us with dread.
(Still, my momma hopes
that I will soon walk with my new legs.)
It’s not so much legs as the fingers I miss,
drawing the mermaids under the ledges.
(Observing, Papa will kiss me
in all his distracted joy;
but why does he cry?)
And there is a boy
who whispers my name.
Then I am not lame;
for I leap, and I follow.
(G’amma brings a wiseman who says
our infirmities are ours, not God’s,
that someday a beautiful Child
will return from the stars,
and then my new fingers will grow
if only I trust Him; and so
I am preparing to meet Him, to go,
should He care to receive me.)
The Abyss
by Michael R. Burch
Love, the abyss
where pale Lorelei dwell,
swells with bright music —
the music of hell.
For the sirens there lure
countless men to their doom,
crying, “Give us a child!”
in the luminous gloom.
And who can resist
their cries — wild & untamed —
or the flash of a breast,
its pink nipple inflamed?
So the young men all leap
in their lemming-like urge
to thresh their soft shells
where the dark waters surge.
Now many lie shattered
on the sharp, hidden rocks
where they succor the spawn
of some wily sea-fox.
Lures of the Lorelei
by Michael R. Burch
These are the rocks where the Lorelei combs
her wind-tangled hair as the dark water moans,
and her uncanny hymns echo softly between
worlds fashioned of stone and strange algaed dreams . . .
Here men hear her songs, as they always have done,
as they dream to be one with the pulse of the foam . . .
as they also now long for her sleek, slender arms—
sweet relief from their ships, mules, wives, shanties and farms!
But what does she offer them—is it love?
As she croons her desire, is she moray, minx, dove?
Or merely a mystery: an enigma, like death,
to men bent on drowning, unhappy with breath?
Coo and F.T. pushed out to sea ...
by michael r. burch
I.
Coo and F.T.
pushed out to sea
in a tub that was really a tub ...
Rub-a-dub-dub*
then glub-a-glub-glub ...
Land sakes, it was really a sub!
They swam with the fishes
and made winsome wishes,
which kind manatees soon approved.
Forgetting their troubles
they just counted bubbles
and learned how seahorses are hooved.
But then, golly-gee,
it was past time for tea
and with only saltwater in sight,
they had to pop home
till their next time to roam,
so now we must bid them “Good night!”
Of the Further Adventures of Coo and F.T.
II.
Soon Coo and F.T.
re-set out to sea
in their lover-ly pea-green tub ...
Rub-a-dub-dub*
then glub-a-glub-glub ...
Once again, it turned into a sub!
Once a-glide underwater,
F.T. and her daughter,
the one with angelic white wings,
looked high and low
for a chap we all know:
the Walrus who hand-jives and sings!
Happ’ly they found him
and now they astound him
with song lyrics fit for a King:
not strange old mad Lear,
but Edward, our peer,
whom the Jumblies assemble to bring!
What happened when Edward Lear made his celebrated appearance.
III.
It was such a wild court
(as reporters report)
and such lusty cheering ensued
when our friend Edward Lear
came to cheer his sweet peer
that our F.T. blushed twice and boo-hooed!
But there’s nothing to fear:
only tears of joy here!
Now the Jumblies sing on in fine tune ...
And it’s rumored that you
(cup your ears) can hear Coo
singing back from her perch on the moon!
*These are the magical words that turn ordinary bathtubs into the sleekest of
submarines.
Strange Tides, Stranger Tidings
by Michael R. Burch
for Sharon Rose
She walked into the sea one night
to never be seen again;
the Maelstrom made her hair a fright
as she left the world of men.
Some say she thus gained second sight.
Beware strange tides! Amen.
The first year of her life was hard;
the second harder still.
Like a cameo carved out of sard
she bent to God’s harsh will.
At last her doctors all agreed:
“Just give her some damn pill!”
The years flashed by; she did not age
so much as disappeared.
For who could see
human dignity
in a thing small, wizened, weird?
At last she had no memory
save all she’d ever feared.
Then the sea called to her strangely,
as if the Voice of God:
“I repent, O, I repent
of my Anger and my Rod!
Now I only wish to hold you,
and have you Tulip-Cod!”
She thought her nickname sweet indeed;
she did not stop to think,
for who can doubt the Word of God?
She tottered to the brink
of Doom itself, an ancient crone
doomed like a stone: to sink.
She made a votive offering;
she cast a lonely spell
upon the sea, before she stepped
into the gates of Hell;
the Maelstrom took her greedily;
she bade the world, “Farewell!”
So what became of her, you ask?
I can’t pretend to say:
did Michael and the Devil
contend for her that day?
Did the Voice of God mislead her,
or the wind lead her astray?
But sometimes late at night
when the ocean’s dreary roar
abates somewhat, an eerie light
gleams on that rocky shore,
and a lovely Mermaid, tulip-white,
sings, tremulous and pure ...
sweet ancient songs of ancient wrongs
the “love” of God endures.
Amen
I Panajia I gorgona (“The Mermaid Madonna”)
by Michael R. Burch
To touch—the trembling eagerness of fingers
that sightless, in blind darkness, knew to grope,
to seize the hand outstretched, and thus to hope ...
such was your touch, and softly, now, it lingers:
fond memory! I do not understand
this foreign hand that grasps mine now: crude claws’
rude pincers, which engage, but without cause
except to trap me in suffocating sands.
O softer than your mermaid’s swimming tresses:
your arcane touch, your almost human hand!
You held a shell shaped like an ampersand
close to my ear; the surging sea’s caresses
spoke to my heart ... until Gorgona neared
on crablike feet: repulsive, skittering, weird.
Rant: Inevitability
by Michael R. Burch
There is change in the wind; there is change in the sea
preternaturally strange with her myriad eyes—
stars mirrored in waves. Compelled by the moon,
whipped to foam, she is drawn into restive tides
rising and cresting as kestrels flee
shrieking, “Passion is all!” You are nothing to me.
What will be, will be.
There are words to arrange; there are tongues to employ;
there are songs to engrave on each vellum leaf.
But the gold will not hold lacking passion or joy
and the gilt ink fades without rage or grief.
All your high Latin hymnals bind spineless belief,
and your mild incantations mean nothing to me.
What will be, will be.
Emotionless arrows impale no meat,
leave no prey blood-splattered, no white bone staring,
no pale breast shattered, no lamb’s soft bleat ...
but a table barren, an ear uncaring.
And your listless denouements mean nothing to me.
What will be, will be.
There are souls’ riven screams, there are blind eyes staring—
imploring the sun or the moon or the sea
for an inkling of meaning, a morsel, a shaving ...
and your pallid dispassion means nothing to me.
What will be, will be.
There is much that is lost, and yet much to be gained
from each starless night, each advance of sun.
We have so little time to wrestle your meaning.
Stars trestle the heavens. Wind haunts. You are done.
And your temple bells’ tinklings mean nothing to me.
What will be, will be.
All my cruel Celtic henchmen, my bold Nordic bards,
will shatter the canes of your cripples to shards,
impaling pale corpses on blood-slickened staves,
tossing leprous white limbs to the wild-drooling waves.
For your steaming viscera are manna to me.
What will be, will be.
No Iscariot kiss, but a Jubilant Hiss
you will get from me. What will be, now is.
The Onslaught
by Michael R. Burch
This poem is dedicated to George King, my college English professor, who
compared lines in one of my poems to Wordsworth and Tennyson.
There are years between us; we stand—
the last outpost, the uncertain sentries
of a forgotten command—
awaiting a word.
The wind does not pause for remembrance or regret.
There are centuries of sand
in our boots, in our hair, trickling down our backs,
chaffing our necks.
And yet we stand—
unable to remember, unlikely to forget . . .
that rout:—the devastation, the onslaught,
the pale bodies dismembered, outstretched.
It is over now; there was no time to retreat.
They won, and yet, O words!,
even in defeat, . . .
even in desolation, your enticements are sweet.
stones
by michael r. burch
i.
far below me lies a village
with its houses hewn from stone
and though Everyman who lives there
bravely claims he’s not alone,
i can tell him, yes u are!
for u cannot touch the stars
no matter how u try;
nor can u tame the mountain,
nor appease the darkening sky.
ii.
and late at night
their flinty fires blazing cannot warm their stony hearts;
though each villager “believes” (in what?)
the terror-fear departs
them only at mid-day
for they fear what Others say
when their walls have shut them in.
iii.
and do they sin?
who am i to say?
most stones are shades of gray;
what does it matter, anyway?
iv.
oh, i think that living is not easy
and that dying is not hard ...
as the stars above wink, meaningless,
so they are;
so we all are.
v.
a legion without sound
in dusky darkness drawing down
to settle on the town,
the Night is like a stone —
hard and dark and rolling on,
hard and dark and rolling on.
she
by michael r. burch
for a. v.
she is a mystery even to herself,
a wild elf
muttering words
a shepherdess
of the high steppes,
tending her herds
a ravenous fox,
with her bright locks
and her white teeth
a duplicitous spy,
a keen private eye,
and, sometimes, a thief
both riddle and answer,
an untapped dancer,
shining, a star
she is never near
when you long to touch her ...
though gone, never far
The Rut
by Michael R. Burch
How fickle love was once! (We think—“Not now!”—
because the sun is fading to the west
and we’ve grown older, wiser.) Yet, somehow,
the sun will rise and we’ve a human breast.
But somehow love is fickle, in that we
don’t really know quite what we mean by it.
It can’t be bought, and yet it isn’t free.
It wanders off the more we calmly sit
and don’t pursue it wildly, like the stag
who crashes through green forests, sick with lust,
who hones his antlers sharply, whose points brag
he’d rather die than not roll in the dust
to recreate himself: his poetry
is lustful yes, but lusty, hard-won, free.
The Rose
by Michael R. Burch
“Oh Rose, thou art sick!”—William Blake
Where life begins the seeds of death
are likewise planted, but with faith
the rose's roots combat the weeds’
to seek the nourishment it needs.
But in its heart an insect breeds.
Where dreams take form the flower grows,
as do the weeds, and still the rose
is gay and lovely, though her thorns
are sharp! The casual touch she scorns . . .
yet insects eat her leaves in swarms.
When passion fails the rose grown old,
no longer are her petals bold—
in flaming glory bright-arrayed.
In weeds of death at last is laid
the rose by insects first betrayed.
This Fatal Attraction
by Michael R. Burch
This fatal attraction dooms friendship, I fear,
for I long to be with you as stars disappear,
running my fingers through your thick mane
as your breasts rise and fall to the rhythm of rain.
And now I imagine a passion as rare
as a unicorn's horn, or a Minotaur's lair,
and I let myself dream of a moment to come
when your lips yield to mine, like pale dawn to the sun.
And the ache of desire I feel for your touch
is like agony now, for I want you so much
that I reach out toward you, though you are as far
as the fast-fading light of a last, lingering star.
Now this scandalous transport bids me to dare
to tell you I want you and how much I care ...
but to settle for friendship once passion has bloomed?
I cannot imagine—as friends we are doomed!
The Road Always Taken
by Michael R. Burch
We have come to the time of the parting of ways;
now love, we must linger no longer, amazed
at the fleetness with which we have squandered our days.
We have come to the time of the closing of scrolls;
beyond us, indecipherable Eternity rolls ...
and I fear for our souls.
We have come to the point of no fork, no return;
above us, a few cooling stars dimly burn ...
And yet I still yearn.
Reading Her Checkbook Backwards
by Michael R. Burch
Her writing in the checkbook stops at December 24.
There will be no more
illegible scrawlings to decipher; nevermore
the faint scent of her perfume clinging like mist to the shore
of some extravagant departure
festooned with banners and streamers: adventure
bought at such cost
the balance goes negative forever.
Red as blood
(O, and the price however uncertain), love
has left its indelible mark:
one naught in the shape of a heart,
the slash running through it, stark, stark.
Valentine’s it was, the spectacle
of her inimical debacle,
arrears beyond number, beyond counting!
(the parentheses always surmounting
the deposits of credits,
the way sediments
having overflown all banks, quickly are washed away,
leaving only a few shells’ curious highwater marks).
New Year’s Day,
what a hullabaloo
of zeroes and IOUs,
parties and fireworks!
Salaries are larks
in the light of such indifference to cost.
Most of what she valued least is lost.
What has cost me most remains:
Honey, I’m sorry, I blew it!
blurred by our commingled tearstains.
White
by Michael R. Burch
White is a contradiction:
color should continually darken
to the end of the spectrum.
White is not black’s
inevitable conclusion,
but the so so curious surprise
awaiting us at the end of things:
the smile of a Cheshire cat
mocking us by its vanishing,
yet perhaps a trifle fondly,
enigmatically purring—
You,
too,
begin where you ought to end ...
alien
by michael r. burch
there are mornings in england
when, riddled with light,
the Blueberries gleam at us—
plump, sweet and fragrant.
but i am so small ...
what do i know
of the ways of the Daffodils?
“beware of the Nettles!”
we go laughing and singing,
but somehow, i, ...
i know i am lost. i do not belong
to this Earth or its Songs.
and yet i am singing ...
the sun—so mild;
my cheeks are like roses;
my skin—so fair.
i spent a long time there
before i realized: They have no faces,
no bodies, no voices.
i was always alone.
and yet i keep singing:
the words will come
if only i hear.
One of my earliest memories is picking blueberries amid the brambles
surrounding the tiny English hamlet, Mattersey, where I and my mother lived with
her parents while my American father was stationed in Thule, Greenland, where
dependents were not allowed. Was that because of the weather or the nukes? In
any case, England is free of dangerous animals, but one must be wary of the
copious thorns and nettles. I seem to remember writing this poem as a college
sophomore, around age 19, in 1977. According to my notes, I revised the poem
many years later, in March 2001.
Goldenrod
by Michael R. Burch
The goldenrod and I await her step;
an unseen train whistles something about leaving,
something about regret.
The steel rail shivers
and what comes next
is always unsure.
The goldenrod, ever pale and demure,
quivers abjectly and bends
as the wind importunes,
serenely awaiting its conquest.
Distant ties rail, abjure—
wild, glittering coils chasing sunset.
If Love Were Infinite
by Michael R. Burch
If love were infinite, how I would pity
our lives, which through long years’ exactitude
might seem a pleasant blur—one interlude
without prequel or sequel—wanly pretty,
the gentlest flame the heart might bring to bear
to tepid hearts too sure of love to flare.
If love were infinite, why would I linger
caressing your fine hair, lost in the thought
each auburn strand must shrivel with this finger,
and so in thrall to time be gently brought
to final realization: love, amazing,
must leave us ash for all our fiery blazing.
If flesh’s heat once led me straight to you,
love’s arrow’s burning mark must pierce me through.
The Monarch’s Rose or The Hedgerow Rose
by Michael R. Burch
I lead you here to pluck this florid rose
still tethered to its post, a dreary mass
propped up to stiff attention, winsome-thorned
(what hand was ever daunted less to touch
such flame, in blatant disregard of all
but atavistic beauty)? Does this rose
not symbolize our love? But as I place
its emblem to your breast, how can this poem,
long centuries deflowered, not debase
all art, if merely genuine, but not
“original”? Love, how can reused words
though frailer than all petals, bent by air
to lovelier contortions, still persist,
defying even gravity? For here
beat Monarch’s wings: they rise on emptiness!
Match In Darkness
by Michael R. Burch
How often we recoiled because we loved
so beautifully in pain, as if the night
had met its match in darkness. There our hearts
collided—flint on steel. And if the sparks
were stars, or merely revenants of hope,
we could not tell. Like sparklers children fling
away before they singe their fingers, we,
consumed by love, imagined passion’s sting
too presciently; we let it drop before
we knew ourselves what harm true love might bring.
The stars blazed in your eyes. I could not see
my image there, but only fiery beauty.
Pale martyrs of the watch, we took our turns;
we staked our hearts on love. See how it burns!
Chivalric
by Michael R. Burch
a Romantic poet mourns the passing of an age
I wrote, not uncorrupted, but made pure
somehow, bathed in the achromatic light
of Sentinels who strode dark castle heights
in flashing armor. How could Love endure
ten centuries of progress, or the march
of hobnailed boots toward far citadels’
pale hulks of sullied ivory, whose bells
called usurers to claim Them, for research?
I saw battalions failing, Heroes prone.
Through chlorine gas, pale green, I watched Them die;
dead Standard-Bearers held Love’s emblems high;
learned clerics ticked Their names off, one by one.
And still at times those castle walls are lit
by ghostly torches; there I go—to sit,
where, pen in hand, I write dead Heroes’ names
and heed Their voices, staring at the Flames.
Pythagorean Theorem
by Michael R. Burch
They call me Sheep Boy,
Goat Boy
(latch-key kid!) . . .
taunting me at carnivals and festivals,
always within earshot
of the horrendous groanings
of the tractor pulls,
insufficiently downwind
of their blue-medallioned livestock’s stalls,
in sight of their grotesqueries,
their parodies of art.
And yet I make a living
dining at the expense
of their munificence,
their excrescence
delivered semi-annually,
seminally,
like a buttfuck, sigmoidoscope,
Freudian enema and education
all rolled into one
thick hallucinogenic joint.
They found a land of foreign utterance
blown westward of those Syphilitic isles
where shepherds of the crookt staff watched askance
the satyrs’ dance. They swam, by dreams beguiled,
through vaulted chambers of the sounding depths
toward the heart of mysteries obscured,
toward which many fishtailed mermen crept
on slith’ring bellies, slackjawed. For a word,
they sold their souls, they soiled themselves, they heard
their laughter’s madness burble up, absurd.
I have a stepbrother
immortalized by Dickey
(of course),
elegized, euthanatized,
stuck in a glass case
at the Museum of Natural Science,
with a horse-sized Aryan penis
and a horrendous docile stare,
pickled like an aborted fetus,
half-human, with a dull ovine
lassitude
and a tendency
toward the pastoral view
of passersby—
ruminative, satyric.
They did not speak the language of that land,
nor know the names of their immortal kin.
They slaughtered many innocents who swam
within their blood—translucent, gilled, bright-finned,
Atlantean, majestic, many-tongued,
innumerable-breasted, golden-crowned,
of Hermes, Aphrodite’s only young,
dry-scaled and oily-feathered—till they drowned.
As terrors underwater make small sound,
each ravished tender orifice was used,
the waves were richly strewn with red and brown.
The mermen plashed aside—perplexed, bemused.
Dickey understood better than most
man’s love of nature
and unnatural acts,
how men are inclined
to fuck first, then think later,
if at all,
how a ewe’s glistening pudendum,
her abjectness and humiliation,
can stiffen the resolve
of the weakest of men.
But Fracastoro understood best
the Syphilist’s dilemma:
knowing the sheep are largely to blame
for the wolves’ howls,
who to condemn?
O what unholy curse had Anguish meant
for men like these? What Goddess duly roused
would curse their blood with love’s dismemberment,
then laugh to see their women so defiled?
They swam beyond the surface of their means
back to their ships with plunder hardly earned.
Then fev’rish in the night, in haunted dreams,
they learned the awful truth, and burned and burned.
The yellow urine of their agonies
shone bright as gold, “love’s” dearly bought disease.
I have an allegiance to Marlowe, to Blake
to latex, to AIDS, to the diseased French,
to every morbus Gallicus
perpetrated on mankind,
to every hoax and flocculent deception
foisted in the direction
of the weak, disguising
the predator’s advance,
to every wolf in sheep’s clothing,
but, mostly, to the fleecing
of Sybarites strolling the colorful
Megaras of squalor,
complaining at the noise of artisans,
paisans and roosters,
sampling the prizewinning
confections of the moment,
marveling at the chimps, acrobats,
jesters, at the strange goats,
the unicorn-like roans, the stallions’
dalliances to the sounds of fifes and lutes,
blissfully unaware of the sluice gates
gradually diverted toward them
by the twisted, hunchbacked
thaumaturges of Croton.
BeMused
by Michael R. Burch
You will find in her hair
a fragrance more severe
than camphor.
You will find in her dress
no hint of a sweet
distractedness.
You will find in her eyes
horn-owlish and wise
no metaphors
of love, but only reflections
of books, books, books.
If you like Her looks,
meet me in the long rows,
between Poetry and Prose,
where we’ll win Her favor
with jousts, and savor
the wine of Her hair,
the shimmery wantonness
of Her rich-satined dress;
where we’ll press
our good deeds upon Her, save Her
from every distress,
for the lovingkindness
of Her matchless eyes
and all the suns of Her tongues.
We were young,
once,
unlearned and unwise . . .
but, O, to be young
when love comes disguised
with the whisper of silks
and idolatry,
and even the childish tongue claims
the intimacy of Poetry.
Deeper
by Michael R. Burch
Dark nights when she held me,
bright nights when I knew
the starriest of lovers ...
but what could I do?
Bright nights when we whispered,
bleak nights when I saw
the gentlest of spirits ...
but deeper, a flaw.
State of the Art
by Michael R. Burch
Reason without rhyme?
Poets lacking time?
Silence, claims the Mime,
is our true Art, and sublime.
Show, but never tell!
Shakespeare knew this well.
Lear just spoke in pictures.
Hamlet voiced no strictures.
Ideas must be in things!
Sappho, mute your strings!
Silence, claims the Mime,
is the True Art of our time.
Art for Art’s sake only!
Keats was far too moan-ly.
Shelley, far too weepy.
And Byron? Much too creepy.
Poets, Was ist los?
Write more like William Carlos!
Or best, write not at all.
Don’t run or leap. Just crawl.
Forget the Pierian rose.
Let every poem be prose.
Silence, the Mime informs us,
is the Black Hole that centers and warms us.
Moonlight So Notta
by Michael R. Burch
The poets are right
about the moonlight ...
since we live in a haze of love
ruled by that Strumpet above!
The first two lines were borrowed from José Olivarez after I discovered them
on the back cover of Poetry (April 2019, Volume 214, Number 1).
Less Heroic Couplets: Unsmiley Simile
by Michael R. Burch
Quora is down!
I frown:
how long can the universe suffice
without its ad-vice?
Bemused
by Michael R. Burch
She claims she's smarter than mere men
because she keeps her passions hidden,
but then she posts her latest poem
and shows us clearly what's forbidden.
Nonsense Ode to Chicken Soup
by Michael R. Burch
Chicken soup
is fragrant goop
in which swims
the noodle’s loop,
sometimes in the shape
of a hula hoop!
So when you’re sick,
don’t be a dupe:
get out your spoon,
extract a scoop.
Quick, down the chute
and you’ll recoup!
Last Straw
by Michael R. Burch
Nothing rhymes with “poetry”!
Alas, alas, the irony!
No reason, rhyme or know-it-ry
can reverse this cursive travesty,
since nothing rhymes with “poetry”!
I approach the problem hopelessly,
and really, quite emotionally
(one might say, inconsolably):
it’s either cope or cop a plea,
since nothing rhymes with “poetry”!
Let’s admit the sad truth openly,
and eventually we’ll all agree:
the truth is very plain to see,
since nothing rhymes with “poetry” ...
my Muse has played a joke on me!
Unbetrothed
by Michael R. Burch
after Louise Bogan
Sit here with me this evening,
listening to the sound of the willows
now and again dipping their long oval leaves in the water.
I fear I will never hear our children’s laughter
here or hereafter ...
only the leaves bending low for the slaughter.
I, who was born another woman’s daughter
but found myself unable to love her,
have never been able to grieve
for what I was ultimately unable to know.
You may handle me as you please,
but you, also, cannot have me.
Use me, then go.
The first three lines are a slight rephrasing of the closing lines for Louise
Bogan’s poem “Betrothed.” My poem picks up where hers left off.
War is Obsolete
by Michael R. Burch
"If we are to carry out a real war against war, we will have to begin with the
children." — Gandhi
War is obsolete;
even
the strange machinery of dread
weeps for the child in the street
who cannot lift her head
to reprimand the Man
who failed to countermand
her soft defeat.
But war is obsolete;
even the cold robotic drone
that flies far overhead
has sense enough to moan
and shudder at her plight
(only men bereft of Light
with hearts indurate stone
embrace war’s arctic night.)
For war is obsolete;
man’s tribal “gods,” long dead,
have fled his awakening sight
while the true Sun, overhead,
has pity on her plight.
O sweet, precipitate Light! —
embrace her, reject the night
that leaves gentle fledglings dead.
For each brute ancestor lies
with his totems and his “gods”
in the slavehold of premature night
that awaited him in his tomb;
while Love, the ancestral womb,
still longs to give birth to the Light.
So which child shall we murder tonight,
or which Ares condemn to the gloom?
Originally published by The Flea
While campaigning for president in 2016, Donald Trump insisted that, as
commander-in-chief of the American military, he would order American soldiers to
track down and murder women and children as "retribution" for acts of terrorism.
When disbelieving journalists asked Trump if he could possibly have meant what
he said, he verified several times that he did.
The Toast
by Michael R. Burch
For longings warmed by tepid suns
(brief lusts that animated clay),
for passions wilted at the bud
and skies grown desolate and gray,
for stars that fell from tinseled heights
and mountains bleak and scarred and lone,
for seas reflecting distant suns
and weeds that thrive where seeds were sown,
for waltzes ending in a hush,
for rhymes that fade as pages close,
for flames' exhausted, drifting ash,
and petals falling from the rose, ...
I raise my cup before I drink,
saluting ghosts of loves long dead,
and silently propose a toast—
to joys set free, and those I fled.
The Pain of Love
by Michael R. Burch
for T. M.
The pain of love is this:
the parting after the kiss;
the train steaming from the station
whistling abnegation;
each interstate’s bleak white bar
that vanishes under your car;
every hour and flower and friend
that cannot be saved in the end;
dear things of immeasurable cost ...
now all irretrievably lost.
The title “The Pain of Love” was suggested by Little
Richard, then eighty years old, in an interview with Rolling Stone.
Little Richard said someone should create a song called “The Pain of Love.” How
could I not obey a living legend? I have always found the departure platforms of
railway stations and the vanishing broken white bars of highway dividing lines
to be depressing, so they were natural images for my poem. Perhaps someone can
set the lyrics to music and fulfill the Great Commission!
Smoke
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. But I don't believe it was ever published elsewhere. I believe I had The
Summer of '42 in mind when I wrote the poem. 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.
Sex Hex
by Michael R. Burch
Love’s full of cute paradoxes
(and highly acute poxes).
Moments
by Michael R. Burch
for Beth
There were moments
full of promise,
like the petal-scented rainfall
of early spring,
when to hold you in my arms
and to kiss your willing lips
seemed everything.
There are moments
strangely empty
full of pale unearthly twilight—how the cold stars stare!—
when to be without you
is a dark enchantment
the night and I share.
Nun Fun Undone
by Michael R. Burch
Abbesses'
recesses
are not for excesses!
I suspect "Nun Fun Undone" is too naughty and heretical for some editors.
The poem was
published by Brief Poems, thanks to editor Connor Kelly, many years after it was originally written.
The title may be a poem in its own right.
Caveat Spender
by Michael R. Burch
It’s better not to speculate
"continually" on who is great.
Though relentless awe’s
a Célèbre Cause,
please reserve some time for the contemplation
of the perils of
Exaggeration.
I believe "Caveat Spender" is my most-rejected poem. Just in case
there are any masochists out there, I have published five different versions of
the poem at the bottom of this page!
don’t forget ...
by Michael R. Burch
for Beth
don’t forget to remember
that Space is curved
(like your Heart)
and that even Light is bent
by your Gravity.
I dedicated this poem to the love of my life, but you are welcome to dedicate it
to the love of yours, if you like it. The opening lines were
inspired by a famous love poem by e. e. cummings.
Distances
by Michael R. Burch
Moonbeams on water —
the reflected light
of a halcyon star
now drowning in night ...
So your memories are.
Footprints on beaches
now flooding with water;
the small, broken ribcage
of some primitive slaughter ...
So near, yet so far.
I’m not sure why "Distances" hasn’t been snapped up. It may be my favorite of all my unpublished poems.
In the first stanza the "halcyon star" is the sun, which has dropped below the
horizon and is thus "drowning in night." But its light strikes the moon,
creating moonbeams which are reflected in the water. Sometimes memories seem
that distant, that faint, that elusive. Footprints are being washed away, a
heart is missing from its ribcage, and even things close at hand can be
infinitely beyond our reach. Every time the poem has been rejected, I have been
surprised and disappointed.
The Communion of Sighs
by Michael R. Burch
There was a moment
without the sound of trumpets or a shining light,
but with only silence and darkness and a cool mist
felt more than seen.
I was eighteen,
my heart pounding wildly within me like a fist.
Expectation hung like a cry in the night,
and your eyes shone like the corona of a comet.
There was an instant . . .
without words, but with a deeper communion,
as clothing first, then inhibitions fell;
liquidly our lips met
—feverish, wet—
forgotten, the tales of heaven and hell,
in the immediacy of our fumbling union . . .
when the rest of the world became distant.
Then the only light was the moon on the rise,
and the only sound, the communion of sighs.
This is one of my early poems but I can’t remember exactly when I wrote it.
Due to the romantic style, I believe it was probably written during my first two
years in college, making me 18 or 19 at the time.
Heat Lightening
by Michael R. Burch
Each night beneath the elms, we never knew
which lights beyond dark hills might stall, advance,
then lurch into strange headbeams tilted up
like searchlights seeking contact in the distance . . .
Quiescent unions . . . thoughts of bliss, of hope . . .
long-dreamt appearances of wished-on stars . . .
like childhood’s long-occluded, nebulous
slow drift of half-formed visions . . . slip and bra . . .
Wan moonlight traced your features, perilous,
in danger of extinction, should your hair
fall softly on my eyes, or should a kiss
cause them to close, or should my fingers dare
to leave off childhood for some new design
of whiter lace, of flesh incarnadine.
Vacuum
by Michael R. Burch
Over hushed quadrants
forever landlocked in snow,
time’s senseless winds blow ...
leaving odd relics of lives half-revealed,
if still mostly concealed ...
such are the things we are unable to know
that once intrigued us so.
Come then, let us quickly repent
of whatever truths we’d once determined to learn:
for whatever is left, we are unable to discern.
There’s nothing left of us here; it’s time to go.
honeybee
by Michael R. Burch
love is a little treble thing—
prone to sing
and (sometimes) to sting
Album
by Michael R. Burch
I caress them—trapped in brittle cellophane—
and I see how young they were, and how unwise;
and I remember their first flight—an old prop plane,
their blissful arc through alien blue skies ...
And I touch them here through leaves which—tattered, frayed—
are also wings, but wings that never flew:
like Nabokov’s wings—pinned, held. Here, time delayed,
their features never merged, remaining two ...
And Grief, which lurked unseen beyond the lens
or in shadows where It crept on furtive claws
as It scritched Its way into their hearts, depends
on sorrows such as theirs, and works Its jaws ...
and slavers for Its meat—those young, unwise,
who naively dare to dream, yet fail to see
how, lumbering sunward, Hope, ungainly, flies,
clutching to Her ruffled breast what must not be.
Shark
by Michael R. Burch
They are all unknowable,
these rough pale men—
haunting dim pool rooms like shadows,
propped up on bar stools like scarecrows,
nodding and sagging in the fraying light . . .
I am not of them,
as I glide among them—
eliding the amorphous camaraderie
they are as unlikely to spell as to feel,
camouflaged in my own pale dichotomy . . .
That there are women who love them defies belief—
with their missing teeth,
their hair in thin shocks
where here and there a gap of scalp gleams like bizarre chrome,
their smell rank as wet sawdust or mildewed laundry . . .
And yet—
and yet there is someone who loves me:
She sits by the telephone
in the lengthening shadows
and pregnant grief . . .
They appreciate skill at pool, not words.
They frown at massés,
at the cue ball’s contortions across green felt.
They hand me their hard-earned money with reluctant smiles.
A heart might melt at the thought of their children lying in squalor . . .
At night I dream of them in bed, toothless, kissing.
With me, it’s harder to say what is missing . . .
Fair Game
by Michael R. Burch
At the Tennessee State Fair,
the largest stuffed animals hang tilt-a-whirl over the pool tables
with mocking button eyes,
knowing the playing field is unlevel,
that the rails slant, ever so slightly, north or south,
so that gravity is always on their side,
conspiring to save their plush, extravagant hides
year after year.
“Come hither, come hither . . .”
they whisper; they leer
in collusion with the carnival barkers,
like a bevy of improbably-clad hookers
setting a “fair” price.
“Only five dollars a game, and it’s so much Fun!
And it’s not really gambling. Skill is involved!
You can make us come: really, you can.
Here are your balls. Just smack them around.”
But there’s a trick, and it usually works.
If you break softly so that no ball reaches a rail,
you can pick them off: One. Two. Three. Four.
Causing a small commotion,
a stir of whispering, like fear,
among the hippos and ostriches.
Originally published by Verse Libre
Your Gift
by Michael R. Burch
for Beth
Counsel, console.
This is your gift.
Calm, kiss and encourage.
Tenderly lift
each world-wounded heart
from its fatal dart.
Mend every rift.
Bid pain, “Depart!”
Save every sorrow
for your own untaught heart.
Expert Advice
by Michael R. Burch
Your breasts are perfect for your lithe, slender body.
Please stop making false comparisons your hobby!
Absence
by
Michael R. Burch
Christ, how I miss you!,
though your parting kiss is still warm on my lips.
Now the floor is not strewn with your stockings and slips
and the dishes are all stacked away.
You left me today ...
and each word left unspoken now whispers regrets.
Starting from Scratch with Ol’ Scratch
by Michael R. Burch
for the Religious Right
Love, with a small, fatalistic sigh
went to the ovens. Please don’t bother to cry.
You could have saved her, but you were all tied up
complaining about the Jews to Reichmeister Grupp.
Scratch that. You were born after World War II.
You had something more important to do:
while the children of the Nakba were perishing in Gaza
with the complicity of your government, you had a noble cause (a
religious tract against homosexual marriage
and various things gods and evangelists disparage.)
Jesus will grok you? Ah, yes, I’m quite sure
that your intentions were good and ineluctably pure.
After all, what the hell does he care about Palestinians?
Certainly, Christians were right about serfs, slaves and Indians.
Scratch that. You’re one of the Devil’s minions.
Completing the Pattern
by Michael R. Burch
Walk with me now, among the transfixed dead
who kept life’s compact and who thus endure
harsh sentence here—among pink-petaled beds
and manicured green lawns. The sky’s azure,
pale blue once like their eyes, will gleam blood-red
at last when sunset staggers to the door
of each white mausoleum, to inquire—
What use, O things of erstwhile loveliness?
Aubade
by Philip Larkin
I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what’s really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify. ...
Abide
by Michael R. Burch
after Philip Larkin's "Aubade"
It is hard to understand or accept mortality—
such an alien concept: not to be.
Perhaps unsettling enough to spawn religion,
or to scare mutant fish out of a primordial sea
boiling like goopy green tea in a kettle.
Perhaps a man should exhibit more mettle
than to admit such fear, denying Nirvana exists
simply because we are stuck here in such a fine fettle.
And so we abide . . .
even in life, staring out across that dark brink.
And if the thought of death makes your questioning heart sink,
it is best not to drink
(or, drinking, certainly not to think).
Currents
by Michael R. Burch
How can I write and not be true
to the rhythm that wells within?
How can the ocean not be blue,
not buck with the clapboard slap of tide,
the clockwork shock of wave on rock,
the motion creation stirs within?
Originally published by The Lyric
Lozenge
by Michael R. Burch
When I was closest to love, it did not seem
real at all, but a thing of such tenuous sweetness
it might dissolve in my mouth
like a lozenge of sugar.
When I held you in my arms, I did not feel
our lack of completeness,
knowing how easy it was
for us to cling to each other.
And there were nights when the clouds
sped across the moon’s face,
exposing such rarified brightness
we did not witness
so much as embrace
love’s human appearance.
This is another poem of mine that has been rejected a number of times over the
years.
All the More Human, for Eve Pandora
by Michael R. Burch
a lullaby for the first human Clone
God provide the soul, and let her sleep
be natural as ours, unplagued by dreams
of being someone else, lost in the deep
wild swells of grieving all that human means ...
and do not let her come to doubt herself—
that she is as we are, so much alike
in frailty, in the books that line the shelf
that tell us who we are—a rickety dike
against the flood of doubt—that we are more
than cells and chance, that love, perhaps, exists
because of someone else who would endure
such pain because some part of her persists
in us, and calls us blesséd by her bed,
become a saint at last, in whose frail arms
we see ourselves—the gray won out of red,
the ash of blonde—till love is safe from harm
and all that human means is that we live
in doubt, and die in doubt, and only love
the more because together we must strive
against an end we loathe and fear. What of?—
we cannot say, imagining the Night
as some weird darkened structure caving in
to cold enormous pressure. Lacking sight,
we lie unbreathing, thinking breath a sin ...
and that is to be human. You are us—
true mortal, child of doubt, hopeful and curious.
Frail Envelope of Flesh
―for the mothers and children of the Holocaust and Gaza
Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable ...
Frail crucible of dust,
brief flower come to this—
your tiny hand
in your mother’s hand
for a last bewildered kiss ...
Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her tears ...
The title and first line of this poem came from a comic book that I read around
age eleven while living in Wiesbaden, Germany. The line, uttered by a
super-villain really struck me and stayed with me.
Dispensing Keys
by Hafiz
translation by Michael R. Burch
The imbecile
constructs cages
for everyone he knows,
while the sage
(who has to duck his head
whenever the moon glows)
keeps dispensing keys
all night long
to the beautiful, rowdy,
prison gang.
I love the wisdom and spirit of Hafiz in this subversive (pardon the pun) little
poem. I can see Trump putting refugees in cages, while Hafiz goes around letting
them out for a moondance.
Enough!
by Michael R. Burch
It’s not that I don’t want to die;
I shall be glad to go.
Enough of diabetes pie,
and eating sickly crow!
Enough of win and place and show.
Enough of endless woe!
Enough of suffering and vice!
I’ve said it once;
I’ll say it twice:
I shall be glad to go.
But why the hell should I be nice
when no one asked for my advice?
So grumpily I’ll go ...
although
(most probably) below.
Southern Icarus
by Michael R. Burch
Windborne, lover of heights,
unspooled from the truck’s wildly lurching embrace,
you climb, skittish kite . . .
What do you know of the world’s despair,
gliding in vast
solitariness there,
so that all that remains is to
fall?
Only a little longer the wind invests its sighs;
you
stall,
spread-eagled, as the canvas snaps
and flaps
its white rebellious wings,
and all
the houses watch with baffled eyes.
brrExit
by Michael R. Burch
what would u give
to simply not exist—
for a painless exit?
he asked himself, uncertain.
then from behind
the hospital room curtain
a patient screamed—
"my life!"
The Shrinking Season
by Michael R. Burch
With every wearying year
the weight of the winter grows
and while the schoolgirl outgrows
her clothes,
the widow disappears
in hers.
Defenses
by Michael R. Burch
Beyond the silhouettes of trees
stark, naked and defenseless
there stand long rows of sentinels:
these pert white picket fences.
Now whom they guard and how they guard,
the good Lord only knows;
but
savages would have to laugh
observing the tidy rows.
Progress
by Michael R. Burch
There is no sense of urgency
at the local Burger King.
Birds and squirrels squabble outside
for the last scraps of autumn:
remnants of buns,
goopy pulps of dill pickles,
mucousy lettuce,
sesame seeds.
Inside, the workers all move
with the same très-glamorous lethargy,
conserving their energy, one assumes,
for more pressing endeavors: concerts and proms,
pep rallies, keg parties,
reruns of Jenny McCarthy on MTV.
The manager, as usual, is on the phone,
talking to her boyfriend.
She gently smiles,
brushing back wisps of insouciant hair,
ready for the cover of Glamour or Vogue.
Through her filmy white blouse
an indiscreet strap
suspends a lace cup
through which somehow the nipple still shows.
Progress, we guess, ...
and wait patiently in line,
hoping the Pokémons hold out.
Sometimes the Dead
by Michael R. Burch
Sometimes we catch them out of the corners of our eyes—
the pale dead.
After they have fled
the gourds of their bodies, like escaping fragrances they rise.
Once they have become a cloud’s mist, sometimes like the rain
they descend;
they appear, sometimes silver like laughter,
to gladden the hearts of men.
Sometimes like a pale gray fog, they drift
unencumbered, yet lumbrously,
as if over the sea
there was the lightest vapor even Atlas could not lift.
Sometimes they haunt our dreams like forgotten melodies
only half-remembered.
Though they lie dismembered
in black catacombs, sepulchers and dismal graves; although they have committed
felonies,
yet they are us. Someday soon we will meet them in the graveyard dust
blood-engorged, but never sated
since Cain slew Abel.
But until we become them, let us steadfastly forget them, even as we know our
children must ...
Myth
by Michael R. Burch
Here the recalcitrant wind
sighs with grievance and remorse
over fields of wayward gorse
and thistle-throttled lanes.
And she is the myth of the scythed wheat
hewn and sighing, complete,
waiting, lain in a low sheaf—
full of faith, full of grief.
Here the immaculate dawn
requires belief of the leafed earth
and she is the myth of the mown grain—
golden and humble in all its weary worth.
Radiance
by Michael R. Burch
for Dylan Thomas
The poet delves earth’s detritus—hard toil—
for raw-edged nouns, barbed verbs, vowels’ lush bouquet;
each syllable his pen excretes—dense soil,
dark images impacted, rooted clay.
The poet sees the sea but feels its meaning—
the teeming brine, the mirrored oval flame
that leashes and excites its turgid surface ...
then squanders years imagining love’s the same.
Belatedly he turns to what lies broken—
the scarred and furrowed plot he fiercely sifts,
among death’s sicksweet dungs and composts seeking
one element that scorches and uplifts.
Come!
by Michael R. Burch
Will you come to visit my grave, I wonder,
in the season of lightning, the season of thunder,
when I have lain so long in the indifferent earth
that I have no girth?
When my womb has conformed to the chastity
your anemic Messiah envisioned for me,
will you finally be pleased that my sex was thus rendered
unpalatable, disengendered?
And when those strange loathsome organs that troubled you so
have been eaten by worms, will the heavens still glow
with the approval of God that I ended a maid—
thanks to a spade?
And will you come to visit my grave, I wonder,
in the season of lightning, the season of thunder?
This is one of my most-rejected poems, but I still hold out slight hopes for it ...
Erin
by Michael R. Burch
All that’s left of Ireland is her hair—
bright carrot—and her milkmaid-pallid skin,
her brilliant air of cavalier despair,
her train of children—some conceived in sin,
the others to avoid it. For nowhere
is evidence of thought. Devout, pale, thin,
gay, nonchalant, all radiance. So fair!
How can men look upon her and not spin
like wobbly buoys churned by her skirt’s brisk air?
They buy. They grope to pat her nyloned shin,
to share her elevated, pale Despair ...
to find at last two spirits ease no one’s.
All that’s left of Ireland is the Care,
her impish grin, green eyes like leprechauns’.
The Celtic Cross at Île Grosse
by Michael R. Burch
“I actually visited the island and walked across those mass graves [of 30,000
Irish men, women and children], and I played a little tune on me whistle. I
found it very peaceful, and there was relief there.” – Paddy Maloney of The
Chieftains
There was relief there,
and release,
on Île Grosse
in the spreading gorse
and the cry of the wild geese . . .
There was relief there,
without remorse,
when the tin whistle lifted its voice
in a tune of artless grief,
piping achingly high and longingly of an island veiled in myth.
And the Celtic cross that stands here tells us, not of their grief,
but of their faith and belief—
like the last soft breath of evening lifting a fallen leaf.
When ravenous famine set all her demons loose,
driving men to the seas like lemmings,
they sought here the clemency of a better life, or death,
and their belief in God was their only wealth.
They were proud folk, with only their lives to owe,
who sought the liberation of this strange new land.
Now they lie here, ragged row on ragged row,
with only the shadows of their loved ones close at hand.
And each cross, their ancient burden and their glory,
reflects the death of sunlight on their story.
And their tale is sad—but, O, their faith was grand!
Goddess
by Michael R. Burch
“What will you conceive in me?”—
I asked her. But she
only smiled.
“Naked, I bore your child
when the wolf wind howled,
when the cold moon scowled . . .
naked, and gladly.”
“What will become of me?”—
I asked her, as she
absently stroked my hand.
Centuries later, I understand;
she whispered—“I Am.”
Lady’s Favor
by Michael R. Burch
May
spring
fling
her riotous petals
devil-
may-care
into the air,
ignoring the lethal
nettles
and may
May
cry gleeful-
ly Hooray!
as the abundance
settles,
till a sudden June
swoon
leave us out of tune,
torn,
when the last rose is left
inconsolably bereft,
rudely shorn
of every device but its thorn.
Fascination with Light
by Michael R. Burch
Desire glides in on calico wings,
a breath of a moth
seeking a companionable light,
where it hovers, unsure,
sullen, shy or demure,
in the margins of night,
a soft blur.
With a frantic dry rattle
of alien wings,
it rises and thrums one long breathless staccato
and flutters and drifts on in dark aimless flight.
And yet it returns
to the flame, its delight,
as long as it burns.
Fierce ancient skalds summoned verse from their guts;
today's genteel poets prefer modern ruts.
—Michael R. Burch
Polish
by Michael R. Burch
Your fingers end in talons—
the ones you trim to hide
the predator inside.
Ten thousand creatures sacrificed;
but really, what’s the loss?
Apply a splash of gloss.
You picked the perfect color
to mirror nature’s law:
red, like tooth and claw.
grave request
by Michael R. Burch
come to ur doom
in Tombstone;
the stars stark and chill
over Boot Hill
care nothing for ur desire;
still,
imagine they wish u no ill,
that u burn with the same antique fire;
for there’s nothing to life but the thrill
of living until u expire;
so come, spend ur last hardearned bill
on Tombstone.
Birdsong
by Rumi
loose translation by Michael R. Burch
Birdsong relieves
my deepest griefs:
now I'm just as ecstatic as they,
but with nothing to say!
Please universe,
rehearse
your poetry
through me!
Mirror
by Kajal Ahmad, a Kurdish poet
loose translation by Michael R. Burch
The obscuring mirror of my era
broke
because it magnified the small
and made the great seem insignificant.
Dictators and monsters monopolized its maze.
Now when I breathe
its jagged shards pierce my heart
and instead of sweat
I exude glass.
Veiled
by Michael R. Burch
She has belief
without comprehension
and in her crutchwork shack
she is
much like us . . .
tamping the bread
into edible forms,
regarding her children
at play
with something akin to relief . . .
ignoring the towers ablaze
in the distance
because they are not revelations
but things of glass,
easily shattered . . .
and if you were to ask her,
she might say—
sometimes God visits his wrath
upon an impious nation
for its leaders’ sins,
and we might agree:
seeing her mutilations.
Syndrome
by Michael R. Burch
When the heart of a child,
fragile, like a flower, unfolds;
when his soul emerges from its last concealment,
nestled in the womb’s muscular whorls, its secret chambers;
when he kicks and screams,
flung from the watery darkness into the harsh light’s glare,
feeling its restive anger, its accusatory stare;
when he feels the heart his emergent heart remembers
fluttering against his cheek,
then falls into the lilac arms of heavy-lidded
sleep;
when he reopens his eyes to the bellows’ thunder
(which he has never heard before, save as a drowned echo)
and feels its wild surmise, and sees—with wonder
the tenderness in another’s eyes
reflecting his startled wonder back at him,
as his heart picks up the beat of his mother’s grieving hymn for the world’s
intolerable slander;
when he understands, with a babe’s discernment—
the breasts, the hands, that now, throughout the years,
will bless him with their comforts, console him with caresses,
the gentle eyes, which, with their knowing tears,
will weep him away from the world’s slick, writhing dangers
through all his restlessly-flowering years;
as his helplessly-frail fingers curl around the nose now leaning to catch his
powdery talcum scent ...
Remember—it is the world’s syndrome, its handicap, not his,
that will insulate assumers from the gentle pollinations of his loveliness,
from his gift of enchantment, from his all-encompassing acceptance,
from these angelic charms which will now tenderly lift those earthlings who
gladly embrace him.
Published by the National Association for Down Syndrome
I believe I wrote this poem at our subdivision’s pool in 1998, while watching
a Down syndrome child with his lovely, loving mother.
Lucifer, to the Enola Gay
by Michael R. Burch
Go then,
and give them my meaning
so that their teeming
streets
become my city.
Bring back a pretty
flower—
a chrysanthemum,
perhaps, to bloom
if but an hour,
within a certain room
of mine
where
the sun does not rise or fall,
and the moon,
although it is content to shine,
helps nothing at all.
There,
if I hear the wistful call
of their voices
regretting choices
made
or perhaps not made
in time,
I can look back upon it and recall,
in all
its pale forms sublime,
still
Death will never be holy again.
In this Ordinary Swoon
by Michael R. Burch
In this ordinary swoon
as I pass from life to death,
I feel no heat from the cold, pale moon;
I feel no sympathy for breath.
Who I am and why I came,
I do not know; nor does it matter.
The end of every man’s the same
and every god’s as mad as a hatter.
I do not fear the letting go;
I only fear the clinging on
to hope when there’s no hope, although
I lift my face to the blazing sun
and feel the greater intensity
of the wilder inferno within me.
Loose Knit
by Michael R. Burch
She blesses the needle,
fetches fine red stitches,
criss-crossing, embroidering dreams
in the delicate fabric.
And if her hand jerks and twitches in puppet-like fits,
she tells herself
reality is not as threadbare as it seems ...
that a little more darning may gather loose seams.
She weaves an unraveling tapestry
of fatigue and remorse and pain; ...
only the nervously pecking needle
pricks her to motion, again and again.
Loose Knit
by Michael R. Burch
She blesses the needle,
fetches fine red stitches,
criss-crossing, embroidering dreams
in the delicate fabric.
And if her hand jerks and twitches in puppet-like fits,
she tells herself
reality is not as threadbare as it seems ...
that a little more darning may gather loose seams.
And if her heirloom flesh grows increasingly frayed;
if the patchwork quilt seems increasingly ragged;
if she wakes to each pale, blotched dawn, haggard and afraid,
with thin red threads of dry spittle blood clinging to her like webbing,
while her huddled child, betrayed, lies sobbing in a corner ...
She weaves an unraveling tapestry
of fatigue and remorse and pain; ...
only the nervously pecking needle
pricks her to "life," again and again.
Burn, Ovid
by Michael R. Burch
“Burn Ovid”—Austin Clarke
Sunday School,
Faith Free Will Baptist, 1973:
I sat imaging watery folds
of pale silk encircling her waist.
Explicit sex was the day’s “hot” topic
(how breathlessly I imagined hers)
as she taught us the perils of lust
fraught with inhibition.
I found her unaccountably beautiful,
rolling implausible nouns off the edge of her tongue:
adultery, fornication, masturbation, sodomy.
Acts made suddenly plausible by the faint blush
of her unrouged cheeks,
by her pale lips
accented only by a slight quiver,
a trepidation.
What did those lustrous folds foretell
of our uncommon desire?
Why did she cross and uncross her legs
lovely and long in their taupe sheaths?
Why did her breasts rise pointedly,
as if indicating a direction?
“Come unto me,
(unto me),”
together, we sang,
cheek to breast,
lips on lips,
devout, afire,
my hands
up her skirt,
her pants at her knees:
all night long,
all night long,
in the heavenly choir.
Sex 101
by Michael R. Burch
That day the late spring heat
steamed through the windows of a Crayola-yellow schoolbus
crawling its way up the backwards slopes
of Nowheresville, North Carolina ...
Where we sat exhausted
from the day’s skulldrudgery
and the unexpected waves of muggy,
summer-like humidity ...
Giggly first graders sat two abreast
behind senior high students
sprouting their first sparse beards,
their implausible bosoms, their stranger affections ...
The most unlikely coupling—
Lambert, 18, the only college prospect
on the varsity basketball team,
the proverbial talldarkhandsome
swashbuckling cocksman, grinning ...
Beside him, Wanda, 13,
bespectacled, in her primproper attire
and pigtails, staring up at him,
fawneyed, disbelieving ...
And as the bus filled with the improbable musk of her,
as she twitched impaled on his finger
like a dead frog jarred to life by electrodes,
I knew ...
that love is a forlorn enterprise,
that I would never understand it.
Finally to Burn
(the Fall and Resurrection of Icarus)
by Michael R. Burch
Athena takes me
sometimes by the hand
and we go levitating
through strange Dreamlands
where Apollo sleeps
in his dark forgetting
and Passion seems
like a wise bloodletting
and all I remember
,upon awaking,
is: to Love sometimes
is like forsaking
one’s Being—to glide
heroically beyond thought,
forsaking the here
for the There and the Not.
*
O, finally to Burn,
gravity beyond escaping!
To plummet is Bliss
when the blisters breaking
rain down red scabs
on the earth’s mudpuddle ...
Feathers and wax
and the watchers huddle ...
Flocculent sheep,
O, and innocent lambs!,
I will rock me to sleep
on the waves’ iambs.
*
To sleep's sweet relief
from Love’s exhausting Dream,
for the Night has Wings
gentler than moonbeams—
they will flit me to Life
like a huge-eyed Phoenix
fluttering off
to quarry the Sphinx.
*
Riddlemethis,
riddlemethat,
Rynosseross,
throw out the Welcome Mat.
Quixotic, I seek Love
amid the tarnished
rusted-out steel
when to live is varnish.
To Dream—that’s the thing!
Aye, that Genie I’ll rub,
soak by the candle,
aflame in the tub.
*
Riddlemethis,
riddlemethat,
Rynosseross,
throw out the Welcome Mat.
Somewhither, somewhither
aglitter and strange,
we must moult off all knowledge
or perish caged.
*
I am reconciled to Life
somewhere beyond thought—
I’ll Live the Elsewhere,
I’ll Dream of the Naught.
Methinks it no journey;
to tarry’s a waste,
so fatten the oxen;
make a nice baste.
I’m coming, Fool Tom,
we have Somewhere to Go,
though we injure noone,
ourselves wildaglow.
What The Roses Don’t Say
by Michael R. Burch
Oblivious to love, the roses bloom
and never touch . . . They gather calm and still
to watch the busy insects swarm their leaves . . .
They sway, bemused . . . till rain falls with a chill
stark premonition: ice! . . . and then they twitch
in shock at every outrage . . . Soon they’ll blush
a paler scarlet, humbled in their beds,
for they’ll be naked; worse, their leaves will droop,
their petals quickly wither . . . Spindly thorns
are poor defense against the winter’s onslaught . . .
No, they are roses. Men should be afraid.
The Monarch’s Rose or The Hedgerow Rose
by Michael R. Burch
I lead you here to pluck this florid rose
still tethered to its post, a dreary mass
propped up to stiff attention, winsome-thorned
(what hand was ever daunted less to touch
such flame, in blatant disregard of all
but atavistic beauty)? Does this rose
not symbolize our love? But as I place
its emblem to your breast, how can this poem,
long centuries deflowered, not debase
all art, if merely genuine, but not
“original”? Love, how can reused words
though frailer than all petals, bent by air
to lovelier contortions, still persist,
defying even gravity? For here
beat Monarch’s wings: they rise on emptiness!
This is another much-rejected poem. If a joke falls and no one gets it, did the
jokester really exist?
Artificial Smile
by Michael R. Burch
I’m waiting for my artificial teeth
to stretch belief, to hollow out the cob
of zealous righteousness, to grasp life’s stub
between clenched molars, and yank out the grief.
Mine must be art-official—zenlike Art—
a disembodied, white-enameled grin
of Cheshire manufacture. Part by part,
the human smile becomes mock porcelain.
Till in the end, the smile alone remains:
titanium-based alloys undestroyed
with graves’ worm-eaten contents, all the pains
of bridgework unrecalled, and what annoyed
us most about the corpses rectified
to quaintest dust. The Smile winks, deified.
Millay Has Her Way with a Vassar Professor
by Michael R. Burch
After a night of hard drinking and spreading her legs,
Millay hits the dorm, where the Vassar don begs:
“Please act more chastely, more discretely, more seemly!”
(His name, let’s assume, was, er . . . Percival Queemly.)
“Expel me! Expel me!”—She flashes her eyes.
“Oh! Please! No! I couldn’t! That wouldn’t be wise,
for a great banished Shelley would tarnish my name . . .
Eek! My game will be lame if I can’t milque your fame!”
“Continue to live here—carouse as you please!”
the beleaguered don sighs as he sags to his knees.
Millay grinds her crotch half an inch from his nose:
“I can live in your hellhole, strange man, I suppose ...
but the price is your firstborn, whom I’ll sacrifice to Moloch.”
(Which explains what became of pale Percy’s son, Enoch.)
Orpheus
by Michael R. Burch
for and after William Blake
I.
Many a sun
and many a moon
I walked the earth
and whistled a tune.
I did not whistle
as I worked:
the whistle was my work.
I shirked
nothing I saw
and made a rhyme
to children at play
and hard time.
II.
Among the prisoners
I saw
the leaden manacles
of Law,
the heavy ball and chain,
the quirt.
And yet I whistled
at my work.
III.
Among the children’s
daisy faces
and in the women’s
frowsy laces,
I saw redemption,
and I smiled.
Satanic millers,
unbeguiled,
were swayed by neither girl,
nor child,
nor any God of Love.
Yet mild
I whistled at my work,
and Song
broke out,
ere long.
Hangovers
by Michael R. Burch
We forget that, before we were born,
our parents had “lives” of their own,
ran drunk in the streets, or half-stoned.
Yes, our parents had lives of their own
until we were born; then, undone,
they were buying their parents gravestones
and finding gray hairs of their own
(because we were born lacking some
of their curious habits, but soon
would certainly get them). Half-stoned,
we watched them dig graves of their own.
Their lives would be over too soon
for their curious habits to bloom
in us (though our children were born
nine months from that night on the town
when, punch-drunk in the streets or half-stoned,
we first proved we had lives of our own).
Conformists
by Michael R. Burch
Conformists of a feather
flock together.
Bible Libel
by Michael R. Burch
If God
is good
half the Bible
is libel.
This is a heretical poem of mine that I ended up publishing myself. After having read the Bible from cover to cover as a young boy, I
came to agree with William Blake, who called the biblical god "Nobodaddy"
because no child would want him for a father.
we did not Dye in vain!
by Michael R. Burch
from “songs of the sea snails”
though i’m just a slimy crawler,
my lineage is proud:
my forebears gave their lives
(oh, let the trumps blare loud!)
so purple-mantled Royals
might stand out in a crowd.
i salute you, fellow loyals,
who labor without scruple
as your incomes fall
while deficits quadruple
to swaddle unjust Lords
in bright imperial purple!
Notes: In ancient times the purple dye produced from the secretions of
purpura mollusks (sea snails) was known as “Tyrian purple,” “royal purple” and
“imperial purple.” It was greatly prized in antiquity, and was very expensive
according to the historian Theopompus: “Purple for dyes fetched its weight in
silver at Colophon.” Thus, purple-dyed fabrics became status symbols, and laws
often prevented commoners from possessing them. The production of Tyrian purple
was tightly controlled in Byzantium, where the imperial court restricted its use
to the coloring of imperial silks. A child born to the reigning emperor was
literally porphyrogenitos ("born to the purple") because the imperial birthing
apartment was walled in porphyry, a purple-hued rock, and draped with purple
silks. Royal babies were swaddled in purple; we know this because the iconodules,
who disagreed with the emperor Constantine about the veneration of images,
accused him of defecating on his imperial purple swaddling clothes!
briefling
by Michael R. Burch
manishatched,hopsintotheMix,
cavorts,hassex(quick!,spawnanewBrood!);
then,likeamayfly,he’ssuddenlygone:
plantfood
Sunset
by Michael R. Burch
This poem is dedicated to my grandfather, George Edwin Hurt, who died April
4, 1998.
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.
The Princess and the Pauper
by Michael R. Burch
for Norman Kraeft in memory of his beloved wife June Kysilko Kraeft
Here was a woman bright, intent on life,
who did not flinch from Death, but caught his eye
and drew him, powerless, into her spell
of wanting her himself, so much the lie
that she was meant for him—obscene illusion!—
made him seem a monarch throned like God on high,
when he was less than nothing; when to die
meant many stultifying, pained embraces.
She shed her gown, undid the tangled laces
that tied her to the earth: then she was his.
Now all her erstwhile beauty he defaces
and yet she grows in hallowed loveliness—
her ghost beyond perfection—for to die
was to ascend. Now he begs, penniless.
The Sky Was Turning Blue
by Michael R. Burch
Yesterday I saw you
as the snow flurries died,
spent winds becalmed.
When I saw your solemn face
alone in the crowd,
I felt my heart, so long embalmed,
begin to beat aloud.
Was it another winter,
another day like this?
Was it so long ago?
Where you the rose-cheeked girl
who slapped my face, then stole a kiss?
Was the sky this gray with snow,
my heart so all a-whirl?
How is it in one moment
it was twenty years ago,
lost worlds remade anew?
When your eyes met mine, I knew
you felt it too, as though
we heard the robin's song
and the sky was turning blue.
The Better Man
by
Michael R. Burch
Dear Ed: I don’t understand why
you will publish this other guy—
when I’m brilliant, devoted,
one hell of a poet!
Yet you publish Anonymous. Fie!
Fie! A pox on your head if you favor
this poet who’s dubious, unsavor
y, inconsistent in texts,
no address (I checked!):
since he’s plagiarized Unknown, I’ll wager!
I have never understood why this one wasn't snapped up by Light or some
other publisher of humorous poetry. It seems rather cute and clever to me, but
what do I know? The poem was published by The Eclectic Muse, thanks to
editor Joe M. Ruggier.
The State of the Art (?)
by
Michael R. Burch
Has rhyme lost all its reason
and rhythm, renascence?
Are sonnets out of season
and poems but poor pretense?
Are poets lacking fire,
their words too trite and forced?
What happened to desire?
Has passion been coerced?
Shall poetry fade slowly,
like Latin, to past tense?
Are the bards too high and holy,
or their readers merely dense?
Less Heroic Couplets: Rejection Slip
by Michael R. Burch
pour Melissa Balmain
Whenever my writing gets rejected,
I always wonder how the rejecter got elected.
Are we exchanging at the same Bourse?
(Excepting present company, of course!)
I consider the term “rejection slip” to be a double entendre. When editors
reject my poems, did I slip up, or did they? Is their slip showing, or is mine?
The
Whole of Wit
by Michael R. Burch
for Richard Moore
If brevity is the soul of wit
then brevity and levity
are the whole of it.
The Harvest of Roses
by Michael R. Burch
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.
In a Stolen Moment
by Kim Cherub
In a stolen moment,
when the clock’s hands complete their inevitable course
and sleep is the night’s dark spell,
I call it a curse,
seeking the force,
the font of candescent words, the electric thrill
tingling from brain to spine
to incessant quill—
the fever, the chill.
I know it as well as I know myself.
Time’s second hand stirs; not I; in my cell,
words spill.
Not Elves, Exactly
by Michael R. Burch
Something there is that likes a wall,
that likes it spiked and likes it tall,
that likes its pikes’ sharp rows of teeth
and doesn’t mind its victims’ grief
(wherever they come from, far or wide)
as long as they fall on the other side.
Burn
by Michael R. Burch
for Trump
Sunbathe,
ozone baby,
till your parched skin cracks
in the white-hot flash
of radiation.
Incantation
from your pale parched lips
shall not avail;
you made this hell.
Now burn.
Davenport Tomorrow
by Michael R. Burch
Davenport tomorrow ...
all the trees stand stark-naked in the sun.
Now it is always summer
and the bees buzz in cesspools,
adapted to a new life.
There are no flowers,
but the weeds, being hardier,
have survived.
The small town has become
a city of millions;
there is no longer a sea,
only a huge sewer,
but the children don't mind.
They still study
rocks and stars,
but biology is a forgotten science ...
after all, what is life?
Davenport tomorrow ...
all the children murmur through vein-streaked gills
whispered wonders of long-ago.
Thirty
by Michael R. Burch
Thirty crept upon me slowly
with feline caution and a slowly-twitching tail ...
How patiently she waited for the winds to shift!
Now, claws unsheathed, she lies seething to assail
her helpless prey.
Privilege
by Michael R. Burch
This poem is dedicated to Harvey Stanbrough, an ex-marine who was
nominated for the 1999 Pulitzer Prize and has written passionately and
eloquently about the horror and absurdity of war in “Lessons for a Barren
Population.”
No, I will never know
what you saw or what you felt,
thrust into the maw of Eternity,
watching the mortars nightly
greedily making their rounds,
hearing the soft damp hiss
of men’s souls like helium escaping
their collapsing torn bodies,
or lying alone, feeling the great roar
of your own heart.
But I know:
there is a bitter knowledge
of death I have not achieved.
Thus in thankful ignorance,
and especially for my son
and for all who benefit so easily
at so unthinkable a price,
I thank you.
Imperfect Sonnet
by Michael R. Burch
A word before the light is doused: the night
is something wriggling through an unclean mind,
as rats creep through a tenement. And loss
is written cheaply with the moon’s cracked gloss
like lipstick through the infinite, to show
love’s pale yet sordid imprint on us. Go.
We have not learned love yet, except to cleave.
I saw the moon rise once ... but to believe ...
was of another century ... and now ...
I have the urge to love, but not the strength.
Despair, once stretched out to its utmost length,
lies couched in squalor, watching as the screen
reveals "love's" damaged images: its dreams ...
and masturbating limply, screams and screams.
Originally published by Sonnet Scroll
Am I
by Michael R. Burch
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."
Time
by Michael R. Burch
Time,
where have you gone?
What turned out so short,
had seemed like so long.
Time,
where have you flown?
What seemed like mere days
were years come and gone.
Time,
see what you've done:
for
now I am old,
when once I was young.
Time,
do you even know why
your days, minutes, seconds
preternaturally fly?
This is a companion piece to "Am I" Both poems appeared in my high
school project notebook (titled "Poems"), so I was probably around 14
or 15 when I
wrote them. I believe the class was 10th grade English and the poems had already
been written.
These Hallowed Halls
by Michael R. Burch
a young Romantic Poet mourns the passing of an age . . .
I.
A final stereo fades into silence
and now there is seldom a murmur
to trouble the slumber
of these ancient halls.
I stand by a window where others have watched
the passage of time alone,
not untouched,
and I am as they were—
unsure,
and the days
stretch out ahead,
a bewildering maze.
II.
Ah, faithless lover—
that I had never touched your breast,
nor felt the stirrings of my heart,
which until that moment had peacefully slept.
For now I have known the exhilaration
of a heart that has leapt from the pinnacle of love,
and the result of every infatuation—
the long freefall to earth, as the moon glides above.
III.
A solitary clock chimes the hour
from far above the campus,
but my peers,
returning from their dances,
heed it not.
And so it is
that we seldom gauge Time’s speed
because He moves so unobtrusively
about His task.
Still, when at last
we reckon His mark upon our lives,
we may well be surprised
at His thoroughness.
IV.
Ungentle maiden—
when Time has etched His little lines
so carelessly across your brow,
perhaps I will love you less than now.
And when cruel Time has stolen
your youth, as He certainly shall in course,
perhaps you will wish you had taken me
along with my broken heart,
even as He will take you with yours.
V.
A measureless rhythm rules the night—
few have heard it,
but I have shared it,
and its secret is mine.
To put it into words
is as to extract the sweetness from honey
and must be done as gently
as a butterfly cleans its wings.
But when it is captured, it is gone again;
its usefulness is only
that it lulls to sleep.
VI.
So sleep, my love, to the cadence of night,
to the moans of the moonlit hills
that groan as I do, yet somehow sleep
through the nightjar’s cryptic trills.
But I will not sleep this night, nor any . . .
how can I, when my dreams
are always of your perfect face
ringed in whorls of fretted lace,
and a tear upon your pillowcase?
VII.
If I had been born when knights roamed the earth
and mad kings ruled strange lands,
I might have turned to the ministry,
to the solitude of a monastery.
But there are no monks or hermits today—
theirs is a lost occupation
carried on, if at all,
merely for sake of tradition.
For today man abhors solitude—
he craves companions, song and drink,
seldom seeking a quiet moment,
to sit alone by himself, to think.
VIII.
And so I cannot shut myself
off from the rest of the world,
to spend my days in philosophy
and my nights in tears of self-sympathy.
No, I must continue as best I can,
and learn to keep my thoughts away
from those glorious, uproarious moments of youth,
centuries past though lost but a day.
IX.
Yes, I must discipline myself
and adjust to these lackluster days
when men display no chivalry
and romance is the "old-fashioned" way.
X.
A single stereo flares into song
and the first faint light of morning
has pierced the sky's black awning
once again.
XI.
This is a sacred place,
for those who leave,
leave better than they came.
But those who stay, while they are here,
add, with their sleepless nights and tears,
quaint sprigs of ivy to the walls
of these hallowed halls.
Willy Nilly
by Michael R. Burch
for the Demiurge aka Yahweh/Jehovah
Isn’t it silly, Willy Nilly?
You made the stallion,
you made the filly,
and now they sleep
in the dark earth, stilly.
Isn’t it silly, Willy Nilly?
Isn’t it silly, Willy Nilly?
You forced them to run
all their days uphilly.
They ran till they dropped—
life’s a pickle, dilly.
Isn’t it silly, Willy Nilly?
Isn’t it silly, Willy Nilly?
They say I should worship you!
Oh, really!
They say I should pray
so you’ll not act illy.
Isn’t it silly, Willy Nilly?
This is yet another heretical poem that it has been difficult to find publishers for.
Step Into Starlight
by Michael R. Burch
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 its burden,
remember—the wine!
I believe I wrote the original version of this poem in my early twenties.
The One and Only
by Michael R. Burch
If anyone ever loved me,
It was you.
If anyone ever cared
beyond mere things declared;
if anyone ever knew ...
My darling, it was you.
If anyone ever touched
my beating heart as it flew,
it was you,
and only you.
Kindred (II)
by Michael R. Burch
Rise, pale disastrous moon!
What is love, but a heightened effect
of time, light and distance?
Did you burn once,
before you became
so remote, so detached,
so coldly, inhumanly lustrous,
before you were able to assume
the very pallor of love itself?
What is the dawn now, to you or to me?
We are as one,
out of favor with the sun.
We would exhume
the white corpse of love
for a last dance,
and yet we will not.
We will let her be,
let her abide,
for she is nothing now,
to you
or to me.
The Bachelor Spectacular
by Michael R. Burch
One heart? Tossed aside.
The other? A bride’s.
In all his great wisdom, the bachelor decides.
Eeenie, mean-ie, mine-y, mo’,
one gal must stay and one must go.
If she hollers? That’s the show!
No heart can handle such despair!
But hearts get broken, hearts repair.
Next season? The treasoned will rule the air.
Originally published by Light
Brief Fling I
by Michael R. Burch
“Epigram”
means cram,
then scram!
Brief Fling II
by Michael R. Burch
To write an epigram, cram.
If you lack wit, scram,
dull sham!
Pity Clarity
by Michael R. Burch
Pity Clarity,
and, if you should find her,
release her from the tangled webs
of dusty verse that bind her.
And as for Brevity,
once the soul of wit—
she feels the gravity
of ironic chains and massive rhetoric.
And Poetry,
before you may adore her,
must first be freed
from those who for her loveliness would whore her.
This poem expresses my unhappiness with the "state of the art" in three
different poetic camps or churches.
The Poet's Condition
by Michael R. Burch
The poet's condition
(bother tradition)
is whining contrition.
Supposedly sage,
his editor knows
his brain's in his toes
though he would suppose
to soon be the rage.
His readers are sure
his work's premature
or merely manure,
insipidly trite.
His mother alone
will answer the phone
(perhaps with a moan)
to hear him recite.
Editor's Notes
by Michael R. Burch
Eat, drink and be merry
(tomorrow, be contrary).
(Bitch and complain
in bad refrain,
but please—not till I'm on the plane!)
Write no poem before its time
(in your case, this means never).
Linger over every word
(by which, I mean forever).
By all means, read your verse aloud.
I'm sure you'll be a star
(and just as distant, when I'm gone);
your poems are beauteous (afar).
Premonition
by Michael R. Burch
Now the evening has come to a close and the party is over ...
we stand in the doorway and watch as they go—
each stranger, each acquaintance, each unembraceable lover.
They walk to their cars and they laugh as they go,
though we know their bright laughter’s the wine ...
then they pause at the road where the dark asphalt flows
endlessly on toward Zion ...
and they kiss one another as though they were friends,
and they promise to meet again “soon” ...
but the rivers of Jordan roll on without end,
and the mockingbird calls to the moon ...
and the katydids climb up the cropped hanging vines,
and the crickets chirp on out of tune ...
and their shadows, defined by the cryptic starlight,
seem spirits torn loose from their tombs.
And I know their brief lives are just eddies in time,
that their words are unreadable runes
unlikely to stand in this waterlogged land
when their corpses lie ravaged and ruined ...
You take my clenched fist and you give it a kiss
as though it’s something to be loved,
and the tears fill your eyes, outshining the night
and all the stars ringed high above ...
and you whisper, "It's time that we went back inside;
if you'd like, we can sit and just talk for a while."
And the hope in your eyes burns too deep, so I lie
and I say, "Yes, I would," to your small, troubled smile.
I rather vividly remember writing this poem after an office party the year I
co-oped with AT&T (at that time the largest company in the world, with
presumably a lot of office parties). This would have been after my sophomore
year in college, making me around 20 years old. The poem is “true” except that I
was not the host because the party was at the house of one of the upper-level
managers. Nor was I dating anyone seriously at the time.
Modern Appetite
by Michael R. Burch
It grumbled low, insisting it would feast
on blood and flesh, etcetera, at least
three times a day. With soft lubricious grease
and pale salacious oils, it would ease
its way through life. Each day—an aperitif.
Each night—a frothy bromide, for relief.
It lived on TV fare, wore pinafores,
slurped sugar-coated gumballs, gobbled S’mores.
When gas ensued, it burped and farted. ’Course,
it thought aloud, my wife will leave me. Whores
are not so damn particular. Divorce
is certainly a settlement, toujours!
A Tums a day will keep the shrink away,
recalcify old bones, keep gas at bay.
If Simon says, etcetera, Mother, may
I have my hit of calcium today?
Mayflies
by Michael R. Burch
These standing stones have stood the test of time
but who are you
and what are you
and why?
As brief as mist, as transient, as pale ...
Inconsequential mayfly!
Perhaps the thought of love inspired hope?
Do midges love? Do stars bend down to see?
Do gods commend the kindnesses of ants
to aphids? Does one eel impress the sea?
Are mayflies missed by mountains? Do the stars
regret the glowworm’s stellar mimicry
the day it dies? Does not the world grind on
as if it’s no great matter, not to be?
Life, to be sure, is nothing much to lose.
And yet somehow you’re everything to me.
Milestones Toward Oblivion
by Michael R. Burch
A milestone here leans heavily
against a gaunt, golemic tree.
These words are chiseled thereupon:
"One mile and then Oblivion."
Swift larks that once swooped down to feed
on groping slugs, such insects breed
within their radiant flesh and bones ...
they did not heed the milestones.
Another marker lies ahead,
the only tombstone to the dead
whose eyeless sockets read thereon:
"Alas, behold Oblivion."
Once here the sun shone fierce and fair;
now night eternal shrouds the air
while winter, never-ending, moans
and drifts among the milestones.
This road is neither long nor wide . . .
men gleam in death on either side.
Not long ago, they pondered on
milestones toward Oblivion.
Instruction
by Michael R. Burch
Toss this poem aside
to the filigree and the wild tide
of sunset.
Strike my name,
and still it is all the same.
The onset
of night is in the despairing skies;
each hut shuts its bright bewildered eyes.
The wind sighs
and my heart sighs with her—
my only companion, O Lovely Drifter!
Still, men are not wise.
The moon appears; the arms of the wind lift her,
pooling the light of her silver portent,
while men, impatient,
are beings of hurried and harried despair.
Now willows entangle their fragrant hair.
Men sleep.
Cornsilk tassels the moonbright air.
Deep is the sea; the stars are fair.
I reap.
Mending
by Michael R. Burch
I am besieged with kindnesses;
sometimes I laugh,
delighted for a moment,
then resume
the more seemly occupation of my craft.
I do not taste the candies;
the perfume
of roses is uplifted
in a draft
that vanishes into the ceiling’s fans
that spin like old propellers
till the room
is full of ghostly bits of yarn . . .
My task
is not to knit,
but not to end too soon.
Break Time
by Michael R. Burch
for those who lost loved ones on 9-11
Intrude upon my grief; sit; take a spot
of milk to cloud the blackness that you feel;
add artificial sweeteners to conceal
the bitter aftertaste of loss. You’ll heal
if I do not. The coffee’s hot. You speak:
of bundt cakes, polls, the price of eggs. You glance
twice at your watch, cough, look at me askance.
The TV drones oeuvres of high romance
in syncopated lip-synch. Should I feel
the underbelly of Love’s warm Ideal,
its fuzzy-wuzzy tummy, and not reel
toward some dark conclusion? Disappear
to pale, dissolving atoms. Were you here?
I brush you off: like saccharine, like a tear.
911 Carousel
by Michael R. Burch
“And what rough beast ... slouches towards Bethlehem to be born?”—W. B. Yeats
They laugh and do not comprehend, nor ask
which way the wind is blowing, no, nor why
the reeling azure fixture of the sky
grows pale with ash, and whispers “Holocaust.”
They think to seize the ring, life’s tinfoil prize,
and, breathless with endeavor, shriek aloud.
The voice of terror thunders from a cloud
that darkens over children adult-wise,
far less inclined to error, when a step
in any wrong direction is to fall
a JDAM short of heaven. Decoys call,
their voices plangent, honking to be shot . . .
Here, childish dreams and nightmares whirl, collide,
as East and West, on slouching beasts, they ride.
The Evolution of Love
by Michael R. Burch
Love among the infinitesimal
flotillas of amoebas is a dance
of transient appendages, wild sails
that gather in warm brine and then express
one headstream as two small, divergent wakes.
Minuscule voyage—love! Upon false feet,
the pseudopods of uprightness, we creep
toward self-immolation: two nee one.
We cannot photosynthesize the sun,
and so we love in darkness, till we come
at last to understand: man’s spineless heart
is alien to any land.
We part
to single cells; we rise on buoyant tears,
amoeba-light, to breathe new atmospheres ...
and still we sink.
The night is full of stars
we cannot grasp, though all the World is ours.
Have we such cells within us, bent on love
to ever-changingness, so that to part
is not to be the same, or even one?
Is love our evolution, or a scream
against the thought of separateness—a cry
of strangled recognition? Love, or die,
or love and die a little. Hopeful death!
Come scale these cliffs, lie changing, share this breath.
An Ecstasy of Fumbling
by Michael R. Burch
The poets believe
everything resolves to metaphor—
a distillation,
a vapor
beyond filtration,
though perhaps not quite as volatile as before.
The poets conceive
of death in the trenches
as the price of art,
not war,
fumbling with their masque-like
dissertations
to describe the Hollywood-like gore
as something beyond belief,
abstracting concrete bunkers to Achaemenid bas-relief.
Drones
by Michael R. Burch
“Intellectual” poets remind me of drones
chasing the Classical queen's aging bones.
With bottle-thick glasses they still see to write,
droning on, endlessly buzzing all night.
Yet still in our classrooms their tomes are decreed . . .
Perhaps they're too busy with buzzing to breed.
Your e-Verse
by Michael R. Burch
—for the posters and posers on www.fillintheblank.com
I cannot understand a word you’ve said
(and this despite an adequate I.Q.);
it must be some exotic new haiku
combined with Latin suddenly undead.
It must be hieroglyphics mixed with Greek.
Have Pound and T. S. Eliot been cloned?
Perhaps you wrote it on the pot, so stoned
you spelled it backwards, just to be oblique.
I think you’re very funny—so, “Yuk! Yuk!”
I know you must be kidding; didn’t we
write crap like this and call it “poetry,”
a form of verbal exercise, P.E.,
in kindergarten, when we ran “amuck?”
Oh, sorry, I forgot to “make it new.”
Perhaps I still can learn a thing or two
from someone tres original, like you.
Relative Theories, or, Relative-ly Speaking
by Michael R. Burch
Hawking, who makes my head spin,
says time may flow backward. I grin,
imagining the surprise
in my mother’s eyes
when I head for the womb once again!
Hawking’s Brief History of Time
is such a relief! How sublime
that time, in reverse,
may un-write this verse
and un-spend my last thin dime!
Einstein the frizzy-haired
claimed E equals MC squared.
Thus all mass decreases
as activity ceases?
Not my mass, my ass declared!
Relativity, the theorists’ creed,
claims mass increases with speed.
My (m)ass grows when I sit it.
Mr. Einstein, get with it;
equate its deflation, I plead!
Einstein’s theory is really quite silly—
it says masses increase willy-nilly
at speeds close to light.
Well, his relatives’ might,
but mine grow their (m)asses more stilly.
Einstein’s relative theory
says masses increase, all too clearly,
at speeds close to light.
Well, his relatives’ might,
but mine grow their m(asses) more stilly.
Einstein’s relative theory
excludes all my relatives, clearly,
since my relatives’ asses
increase their prone masses
while approaching light speed—not nearly!
Relativity, we’re led to believe,
proves mass increases with speed.
But it seems that my family
must be an anomaly;
since their (m)asses increase, gone to seed.
Reflections on the Loss of Vision
by Michael R. Burch
The sparrow that cries from the shelter of an ancient oak tree and the
squirrels
that dash in delight through the treetops as the first snow glistens and swirls,
remind me so much of my childhood and how the world seemed to me then,
that it seems if I tried
and just closed my eyes,
I could once again be nine or ten.
The rabbits that hide in the bushes where the snowflakes collect as they
fall,
hunch there, I know, in the concealing snow, yet now I can't see them at all.
For time slowly weakened my vision; while the patterns seem almost as clear,
some things that I saw
when I was a boy,
are lost to me now in my advancing years.
The chipmunk who seeks out his burrow and the geese now preparing to leave
are there as they were, and yet they are not; and though it seems childish to
grieve,
who would condemn a blind man for bemoaning the vision he lost?
Well, in a small way,
through the passage of days,
I have learned some of his loss.
For, as a young boy I endeavored to see things most adults could not—
the camouflaged nests of the hoot owls, the woodpecker’s favorite spots.
But now I no longer can find them, nor understand how I once could,
and it seems such a waste
of those far-sighted days,
to end up near blind in this wood.
I believe I wrote the first version of this poem around 1978 at age 19 or
20. I put it aside for many years and didn’t finish it until 2020 during the
coronavirus pandemic.
Sun Poem
by Michael R. Burch
I have suffused myself in poetry
as a lizard basks, soaking up sun,
scales nakedly glinting; its glorious light
he understands—when it comes, it comes.
A flood of light leaches down to his bones,
his feral eye blinks—bold, curious, bright.
Now night and soon winter lie brooding, damp, chilling;
here shadows foretell the great darkness ahead.
Yet he stretches in rapture, his hot blood thrilling,
simple yet fierce on his hard stone bed,
his tongue flicking rhythms,
the sun—throbbing, spilling.
The Poet
by Michael R. Burch
He walks to the sink,
takes out his teeth,
rubs his gums.
He tries not to think.
In the mirror, on the mantle,
Time—the silver measure—
does not stare or blink,
but in a wrinkle flutters,
in a hand upon the brink
of a second, hovers.
Through a mousehole,
something scuttles
on restless incessant feet.
There is no link
between life and death
or from a fading past
to a more tenuous present
that a word uncovers
in the great wink.
The white foam lathers
at his thin pink
stretched neck
like a tightening noose.
He tries not to think.
Distances
by Michael R. Burch
There is a small cleanness about her,
as though she has always just been washed,
and there is a dull obedience to convention
in her accommodating slenderness
as she feints at her salad.
She has never heard of Faust, or Frost,
and she is unlikely to have been seen
rummaging through bookstores
for mementos of others
more difficult to name.
She might imagine “poetry”
to be something in common between us,
as we write, bridging the expanse
between convention and something . . .
something the world calls “art”
for want of a better word.
At night I scream
at the conventions of both our worlds,
at the distances between words
and their objects: distances
come lately between us,
like a clean break.
Mother of Cowards
by Michael R. Burch
So unlike the brazen giant of Greek fame
With conquering limbs astride from land to land,
Spread-eagled, showering gold, a strumpet stands:
A much-used trollop with a torch, whose flame
Has long since been extinguished. And her name?
"Mother of Cowards!" From her enervate hand
Soft ash descends. Her furtive eyes demand
allegiance to her Pimp's repulsive game.
"Keep, ancient lands, your wretched poor!" cries she
With scarlet lips. "Give me your hale, your whole,
Your huddled tycoons, yearning to be pleased!
The wretched refuse of your toilet hole?
Oh, never send one unwashed child to me!
I await Trump's pleasure by the gilded bowl!"
Second Sight
by Michael R. Burch
I never touched you—
that was my mistake.
Deep within,
I still feel the ache.
Can an unformed thing
eternally break?
Now, from a great distance,
I see you again
not as you are now,
but as you were then—
eternally present
and Sovereign.
Winter
by Michael R. Burch
The rose of love's bright promise
lies torn by her own thorn;
her scent was sweet
but at her feet
the pallid aphids mourn.
The lilac of devotion
has felt the winter hoar
and shed her dress;
companionless,
she shivers—nude, forlorn.
To Please The Poet
by Michael R. Burch
To please the poet, words must dance—
staccato, brisk, a two-step:
so!
Or waltz in elegance to time
of music—mild,
adagio.
To please the poet, words must chance
emotion in catharsis—
flame.
Or splash into salt seas, descend
in sheets of silver-shining
rain.
To please the poet, words must prance
and gallop, gambol, revel,
rail.
Or muse upon a moment—mute,
obscure, unsure, imperfect,
pale.
To please the poet, words must sing,
or croak, wart-tongued, imagining.
Whose Woods
by Michael R. Burch
Whose woods these are, I think I know.
Dick Cheney’s in the White House, though.
He will not see me stopping here
To watch his chip mills overflow.
My sterile horse must think it queer
To stop without a ’skeeter near
Beside this softly glowing “lake”
Of six-limbed frogs gone nuclear.
He gives his hairless tail a shake;
I fear he’s made his last mistake—
He took a sip of water blue
(Blue-slicked with oil and HazMat waste).
Get out your wallets; Dick’s not through—
Enron’s defunct, the bill comes due . . .
Which he will send to me, and you.
Which he will send to me, and you.
Psycho Analysis
by Michael R. Burch
This is not what I need . . .
analysis,
paralysis,
as though I were a seed
to be planted,
supported
with a stick and some string
until I emerge.
Your words
are not water. I need something
more nourishing,
like cherishing,
something essential, like love
so that when I climb
out of the lime
and the mulch. When I shove
myself up
from the muck . . .
we can fuck.
Sailing to My Grandfather, for George Hurt
by Michael R. Burch
This distance between us
—this vast sea
of remembrance—
is no hindrance,
no enemy.
I see you out of the shining mists
of memory.
Events and chance
and circumstance
are sands on the shore of your legacy.
I find you now in fits and bursts
of breezes time has blown to me,
while waves, immense,
now skirt and glance
against the bow unceasingly.
I feel the sea's salt spray—light fists,
her mists and vapors mocking me.
From ignorance
to reverence,
your words were sextant stars to me.
Bright stars are strewn in silver gusts
back, back toward infinity.
From innocence
to senescence,
now you are mine increasingly.
Note: Under the Sextant’s Stars is a painting by Bernini.
Sanctuary at Dawn
by Michael R. Burch
I have walked these thirteen miles
just to stand outside your door.
The rain has dogged my footsteps
for thirteen miles, for thirty years,
through the monsoon seasons . . .
and now my tears
have all been washed away.
Through thirteen miles of rain I slogged,
I stumbled and I climbed
rainslickened slopes
that led me home
to the hope that I might find
a life I lived before.
The door is wet; my cheeks are wet,
but not with rain or tears . . .
as I knock I sweat
and the raining seems
the rhythm of the years.
Now you stand outlined in the doorway
—a man as large as I left—
and with bated breath
I take a step
into the accusing light.
Your eyes are grayer
than I remembered;
your hair is grayer, too.
As the red rust runs
down the dripping drains,
our voices exclaim—
"My father!"
"My son!"
NOTE: “Sanctuary at Dawn” appeared in my Just a Dream manuscript, so it
was written either in high school or during my first two years of college. While
1976 is an educated guess, it was definitely written sometime between 1974 and
1978. At that time thirty seemed “old” to me and I used that age more than once
to project my future adult self. For instance, in the poem “You.”
One-Liners
by Michael R. Burch
If the US consulted a competent headshrinker, it might boil down to nothing more than hot air and delusions.—Michael R. Burch
Thanks to politicians like George W. Bush, Sarah Palin, Michelle Bachmann, Steve Bannon and Donald Trump, we now have a duh-mock-racy.—Michael R. Burch
Q: What do you call it when a Man-Baby takes over the American government?
A: Coup d'Tot.
—Michael R. Burch
Teddy Roosevelt spoke softly and carried a big stick; Donald Trump speaks loudly and carries a big shtick.—Michael R. Burch
Sarah Palin is truly unique: she alone can make us appreciate Bush Junior's vastly superior intellect.—Michael R. Burch
I believe God is using Michelle Bachmann to conclusively prove that man did notevolve.—Michael R. Burch
Eerie Dearie
by Michael R. Burch
A trembling young auditor, white
as a sheet, like a ghost in the night,
saw his dreams, his career
in a poof!, disappear,
and then, strangely Enronic, his wife.
Our Sweet Ecologist
by Michael R. Burch
Our sweet ecologist —
what will she do with the ants
and the cockroaches, bedbugs and lice
when they want to live in her pants?
Questionable Credentials
by Michael R. Burch
Poet? Critic? Dilettante?
Do you know what’s good, or merely flaunt?
(for Unclever Trevor and Mor the Inch-Roarer)
Lines in Favor of Female Muses
by Michael R. Burch
I guess Asses of Parnassus are okay ...
But those Lasses of Parnassus? My! Olé!
Published by Asses of Parnassus
DPAA Hymn for Fallen Soldiers
by Michael R. Burch
writing as Kim Cherub
Sound the awesome cannons.
Pin medals to each breast.
Attention, honor guard!
Give them a hero’s rest.
Recite their names to the heavens
Till the stars acknowledge their kin.
Then let the land they defended
Gather them in again.
NOTE: When I learned there’s an American military organization, the DPAA
(Defense/POW/MIA Accounting Agency) that is still finding and bringing home the
bodies of soldiers who died serving their country in World War II, after
blubbering like a baby, I managed to eke out this poem.
East End, 1888
by Michael R. Burch
He slouched East
through a steady downpour,
a slovenly beast
befouling each puddle
with bright footprints of blood.
Outlined in a pub door,
lewdly, wantonly, she stood . . .
mocked and brazenly offered.
He took what he could
till she afforded no more.
Now a single bright copper
glints becrimsoned by the door
of the pub where he met her.
He holds to his breast the one part
of her body she was unable to whore,
grips her heart to his wildly stammering heart . . .
unable to forgive or forget her.
Originally published by Penny Dreadful
Huntress
by Michael R. Burch
after Baudelaire
Lynx-eyed, cat-like and cruel, you creep
across a crevice dropping deep
into a dark and doomed domain.
Your claws are sheathed. You smile, insane.
Rain falls upon your path, and pain
pours down. Your paws are pierced. You pause
and heed the oft-lamented laws
which bid you not begin again
till night returns. You wail like wind,
the sighing of a soul for sin,
and give up hunting for a heart.
Till sunset falls again, depart,
though hate and hunger urge you—"On!"
Heed, hearts, your hope—the break of dawn.
Originally published by Sonnetto Poesia
In My House
by Michael R. Burch
When you were in my house
you were not free—
in chains bound.
Manifest Destiny?
I was wrong;
my plantation burned to the ground.
I was wrong.
This is my song,
this is my plea:
I was wrong.
When you are in my house,
now, I am not free.
I feel the song
hurling itself back at me.
We were wrong.
This is my history.
I feel my tongue
stilting accordingly.
We were wrong;
brother, forgive me.
Published by Black Medina
Quanta
by Michael R. Burch
The stars shine fierce and hard across the Abyss
and only seem to twinkle from such distance
we scarcely see at all. But sheer persistence
in seeing what makes “sense” to us, is man’s
best art and science. BIG, he comprehends.
Love’s photons are too small, escape the lens.
Who dares to look upon familiar things
will find them alien. True distance reels.
Less what he knows than what his finger feels,
the lightning of the socket sparks and sings,
then stings him into comic reverie.
Cartoonish lightbulbs overhead, do we
not “think” because we feel there must be More,
as less and less we know what we explore?
Published by The Neovictorian/Cochlea
Fly’s Eyes
by Michael R. Burch
Inhibited, dark agile fly along
paint-peeling sills, up to the bright glass drawn
by radiance compounded thousandfold,—
I do not see the same as you, but hold
antenna to the brilliant pane of life
and buzz bewilderedly.
In your belief
the world outside is “as it is” because
you see it clearly, windowed without flaws,
you err.
I see
strange terrors in the glass—
dead airless bubbles light can never pass
without distortion, fingerprints that blur
the sun itself. No, nothing here is clear.
You see the earth distinct, eyes “open wide.”
It only seems that way, unmagnified.
Published by The Neovictorian/Cochlea
Merciles Beaute ("Merciless Beauty")
by Geoffrey Chaucer
loose
translation/intepretation by Michael R. Burch
Your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.
Unless your words heal me hastily,
my heart's wound will remain green;
for your eyes slay me suddenly;
their beauty I cannot sustain.
By all truth, I tell you faithfully
that you are my life and my death, my queen ...
for at my death this truth shall at last be seen:
your eyes slay me suddenly;
their beauty I cannot sustain,
they wound me so, through my heart keen.
Laughter’s Cry
by Michael R. Burch
Because life is a mystery, we laugh
and do not know the half.
Because death is a mystery, we cry
when one is gone, our numbering thrown awry.
The Board
by Michael R. Burch
Accessible rhyme is never good.
The penalty is understood—
soft titters from dark board rooms where
the businessmen paste on their hair
and, Walter Mitties, woo the Muse
with reprimands of Dr. Seuss.
The best book of the age sold two,
or three, or four (but not to you),
strange copies of the ones before,
misreadings that delight the board.
They sit and clap; their revenues
fall trillions short of Mother Goose.
Love Stronger than Time
by Victor Hugo
loose translation/interpretation by Michael R. Burch
Since I first set my lips to your full cup,
Since my pallid face first nested in your hands,
Since I sensed your soul and every bloom lit up—
Till those rare perfumes were lost to deepening sands;
Since I was once allowed those pleasures deep—
To hear your heart speak mysteries, divine;
Since I have seen you smile, have watched you weep,
Your lips pressed to my lips, your eyes on mine;
Since I have sensed above my thoughts the gleam
Of a ray, a single ray, of your bright star
(If sometimes veiled), and felt light falling stream,
Like one rose petal plucked from high, afar;
I now can say to time's swift-changing hours:
Pass, pass upon your way, for you grow old;
Flee to the dark abyss with your drear flowers,
but one unmarred within my heart I hold.
Your flapping wings may jar but cannot spill
The cup fulfilled of love, from which I drink;
My heart has fires your frosts can never chill,
My soul more love to fly than you can sink.
Trump’s Silver Lining
by Michael R. Burch
Things are bad
and getting worse:
the president’s mad,
the supremacists terse;
the earth itself
may require a hearse ...
The silver lining?
Trump inspires verse!
Fierce ancient skalds summoned verse from their guts;
today’s genteel poets prefer modern ruts.
—Michael R. Burch
Long Division
by Kim Cherub
after Laura Riding Jackson
All things become one
Through death’s long division
And perfect precision.
Meal Deal
by Michael R. Burch
Love is a splendid ideal
(at least till it costs us a meal).
There’s no need to rant about Al-Qaeda and ISIS.
The cruelty of “civilization” suffices:
our ordinary vices.
—Michael R. Burch
Self-ish
by Kim Cherub
Let’s not pretend we “understand” other elves
As long as we remain mysteries to ourselves.
Piecemeal
by Kim Cherub
And so it begins—the ending.
The narrowing veins, the soft tissues rending.
Your final solution is pending.
i o u
by Michael R. Burch
i might have said it
but i didn’t
u might have noticed
but u wouldn’t
we might have been us
but we couldn’t
u might respond
but probably shouldn’t
Peace Prayer
by Michael R. Burch
Be calm.
Be still.
Be silent, content.
Be one with the buffalo cropping the grass to a safer height.
Seek the composure of the great depths, barely moved by exterior storms.
Lift your face to the dawning light; feel how it warms.
And be calm.
Be still.
Be silent, content.
Lance-Lot
by Michael R. Burch
Preposterous bird!
Inelegant! Absurd!
Until the great & mighty heron
brandishes his fearsome sword.
Lean Harvests
by Michael R. Burch
for T.M.
the trees are shedding their leaves again:
another summer is over.
the Christians are praising their Maker again,
but not the disconsolate plover:
i hear him berate
the fate
of his mate;
he claims God is no body’s lover.
Published by The Rotary Dial and Angle
faith(less)
by Michael R. Burch
Those who believed
and Those who misled
lie together at last
in the same narrow bed
and if god loved Them more
for Their strange lack of doubt,
he kept it well hidden
till he snuffed Them out.
Stormfront
by Michael R. Burch
Our distance is frightening:
a distance like the abyss between heaven and earth
interrupted by bizarre and terrible lightning.
Doppelgänger
by Michael R. Burch
Here the only anguish
is the bedraggled vetch lying strangled in weeds,
the customary sorrows of the wild persimmons,
the whispered complaints of the stately willow trees
disentangling their fine lank hair,
and what is past.
I find you here, one of many things lost,
that, if we do not recover, will undoubtedly vanish forever ...
now only this unfortunate stone,
this pale, disintegrate mass,
this destiny, this unexpected shiver,
this name we share.
Love is her Belief and her Commandment
by Michael R. Burch
for Beth
Love is her belief and her commandment;
in restless dreams at night, she dreams of Love;
and Love is her desire and her purpose;
and everywhere she goes, she sings of Love.
There is a tomb in Palestine: for others
the chance to stake their claims (the Chosen Ones),
but in her eyes, it’s Love’s most hallowed chancel
where Love was resurrected, where one comes
in wondering awe to dream of resurrection
to blissful realms, where Love reigns over all
with tenderness, with infinite affection.
While some may mock her faith, still others wonder
because they see the rare state of her soul,
and there are rumors: when she prays the heavens
illume more brightly, as if saints concur
who keep a constant vigil over her.
And once she prayed beside a dying woman:
the heavens opened and the angels came
in the form of long-departed friends and loved ones,
to comfort and encourage. I believe
not in her God, but always in her Love.
Ultimate Sunset
by Michael R. Burch
for my father, Paul Ray Burch, Jr.
he now faces the Ultimate Sunset,
his body like the leaves that fray as they dry,
shedding their vital fluids (who knows why?)
till they’ve become even lighter than the covering sky,
ready to fly ...
Free Fall
by Michael R. Burch
for my father, Paul Ray Burch, Jr.
I see the longing for departure gleam
in his still-keen eye,
and I understand his desire
to test this last wind, like those late autumn leaves
with nothing left to cling to ...
Kin
by Michael R. Burch
for Richard Moore
1.
Shrill gulls,
how like my thoughts
you, struggling, rise
to distant bliss—
the weightless blue of skies
that are not blue
in any atmosphere,
but closest here ...
2.
You seek an air
so clear,
so rarified
the effort leaves you famished;
earthly tides
soon call you back—
one long, descending glide ...
3.
Disgruntledly you grope dirt shores for orts
you pull like mucous ropes
from shells’ bright forts ...
You eye the teeming world
with nervous darts—
this way and that ...
Contentious, shrewd, you scan—
the sky, in hope,
the earth, distrusting man.
Discrimination
by Michael R. Burch
The meter I had sought to find, perplexed,
was ripped from books of "verse" that read like prose.
I found it in sheet music, in long rows
of hologramic CDs, in sad wrecks
of long-forgotten volumes undisturbed
half-centuries by archivists, unscanned.
I read their fading numbers, frowned, perturbed—
why should such tattered artistry be banned?
I heard the sleigh bells’ jingles, vampish ads,
the supermodels’ babble, Seuss’s books
extolled in major movies, blurbs for abs ...
A few poor thinnish journals crammed in nooks
are all I’ve found this late to sell to those
who’d classify free verse "expensive prose."
no foothold
by Michael R. Burch
there is no hope;
therefore i became invulnerable to love.
now even god cannot move me:
nothing to push or shove,
no foothold.
so let me live out my remaining days in clarity,
mine being the only nativity,
my death the final crucifixion
and apocalypse,
as far as the i can see ...
Con Artistry
by Michael R. Burch
The trick of life is like the sleight of hand
of gamblers holding deuces by the glow
of veiled back rooms, or aces; soon we’ll know
who folds, who stands . . .
The trick of life is like the pool shark’s shot—
the wild massé across green velvet felt
that leaves the winner loser. No, it’s not
the rack, the hand that’s dealt . . .
The trick of life is knowing that the odds
are never in one’s favor, that to win
is only to delay the acts of gods
who’d ante death for sin . . .
and death for goodness, death for in-between.
The rules have never changed; the artist knows
the oldest con is life; the chips he blows
can’t be redeemed.
Everlasting
by Michael R. Burch
Where the wind goes
when the storm dies,
there my spirit lives
though I close my eyes.
Do not weep for me;
I am never far.
Whisper my name
to the last star ...
then let me sleep,
think of me no more.
Still ...
By denying death
its terminal sting,
in my words I remain
everlasting.
Incommunicado
by Michael R. Burch
All I need to know of life I learned
in the slap of a moment,
as my outward eye turned
toward a gauntlet of overhanging lights
which coldly burned, hissing—
"There is no way back!"
As the ironic bright blood
trickled down my face,
I watched strange albino creatures twisting
my flesh into tight knots of separation
while tediously insisting—
“He's doing just fine!"
Dust (III)
by Michael R. Burch
Flame within flame,
we burned and burned relentlessly
till there was nothing left to be consumed.
Only ash remained, the smoke plumed
like a spirit leaving its corpse, and we
were left with only a name
ever common between us.
We had thought to love “eternally,”
but the wick sputtered, the candle swooned,
the flame subsided, the smoke ballooned,
and our communal thought was: flee, flee, flee
the choking dust.
East Devon Beacon
by Michael R. Burch
Evening darkens upon the moors,
Forgiveness—a hairless thing
skirting the headlamps, fugitive.
Why have we come,
traversing the long miles
and extremities of solitude,
worriedly crisscrossing the wrong maps
with directions
obtained from passing strangers?
Why do we sit,
frantically retracing
love’s long-forgotten signal points
with cramping, ink-stained fingers?
Why the preemptive frowns,
the litigious silences,
when only yesterday we watched
as, out of an autumn sky this vast,
over an orchard or an onion field,
wild Vs of distressed geese
sped across the moon’s face,
the sound of their panicked wings
like our alarmed hearts
pounding in unison?
Tillage
by Michael R. Burch
What stirs within me
is no great welling
straining to flood forth,
but an emptiness
waiting to be filled.
I am not an orchard
ready to be harvested,
but a field
rough and barren
waiting to be tilled.
The People Loved What They Had Loved Before
by Michael R. Burch
We did not worship at the shrine of tears;
we knew not to believe, not to confess.
And so, ahemming victors, to false cheers,
we wrote off love, we gave a stern address
to things that we disapproved of, things of yore.
And the people loved what they had loved before.
We did not build stone monuments to stand
six hundred years and grow more strong and arch
like bridges from the people to the Land
beyond their reach. Instead, we played a march,
pale Neros, sparking flames from door to door.
And the people loved what they had loved before.
We could not pipe of cheer, or even woe.
We played a minor air of Ire (in E).
The sheep chose to ignore us, even though,
long destitute, we plied our songs for free.
We wrote, rewrote and warbled one same score.
And the people loved what they had loved before.
At last outlandish wailing, we confess,
ensued, because no listeners were left.
We built a shrine to tears: our goddess less
divine than man, and, like us, long bereft.
We stooped to love too late, too Learned to whore.
And the people loved what they had loved before.
Her Preference
by Michael R. Burch
Not for her the pale incandescence of dreams,
the warm glow of imagination,
the hushed whispers of possibility,
or frail, blossoming hope.
No, she prefers the anguish and screams
of bitter condemnation,
the hissing of hostility,
damnation's rope.
Impotent
by Michael R. Burch
Tonight my pen
is barren
of passion, spent of poetry.
I hear your name
upon the rain
and yet it cannot comfort me.
I feel the pain
of dreams that wane,
of poems that falter, losing force.
I write again
words without end,
but I cannot control their course . . .
Tonight my pen
is sullen
and wants no more of poetry.
I hear your voice
as if a choice,
but how can I respond, or flee?
I feel a flame
I cannot name
that sends me searching for a word,
but there is none
not over-done,
unless it's one I never heard.
I believe this poem was written in my early twenties, around 1980.
Revision
by Michael R. Burch
I found a stone
ablaze in a streambed,
honed to a flickering jewel
by all the clear,
swiftly-flowing
millennia of water . . .
and as I kneeled
to do it obeisance,
the homage of retrieval,
it occurred to me
that perhaps its muddied
underbelly
rooted precariously
in the muck
and excrescence
of its slow loosening
upward . . .
might not be finished,
like a poem
brilliantly faceted
but only half revised,
which sparkles
seductively
but is not yet worth
ecstatic digging.
Originally published by The HyperTexts
Wonderland
by Michael R. Burch
We stood, kids of the Lamb, to put to test
the beatific anthems of the blessed,
the sentence of the martyr, and the pen’s
sincere religion. Magnified, the lens
shot back absurd reflections of each face—
a carnival-like mirror. In the space
between the silver backing and the glass,
we caught a glimpse of Joan, a frumpy lass
who never brushed her hair or teeth, and failed
to pass on GO, and frequently was jailed
for awe’s beliefs. Like Alice, she grew wee
to fit the door, then couldn’t lift the key.
We failed the test, and so the jury’s hung.
In Oz, “The Witch is Dead” ranks number one.
To the Post-Modern Muse, Floundering
by Michael R. Burch
The anachronism in your poetry
is that it lacks a future history.
The line that rings, the forward-sounding bell,
tolls death for you, for drowning victims tell
of insignificance, of eerie shoals,
of voices underwater. Lichen grows
to mute the lips of those men paid no heed,
and though you cling by fingertips, and bleed,
there is no lifeline now, for what has slipped
lies far beyond your grasp. Iron fittings, stripped,
have left the hull unsound, bright cargo lost.
The argosy of all your toil is rust.
The anchor that you flung did not take hold
in any harbor where repair is sold.
Originally published by Ironwood
Resemblance
by Michael R. Burch
Take this geode with its rough exterior—
crude-skinned, brilliant-hearted ...
a diode of amethyst—wild, electric;
its sequined cavity—parted, revealing.
Find in its fire all brittle passion,
each jagged shard relentlessly aching.
Each spire inward—a fission startled;
in its shattered entrails—fractured light,
the heart ice breaking.
Clyde Lied, or, Honeymoon Not-So-Sweet
by Michael R. Burch
There once was a mockingbird, Clyde,
who bragged of his prowess, but lied.
To his new wife he sighed,
"When again, gentle bride?"
"Nevermore!" bright-eyed Raven replied.
Oasis
by Michael R. Burch
I want tears to form again
in the shriveled glands of these eyes
dried all these long years
by too much heated knowing.
I want tears to course down
these parched cheeks,
to star these cracked lips
like an improbable dew
in the heart of a desert.
I want words to burble up
like happiness, like the thought of love,
like the overwhelming, shimmering thought of you
to a nomad who
has only known drought.
Melting
by
Michael R. Burch
for Beth
Entirely, as spring consumes the snow,
the thought of you consumes me: I am found
in rivulets, dissolved to what I know
of former winters’ passions. Underground,
perhaps one slender icicle remains
of what I was before, in some dark cave—
a stalactite, long calcified, now drains
to sodden pools, whose milky liquid laves
the colder rock, thus washing something clean
that never saw the light, that never knew
the crust could break above, that light could stream:
so luminous, so bright, so beautiful ...
I lie revealed, and so I stand transformed,
and all because you smiled on me, and warmed.
A Surfeit of Light
by Michael R. Burch
There was always a surfeit of light in your presence.
You stood distinctly apart, not of the humdrum world—
a chariot of gold in a procession of plywood.
We were all pioneers of the modern expedient race,
raising the ante: Home Depot to Lowe’s.
Yours was an antique grace—Thrace’s or Mesopotamia’s.
We were never quite sure of your silver allure,
of your trillium-and-platinum diadem,
of your utter lack of flatware-like utility.
You told us that night—your wound would not scar.
The black moment passed, then you were no more.
The darker the sky, how much brighter the Star!
The day of your funeral, I ripped out the crown mold.
You were this fool’s gold.
Chloe
by Michael R. Burch
There were skies onyx at night ... moons by day ...
lakes pale as her eyes ... breathless winds
undressing tall elms; ... she would say
that we loved, but I figured we’d sinned.
Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray ...
all the light of that world softly dimmed.
Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.
What I found, I found lost in her face
while yielding all my virtue to her grace.
A Vain Word
by Michael R. Burch
Oleanders at dawn preen extravagant whorls
as I read in leaves’ Sanskrit brief moments remaining
till sunset implodes, till the moon strands grey pearls
under moss-stubbled oaks, full of whispers, complaining
to the darkening autumn, how swiftly life goes—
as I fled before love ...
Now, through leaves trodden black,
shivering, I wander as winter’s first throes
of cool listless snow drench my cheeks, back and neck.
I discerned in one season all eternities of grief,
the specter of death sprawled out under the rose,
the last consequence of faith in the flight of one leaf,
the incontinence of age, as life’s bright torrent slows.
O, where are you now?—I was timid, absurd.
I would find comfort again in a vain word.
Published by Chrysanthemum and Tucumcari Literary Review
These Hallowed Halls
by Michael R. Burch
a young Romantic Poet mourns the passing of an age . . .
A final stereo fades into silence
and now there is seldom a murmur
to trouble the slumber
of these ancient halls.
I stand by a window where others have watched
the passage of time alone,
not untouched,
and I am as they were—unsure, as the days
stretch out ahead,
a bewildering maze.
Ah, faithless lover—that I had never touched your breast,
nor felt the stirrings of my heart,
which until that moment had peacefully slept.
For now I have known the exhilaration
of a heart that has leapt from the pinnacle of Love,
and the result of every infatuation—
the long freefall to earth, as the moon glides above.
Housman was right ...
by Michael R. Burch
It's true that life’s not much to lose,
so why not hang out on a cloud?
It’s just the bon voyage is hard
and the objections loud.
Stage Fright
by Michael R. Burch
To be or not to be?
In the end Hamlet
opted for naught.
chrysalis
by Michael R. Burch
these are the days of doom
u seldom leave ur room
u live in perpetual gloom
yet also the days of hope
how to cope?
u pray and u grope
toward self illumination ...
becoming an angel
(pure love)
and yet You must love Your Self
Consequence
by Michael R. Burch
They are fresh-faced,
not innocent, but perhaps not yet jaded,
oblivious to time and death,
of each counted breath
in the pendulum’s sway
falling unheeded.
They are bright, undissuaded
by foreign tongues,
by sepulchers empty and waiting,
by sarcophagi of ancient kings,
by proclamations,
by rituals of scalpels and rings.
They are sworn, they are fated
to misadventure and grief;
but they revel in life
till the sun falls, receding
into silent halls
to torrents of inconsequential tears . . .
. . . to brief tragedies of tears
when they consider this: No one else sees.
But I know.
We all know.
We all know the consequence
of being so young.
Cycles
by Michael R. Burch
I see his eyes caress my daughter’s breasts
through her thin cotton dress,
and how an indiscreet strap of her white bra
holds his bald fingers
in fumbling mammalian awe . . .
And I remember long cycles into the bruised dusk
of a distant park,
hot blushes,
wild, disembodied rushes of blood,
portentous intrusions of lips, tongues and fingers . . .
and now in him the memory of me lingers
like something thought rancid,
proved rotten.
I see Another again—hard, staring, and silent—
though long-ago forgotten . . .
And I remember conjectures of panty lines,
brief flashes of white down bleacher stairs,
coarse patches of hair glimpsed in bathroom mirrors,
all the odd, questioning stares . . .
Yes, I remember it all now,
and I shoo them away,
willing them not to play too long or too hard
in the back yard—
with a long, ineffectual stare
that years from now, he may suddenly remember.
Duet, Minor Key
by Michael R. Burch
Without the drama of cymbals
or the fanfare and snares of drums,
I present my case
stripped of its fine veneer:
Behold, thy instrument.
Play, for the night is long.
I sampled honeysuckle:
it made my taste buds buckle!
by Michael R. Burch
Caveat
by Michael R. Burch
If only we were not so eloquent,
we might sing, and only sing, not to impress,
but only to enjoy, to be enjoyed.
We might inundate the earth with thankfulness
for light, although it dies, and make a song
of night descending on the earth like bliss,
with other lights beyond—not to be known—
but only to be welcomed and enjoyed,
before all worlds and stars are overthrown ...
as a lover’s hands embrace a sleeping face
and find it beautiful for emptiness
of all but joy. There is no thought to love
but love itself. How senseless to redress,
in darkness, such becoming nakedness ...
Nuclear Winter
by Michael R. Burch
Out of the ashes
a flower emerges
and trembling bright sunshine
bathes its scorched stem,
but how will this flower
endure for an hour
the rigors of winter
eternal and grim
without men?
Advice to Young Poets
by Nicanor Parra Sandoval
loose translation/interpretation by Michael R. Burch
Youngsters,
write however you will
in your preferred style.
Too much blood flowed under the bridge
for me to believe
there’s just one acceptable path.
In poetry everything’s permitted.
Originally published by Setu
Upon a Frozen Star
by
Michael R. Burch
Oh, was it in this dark-Decembered world
we walked among the moonbeam-shadowed fields
and did not know ourselves for weight of snow
upon our laden parkas? White as sheets,
as spectral-white as ghosts, with clawlike hands
thrust deep into our pockets, holding what
we thought were tickets home: what did we know
of anything that night? Were we deceived
by moonlight making shadows of gaunt trees
that loomed like fiends between us, by the songs
of owls like phantoms hooting: Who? Who? Who?
And if that night I looked and smiled at you
a little out of tenderness ... or kissed
the wet salt from your lips, or took your hand,
so cold inside your parka ... if I wished
upon a frozen star ... that I could give
you something of myself to keep you warm ...
yet something still not love ... if I embraced
the contours of your face with one stiff glove ...
How could I know the years would strip away
the soft flesh from your face, that time would flay
your heart of consolation, that my words
would break like ice between us, till the void
of words became eternal? Oh, my love,
I never knew. I never knew at all,
that anything so vast could curl so small.
NOTE: I believe this was my first attempt at blank verse.
Pointed Art
by Michael R. Burch
The point of art is that
there is no point.
(A grinning, quick-dissolving cat
from Cheshire
must have told you that.)
The point of art is this—
the hiss
of Cupid’s bright bolt, should it miss,
is bliss
compared to Truth’s neurotic kiss.
Longing
by Michael R. Burch
We stare out at the cold gray sea,
overcome
with such sudden and intense longing . . .
our eyes meet,
inviolate,
and we are not of this earth,
this strange, inert mass.
Before we crept
out of the shoals of the inchoate sea,
before we grew
the quaint appendages
and orifices of love . . .
before our jellylike nuclei,
struggling to be hearts,
leapt
at the sight of that first bright, oracular sun,
then watched it plummet,
the birth and death of our illumination . . .
before we wept . . .
before we knew . . .
before our unformed hearts grew numb,
again,
in the depths of the sea’s indecipherable darkness . . .
When we were only
a swirling profusion of recombinant things
wafting loose silt from the sea’s soft floor,
writhing and sucking in convulsive beds
of mucousy foliage,
flowering,
flowering,
flowering . . .
what jolted us to life?
Ode to the Sun
by Michael R. Burch
Day is done . . .
on, swift sun.
Follow still your silent course.
Follow your unyielding course.
On, swift sun.
Leave no trace of where you've been;
give no hint of what you've seen.
But, ever as you onward flee,
touch me, O sun,
touch me.
Now day is done . . .
on, swift sun.
Go touch my love about her face
and warm her now for my embrace,
for though she sleeps so far away,
where she is not, I shall not stay.
Go tell her now I, too, shall come.
Go on, swift sun,
go on.
NOTE: I seem to remember writing this poem toward the end of my senior year
in high school, around age 18.
/bookmark/post to /all/hello/joy/all/ph/ps/twt/wc/
Ivy
by Michael R. Burch
“Van trepando en mi viejo dolor como las yedras.” — Pablo Neruda
“They climb on my old suffering like ivy.”
Ivy winds around these sagging structures
from the flagstones
to the eave heights,
and, clinging, holds intact
what cannot be saved of their loose entrails.
Through long, blustery nights of dripping condensation,
cured in the humidors of innumerable forgotten summers,
waxy, unguent,
palely, indifferently fragrant, it climbs,
pausing at last to see
the alien sparkle of dew
beading delicate sparrowgrass.
Coarse saw grass, thin skunk grass, clumped mildewed yellow gorse
grow all around, and here remorse, things past,
watch ivy climb and bend,
and, in the end, we ask
if grief is worth the gaps it leaps to mend.
Keywords/Tags: past, memory, memories, remembrance, regret, regrets, time,
loss, age, aging, grief
An Illusion
by Michael R. Burch
The sky 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 ...
NOTE: This is one of my early poems, written around age 16 and published in
my high school literary journal, The Lantern.
Describing You
by Michael R. Burch
How can I describe you?
The fragrance of morning rain
mingled with dew
reminds me of you;
the warmth of sunlight
stealing through a windowpane
brings you back to me again.
This is an early poem of mine, written as a teenager.
Keywords/Tags: describing, you, description, fragrance, perfume, odor, rain,
dew, sunlight, warmth, light
Joy in the Morning
by Michael R. Burch
for my grandparents George Edwin Hurt and Christine Ena Hurt
There will be joy in the morning
for now this long twilight is over
and their separation has ended.
For fourteen years, he had not seen her
whom he first befriended,
then courted and married.
Let there be joy, and no mourning,
for now in his arms she is carried
over a threshold vastly sweeter.
He never lost her; she only tarried
until he was able to meet her.
Keywords/Tags: George Edwin Hurt Christine Ena Spouse reunited heaven joy
together forever
Prodigal
by Michael R. Burch
This poem is dedicated to Kevin Longinotti, who died four days short of
graduation from Vanderbilt University, the victim of a tornado that struck
Nashville on April 16, 1998.
You have graduated now,
to a higher plane
and your heart’s tenacity
teaches us not to go gently
though death intrudes.
For eighteen days
—jarring interludes
of respite and pain—
with life only faintly clinging,
like a cashmere snow,
testing the capacity
of the blood banks
with the unstaunched flow
of your severed veins,
in the collapsing declivity,
in the sanguine haze
where Death broods,
you struggled defiantly.
A city mourns its adopted son,
flown to the highest ranks
while each heart complains
at the harsh validity
of God’s ways.
On ponderous wings
the white clouds move
with your captured breath,
though just days before
they spawned the maelstrom’s
hellish rift.
Throw off this mortal coil,
this envelope of flesh,
this brief sheath
of inarticulate grief
and transient joy.
Forget the winds
which test belief,
which bear the parchment leaf
down life’s last sun-lit path.
We applaud your spirit, O Prodigal,
O Valiant One,
in its percussive flight into the sun,
winging on the heart’s last madrigal.
Second Sight (II)
by Michael R. Burch
Newborns see best at a distance of 8 to 14 inches.
Wiser than we know, the newborn screams,
red-faced from breath, and wonders what life means
this close to death, amid the arctic glare
of warmthless lights above.
Beware! Beware!—
encrypted signals, codes? Or ciphers, noughts?
Interpretless, almost, as his own thoughts—
the brilliant lights, the brilliant lights exist.
Intruding faces ogle, gape, insist—
this madness, this soft-hissing breath, makes sense.
Why can he not float on, in dark suspense,
and dream of life? Why did they rip him out?
He frowns at them—small gnomish frowns, all doubt—
and with an ancient mien, O sorrowful!,
re-closes eyes that saw in darkness null
ecstatic sights, exceeding beautiful.
Incommunicado
by Michael R. Burch
All I need to know of life I learned
in the slap of a moment,
as my outward eye turned
toward a gauntlet of overhanging lights
which coldly burned, hissing—
"There is no way back! . . ."
As the ironic bright blood
trickled down my face,
I watched strange albino creatures twisting
my flesh into tight knots of separation
all the while tediously insisting—
“He's doing just fine!"
Letdown
by Michael R. Burch
Life has not lived up to its first bright vision—
the light overhead fluorescing, revealing
no blessing—bestowing its glaring assessments
impersonally (and no doubt carefully metered).
That first hard
SLAP
demanded my attention. Defiantly rigid,
I screamed at their backs as they, laughingly,
ripped
my mother’s pale flesh from my unripened shell,
snapped it in two like a pea pod, then dropped
it somewhere—in a dustbin or a furnace, perhaps.
And that was my clue
that some deadly, perplexing, unknowable task
lay, inexplicable, ahead in the white arctic maze
of unopenable doors, in the antiseptic gloom . . .
Keywords/Tags: birth, umbilical cord, harsh, overhead, florescent, light,
slap, maze, gloom, earth, life, death
Numbered
by Michael R. Burch
He desired an object to crave;
she came, and she altared his affection.
He asked her for something to save—
a memento for his collection.
But all that she had was her need;
what she needed, he knew not to give.
They compromised on a thing gone to seed
to complete the half lives they would live.
One in two, they were less than complete.
Two plus one, in their huge fractious home
left them two, the new one in the street,
then he, by himself, one, alone.
He awoke past his prime to new dawn
with superfluous dew all around,
in ten thousands bright beads on his lawn,
and he knew that, at last, he had found
a number of things he had missed:
things shining and bright, unencumbered
by their price, or their place on a list.
Then with joy and despair he remembered
and longed for the lips he had kissed
when his days were still evenly numbered.
My Forty-Ninth Year
by Michael R. Burch
My forty-ninth year
and the dew remembers
how brightly it glistened
encrusting September, ...
one frozen September
when hawks ruled the sky
and death fell on wings
with a shrill, keening cry.
My forty-ninth year,
and still I recall
the weavings and windings
of childhood, of fall ...
of fall enigmatic,
resplendent, yet sere, ...
though vibrant the herald
of death drawing near.
My forty-ninth year
and now often I've thought on
the course of a lifetime,
the meaning of autumn,
the cycle of autumn
with winter to come,
of aging and death
and rebirth ... on and on.
Beast 666
by Michael R. Burch
“... what rough beast ... slouches toward Bethlehem to be born?”—W. B. Yeats
Brutality is a cross
wooden, blood-stained,
gas hissing, sibilant,
lungs gilled, deveined,
red flecks on a streaked glass pane,
jeers jubilant,
mocking.
Brutality is shocking—
tiny orifices torn,
impaled with hard lust,
the fetus unborn
tossed in a dust-
bin. The scarred skull shorn,
nails bloodied, tortured,
an old wound sutured
over, never healed.
Brutality, all its faces revealed,
is legion:
Death March, Trail of Tears, Inquisition . . .
always the same.
The Beast of the godless and of man’s “religion”
slouching toward Jerusalem:
horned, crowned, gibbering, drooling, insane.
Recursion
by Michael R. Burch
In a dream I saw boys lying
under banners gaily flying
and I heard their mothers sighing
from some dark distant shore.
For I saw their sons essaying
into fields—gleeful, braying—
their bright armaments displaying;
such manly oaths they swore!
From their playfields, boys returning
full of honor’s white-hot burning
and desire’s restless yearning
sired new kids for the corps.
In a dream I saw boys dying
under banners gaily lying
and I heard their mothers crying
from some dark distant shore.
Poet to poet
by Michael R. Burch
I have a dream
pebbles in a sparkling sand
of wondrous things.
I see children
variations of the same man
playing together.
Black and yellow, red and white,
stone and flesh, a host of colors
together at last.
I see a time
each small child another's cousin
when freedom shall ring.
I hear a song
sweeter than the sea sings
of many voices.
I hear a jubilation
respect and love are the gifts we must bring
shaking the land.
I have a message,
sea shells echo, the melody rings
the message of God.
I have a dream
all pebbles are merely smooth fragments of stone
of many things.
I live in hope
all children are merely small fragments of One
that this dream shall come true.
I have a dream . . .
but when you're gone, won't the dream have to end?
Oh, no, not as long as you dream my dream too!
Here, hold out your hand, let's make it come true.
i can feel it begin
Lovers and dreamers are poets too.
poets are lovers and dreamers too
Transplant
by Michael R. Burch
You float, unearthly angel, clad in flesh
as strange to us who briefly knew your flame
as laughter to disease. And yet you laugh.
Behind your smile, the sun forfeits its claim
to earth, and floats forever now the same—
light captured at its moment of least height.
You laugh here always, welcoming the night,
and, just a photograph, still you can claim
bright rapture: like an angel, not of flesh—
but something more, made less. Your humanness
this moment of release becomes a name
and something else—a radiance, a strange
brief presence near our hearts. How can we stand
and chain you here to this nocturnal land
of burgeoning gray shadows? Fly, begone.
I give you back your soul, forfeit all claim
to radiance, and welcome grief’s dark night
that crushes all the laughter from us. Light
in someone Else’s hand, and sing at ease
some song of brightsome mirth through dawn-lit trees
to welcome morning’s sun. O daughter! these
are eyes too weak for laughter; for love’s sight,
I welcome darkness, overcome with light.
Photographs
by Michael R. Burch
Here are the effects of a life
and they might tell us a tale
(if only we had time to listen)
of how each imperiled tear would glisten,
remembered as brightness in her eyes,
and how each dawn’s dramatic skies
could never match such pale azure.
Like dreams of her, these ghosts endure
and
they tell us a tale of impatient glory . . .
till a line appears—a trace of worry?—
or the wayward track of a wandering smile
which even now can charm, beguile?
We might find good cause to wonder
as we see her pause (to frown?, to ponder?):
what vexed her in her loveliness . . .
what weight, what crushing heaviness
turned her auburn hair a frazzled gray,
and stole her youth before her day?
We might ask ourselves: did Time devour
the passion with the ravaged flower?
But here and there a smile will bloom
to light the leaden, shadowed gloom
that always seems to linger near . . .
And here we find a single tear:
it shimmers like translucent dew
and tells us Anguish touched her too,
and did not spare her for her hair's
burnt copper, or her eyes' soft hue.
Published in Tucumcari Literary Review (the first poem in its issue)
Nucleotidings
by Michael R. Burch
“We will walk taller!” said Gupta,
sorta abrupta,
hand-in-hand with his mom,
eyeing the A-bomb.
“Who needs a mahatma
in the aftermath of NAFTA?
Now, that was a disaster,”
cried glib Punjab.
“After Y2k,
time will spin out of control anyway,”
flamed Vijay.
“My family is relatively heavy,
too big even for a pig-barn Chevy;
we need more space,”
spat What’s His Face.
“What does it matter,
dirge or mantra,”
sighed Serge.
“The world will wobble
in Hubble’s lens
till the tempest ends,”
wailed Mercedes.
“The world is going to hell in a bucket.
So fuck it and get outta my face!
We own this place!
Me and my friends got more guns than ISIS,
so what’s the crisis?”
cried Bubba Billy Joe Bob Puckett.
Pressure
by Michael R. Burch
Pressure is the plug of ice in the frozen hose,
the hiss of water within vinyl rigidly green and shining,
straining to writhe.
Pressure is the kettle’s lid ceaselessly tapping its tired dance,
the hot eye staring, its frantic issuance
unavailing.
Pressure is the bellow’s surge, the hard forged
metal shedding white heat, the beat of the clawed hammer
on cold anvil.
Pressure is a day’s work compressed into minutes,
frantic minute vessels constricted, straining and hissing,
unable to writhe,
the fingers drumming and tapping their tired dance,
eyes staring, cold and reptilian,
hooded and blind.
Pressure is the spirit sighing—reflective,
restrictive compression—an endless drumming—
the bellows’ echo before dying.
The cold eye—unblinking, staring.
The hot eye—sinking, uncaring.
Open Portal
by Michael R. Burch
“You already have zero privacy—get over it.”—Scott McNealy, CEO of Sun
Microsystems
While you’re at it—
don’t bother to wear clothes:
We all know what you’re concealing underneath.
Let the bathroom door swing open.
Let, O let Us peer in!
What you’re doing, We’ve determined, may be a sin!
When you visit your mother
and it’s time to brush your teeth,
it’s okay to openly spit.
And, while you’re at it,
go ahead—
take a long, noisy shit.
What the he|ll is your objection?
What on earth is all this fuss?
Just what is it, exactly, you would hide from US?
America's Riches
by Michael R. Burch
Balboa's dream
was bitter folly—
no El Dorado near, nor far,
though seas beguiled
and rivers smiled
from beds of gold and silver ore.
Drake retreated
rich with plunder
as Incan fled Conquistador.
Aztecs died
when Spaniards lied,
then slew them for an ingot more.
The pilgrims came
and died or lived
in fealty to an oath they swore,
and bought with pain
the precious grain
that made them rich though they were poor.
Apache blood,
Comanche tears
were shed, and still they went to war;
they fought to be
unbowed and free—
such were Her riches, and still are.
Published by Poetic Reflections and Tucumcari Literary Review
Keywords/Tags: America, history, pilgrims, Native Americans, freedom, land of
the free, war, hypocrisy
Birthday Poem to Myself
by Michael R. Burch
LORD, be no longer this Distant Presence,
Star-Afar, Righteous-Anonymous,
but come! Come live among us;
come dwell again,
happy child among men—
men rejoicing to have known you
in the familiar manger’s cool
sweet light scent of unburdened hay.
Teach us again to be light that way,
with a chorus of angelic songs lessoned above.
Be to us again that sweet birth of Love
in the only way men can truly understand.
Do not frown darkening down upon an unrighteous land
planning fierce Retributions we require, and deserve,
but remember the child you were; believe
in the child I was, alike to you in innocence
a little while, all sweetness, and helpless without pretense.
Let us be little children again, magical in your sight.
Grant me this boon! Is it not my birthright—
just to know you, as you truly were, and are?
Come, be my friend. Help me understand and regain Hope’s long-departed star!
Keywords/Tags: Lord, God, birthday, happy child, angelic songs, birth, love,
innocence, sweet, gentle, meek, mild, manger, hay, hope, star, Christmas,
Bethlehem, Jesus, Mary, Joseph, shepherds, wise men
Shadowselves
by Michael R. Burch
In our hearts, knowing
fewer days—and milder—beckon,
how now are we to measure
that wick by which we reckon
the time we have remaining?
We are shadows
spawned by a blue spurt of candlelight.
Darkly, we watch ourselves flicker.
Where shall we go when the flame burns less bright?
When chill night steals our vigor?
Why are we less than ourselves? We are shadows.
Where is the fire of youth? We grow cold.
Why does our future loom dark? We are old.
Why do we shiver?
In our hearts, seeing
fewer days—and briefer—breaking,
now, even more, we treasure
the brittle leaf-like aching
that tells us we are living.
Litany
by Michael R. Burch
Will you take me with all my blemishes?
I will take you with all your blemishes, and show you mine. We’ll suck wine out
of cardboard boxes till our teeth and lips shine red like greedily gorging
foxes’. We’ll swill our fill, then have sex for hours till our neglected guts at
last rebel. At two in the morning, we’ll eat cold Krystals out of greasy
cardboard boxes, and we will be in love.
And that’s it?
That’s it.
And can I go out with my friends and drink until dawn?
You can go out with your friends and drink until dawn, come home
lipstick-collared, pass out by the pool, or stay at the bar till the new moon
sets, because we will be in love, and in love there is no room for remorse or
regret. There is no right, no wrong, and no mistrust, only limb-numbing sex,
hot-pistoning lust.
And that’s all?
That’s all.
That’s great!
But wait . . .
Wait? Why? What’s wrong?
I want to have your children.
Children?
Well, perhaps just one.
And what will happen when we have children?
The most incredible things will happen—you’ll change, stop acting so strangely,
start paying more attention to me, start paying your bills on time, grow up and
get rid of your horrible friends, and never come home at a-quarter-to-three
drunk from a night of swilling, smelling like a lovesick skunk, stop acting so
lewdly, start working incessantly so that we can afford a new house which I will
decorate lavishly and then grow tired of in a year or two or three, start
growing a paunch so that no other woman would ever have you, stop acting so
boorishly, start growing a beard because you’re too tired to shave, or too
afraid, thinking you might slit your worthless wrinkled throat . . .
Mending Glass
by Michael R. Burch
In the cobwebbed house—
lost in shadows
by the jagged mirror,
in the intricate silver face
cracked ten thousand times,
silently he watches,
and in the twisted light
sometimes he catches there
a familiar glimpse of revealing lace,
white stockings and garters,
a pale face pressed indiscreetly near
with a predatory leer,
the sheer flash of nylon,
an embrace, or a sharp slap,
. . . a sudden lurch of terror.
He finds bright slivers
—the hard sharp brittle shards,
the silver jags of memory
starkly impressed there—
and mends his error.
Life Sentence
by Michael R. Burch
. . . I swim, my Daddy’s princess, newly crowned,
toward a gurgly Maelstrom . . . if I drown
will Mommy stick the Toilet Plunger down
to suck me up? . . . She sits upon Her Throne,
Imperious (denying we were one),
and gazes down and whispers “precious son” . . .
. . . the Plunger worked; i’m two, and, if not blessed,
still Mommy got the Worst Stuff off Her Chest;
a Vacuum Pump, They say, will do the rest . . .
. . . i’m three; yay! whee! oh good! it’s time to play!
(oh no, I think there’s Others on the way;
i’d better pray) . . .
. . . i’m four; at night I hear the Banging Door;
She screams; sometimes there’s Puddles on the Floor;
She wants to kill us, or, She wants some More . . .
. . . it’s great to be alive if you are five (unless you’re me);
my Mommy says: “you’re WRONG! don’t disagree!
don’t make this HURT ME!” . . .
. . . i’m six; They say i’m tall, yet Time grows Short;
we have a thriving Family; Abort!;
a tadpole’s ripping Mommy’s Room apart . . .
. . . i’m seven; i’m in heaven; it feels strange;
I saw my life go gurgling down the Drain;
another Noah built a Mighty Ark;
God smiled, appeased, a Rainbow split the Dark;
. . . I saw Bright Colors also, when She slammed
my head against the Tub, and then I swam
toward the magic tunnel . . . last, I heard . . .
is that She feels Weird.
beMused
by Michael R. Burch
Perhaps at three
you'll come to tea,
to have a cuppa here?
You'll just stop in
to sip dry gin?
I only have a beer.
To name the "greats":
Pope, Dryden, mates?
The whole world knows their names.
Discuss the "songs"
of Emerson?
But these are children's games.
Give me rhythms
wild as Dylan's!
Give me Bobbie Burns!
Give me Psalms,
or Hopkins’ poems,
Hart Crane’s, if he returns!
Or Langston railing!
Blake assailing!
Few others I desire.
Or go away,
yes, leave today:
your tepid poets tire.
Downdraft
by Michael R. Burch
for Dylan Thomas
We feel rather than understand what he meant
as he reveals a shattered firmament
which before him never existed.
Here, there are no images gnarled and twisted
out of too many words,
but only flocks of white birds
wheeling and flying.
Here, as Time spins, reeling and dying,
the voice of a last gull
or perhaps some spirit no longer whole,
echoes its lonely madrigal
and we feel its strange pull
on the astonished soul.
O My Prodigal!
The vents of the sky, ripped asunder,
echo this wild, primal thunder—
now dying into undulations of vanishing wings . . .
and this voice which in haggard bleak rapture still somehow downward sings.
1-800-HOT-LINE
by Michael R. Burch
“I don’t believe in psychics,” he said, “so convince me.”
When you were a child, the earth was a joy,
the sun a bright plaything, the moon a lit toy.
Now life’s small distractions irk, frazzle, annoy.
When the crooked finger beckons, scythe-talons destroy.
“You’ll have to do better than that, to convince me.”
As you grew older, bright things lost their meaning.
You invested your hours in commodities, leaning
to things easily fleeced, to the convenient gleaning.
I see a pittance of dirt—untended, demeaning.
“Everyone knows that!” he said, “so convince me.”
Your first and last wives traded in golden bands
to escape the abuses of your cruel hands.
Where unwatered blooms litter a small plot of land,
the two come together, waving fans.
“Everyone knows that. Convince
me.”
As your father left you, you left those you brought
to the doorstep of life as an afterthought.
Two sons and a daughter tap shoes, undistraught.
Their tears are contrived, their condolences bought.
“Everyone knows that. CONVINCE
me.”
A moment, an instant ... a life flashes by,
a tunnel appears, but not to the sky.
There is brightness, such brightness it sears the eye.
When a life grows too dull, it seems better to die.
“I could have told you that!” he shrieked, “I think I’ll kill myself!”
Originally published by Penny Dreadful
At the Natchez Trace
by Michael R. Burch
for Beth
I.
Solitude surrounds me
though nearby laughter sounds;
around me mingle men who think
to drink their demons down,
in rounds.
Beside me stands a woman,
a stanza in the song
that plays so low and fluting
and bids me sing along.
Beside me stands a woman
whose eyes reveal her soul,
whose cheeks are soft as eiderdown,
whose hips and breasts are full.
Beside me stands a woman
who scarcely knows my name;
but I would have her know my heart
if only I knew where to start.
II.
Not every man is as he seems;
not all are prone to poems and dreams.
Not every man would take the time
to meter out his heart in rhyme.
But I am not as other men—
my heart is sentenced to this pen.
III.
Men speak of their "ambition"
but they only know its name . . .
I never say the word aloud,
but I have felt the Flame.
IV.
Now, standing here, I do not dare
to let her know that I might care;
I never learned the lines to use;
I never worked the wolves' bold ruse.
But if she looks my way again,
perhaps I will, if only then.
V.
How can a man have come so far
in searching after every star,
and yet today,
though years away,
look back upon the winding way,
and see himself as he was then,
a child of eight or nine or ten,
and not know more?
VI.
My life is not empty; I have my desire . . .
I write in a moment that few men can know,
when my nerves are on fire
and my heart does not tire
though it pounds at my breast—
wrenching blow after blow.
VII.
And in all I attempted, I also succeeded;
few men have more talent to do what I do.
But in one respect, I stand now defeated;
In love I could never make magic come true.
VIII.
If I had been born to be handsome and charming,
then love might have come to me easily as well.
But if had that been, then would I have written?
If not, I'd remain; damn that demon to hell!
IX.
Beside me stands a woman,
but others look her way
and in their eyes are eagerness . . .
for passion and a wild caress?
But who am I to say?
Beside me stands a woman;
she conjures up the night
and wraps itself around her
till others flit about her
like moths drawn to firelight.
X.
And I, myself, am just as they,
wondering when the light might fade,
yet knowing should it not dim soon
that I might fall and be consumed.
XI.
I write from despair
in the silence of morning
for want of a prayer
and the need of the mourning.
And loneliness grips my heart like a vise;
my anguish is harsher and colder than ice.
But poetry can bring my heart healing
and deaden the pain, or lessen the feeling.
And so I must write till at last sleep has called me
and hope at that moment my pen has not failed me.
XII.
Beside me stands a woman,
a mystery to me.
I long to hold her in my arms;
I also long to flee.
Beside me stands a woman;
how many has she known
more handsome, charming,
chic, alarming?
I hope I never know.
Beside me stands a woman;
how many has she known
who ever wrote her such a poem?
I hope not even one.
Plastic Art or Night Stand
by Michael R. Burch
Disclaimer: This is a poem about artificial poetry, not love dolls! The
victim is the Muse.
We never questioned why “love” seemed less real
the more we touched her, and forgot her face.
Absorbed in molestation’s sticky feel,
we failed to see her staring into space,
her doll-like features frozen in a smile.
She held us in her marionette’s embrace,
her plastic flesh grown wet and slick and vile.
We groaned to feel our urgent fingers trace
her undemanding body. All the while,
she lay and gaily bore her brief disgrace.
We loved her echoed passion’s squeaky air,
her tongueless kisses’ artificial taste,
the way she matched, then raised our reckless pace,
the heart that seemed to pound, but was not there.
Ann Rutledge was apparently Abraham Lincoln’s first love interest.
Unfortunately, she was engaged to another man when they met, then died with
typhoid fever at age 22. According to a friend, Isaac Cogdal, when asked if he
had loved her, Lincoln replied: “It is true—true indeed I did. I loved the woman
dearly and soundly: She was a handsome girl—would have made a good, loving wife …
I did honestly and truly love the girl and think often, often of her now.”
Winter Thoughts of Ann Rutledge
by Michael R. Burch
Winter was not easy,
nor would the spring return.
I knew you by your absence,
as men are wont to burn
with strange indwelling fire —
such longings you inspire!
But winter was not easy,
nor would the sun relent
from sculpting virgin images
and how could I repent?
I left quaint offerings in the snow,
more maiden than I care to know.
Ann Rutledge’s Irregular Quilt
by Michael R. Burch
based on “Lincoln the Unknown” by Dale Carnegie
I.
Her fingers “plied the needle” with “unusual swiftness and art”
till Abe knelt down beside her: then her demoralized heart
set Eros’s dart a-quiver; thus a crazy quilt emerged:
strange stitches all a-kilter, all patterns lost.
(Her host
kept her vicarious laughter barely submerged.)
II.
Years later she’d show off the quilt with its uncertain stitches
as evidence love undermines men’s plans and women’s strictures
(and a plethora of scriptures.)
III.
But O the sacred tenderness Ann’s reckless stitch contains
and all the world’s felicities: rich cloth, for love’s fine gains,
for sweethearts’ tremulous fingers and their bright, uncertain vows
and all love’s blithe, erratic hopes (like now’s).
IV.
Years later on a pilgrimage, by tenderness obsessed,
Dale Carnegie, drawn to her grave, found weeds in her place of rest
and mowed them back, revealing the spot
of the Railsplitter’s joy and grief
(and his hope and his disbelief).
V.
For such is the tenderness of love, and such are its disappointments.
Love is a book of rhapsodic poems. Love is an grab bag of ointments.
Love is the finger poised, the smile, the Question — perhaps the Answer?
Love is the pain of betrayal, the two left feet of the dancer.
VI.
There were ladies of ill repute in his past. Or so he thought. Was it true?
And yet he loved them, Ann (sweet Ann!), as tenderly as he loved you.
Caveat Spender
by Michael R. Burch
It’s better not to speculate
"continually" on who is great.
Though relentless awe’s
a Célèbre Cause,
please reserve some time for the contemplation
of the perils of
Exaggeration.
Caveat Spender II
by Michael R. Burch
It’s better not to speculate
“continually” on who is great:
it makes the mediocre fuss
(and others less than great, like us).
Caveat Spender III
by Michael R. Burch
It’s better not to speculate
“continually” on who is great:
it makes the language purists fuss,
and poets less than great, like us.
Caveat Spender IV
by Michael R. Burch
It’s better not to speculate
“continually” on who is great:
or those your musings aggravate
will say your poems exaggerate
and that your logic’s second rate.
Caveat Spender V
by Michael R. Burch
It’s better not to speculate
“continually” on who is great:
this leaves no time for opuses
and makes you sound pretentious; thus,
because your poem’s so serious,
we find it quite ridiculous.
I Learned Too Late
by Michael R. Burch
“Show, don’t tell!”
I learned too late that poetry has rules,
although they may be rules for greater fools.
In any case, by dodging rules and schools,
I avoided useless duels.
I learned too late that sentiment is bad—
that Blake and Keats and Plath had all been had.
In any case, by following my heart,
I learned to walk apart.
I learned too late that “telling” is a crime.
Did Shakespeare know? Is Milton doing time?
In any case, by telling, I admit:
I think such rules are shit.
Bowery Boys
by Michael R. Burch
Male bowerbirds have learned
that much respect is earned
when optical illusions
inspire wild delusions.
And so they work for hours
to line their manly bowers
with stones arranged by size
to awe and mesmerize.
It’d take a great detective
to grok the false perspective
they use to lure in cuties
to smooch and fill with cooties.
Like human politicians,
they love impressive fictions
as they lie in their randy causes
with props like the Wizard of Oz’s.
Geode
by Michael R. Burch
Love—less than eternal, not quite true—
is still the best emotion man can muster.
Through folds of peeling rind—rough, scarred, crude-skinned—
she shines, all limpid brightness, coolly pale.
Crude-skinned though she may seem, still, brilliant-hearted,
in her uneven fissures, glistening, glows
that pale rose: like a flame, yet strangely brittle;
dew-lustrous pearl streaks gaping mossback shell.
And yet, despite the raggedness of her luster,
as she hints and shimmers, touching those who see,
she is not without her uses or her meanings;
in all her avid gleamings, Love bestows
the rare spark of her beauty to her bearer,
till nothing flung to earth seems half so fair.
Eras Poetica II
by Michael R. Burch
“... poetry makes nothing happen ...”—W. H. Auden
Poetry is the art of words: beautiful words.
So that we who are destitute of all other beauties exist
in worlds of our own making; where, if we persist,
the unicorns gather in phantomlike herds,
whinnying to see us; where dark flocks of birds,
hooting, screeching and cawing, all madly insist:
“We too are wild migrants lost in this pale mist
which strangeness allows us, which beauty affords!”
We stormproof our windows with duct tape and boards.
We stockpile provisions. We cull the small list
of possessions worth keeping. Our listless lips, kissed,
mouth pointless enigmas. Time’s bare pantry hoards
dust motes of past grandeurs. Yet here Mars’s sword
lies shattered on the anvil of the enduring Word.
a peom in supsport of a dsylexci peot
by michael r. burch, allso a peot
(supsport = to be red at tea time whilts wathcing a ball gaem)
for ken d williams
pay no hede to the saynayers,
the asburd wordslayers,
the splayers and sprayers,
the heartless diecriers,
the liers!
what the hell due ur criticks no?
let them bellow below!
ur every peom has a good haert
and culd allso seerv as an ichart!
There are a number of puns, including ur (my term for
original/ancient/first), no/know, pay/due, the critic as both absurd and an
as(s)-burd who is he(artless), and the poet as the (seer)v of an (i)-chart for
all. Here is an encoded version:
(pay) k(no)w hede to the say(nay)ers,
the as(s)bird word(s*)layers,
the s*(players) and s*(prayers),
the he(artless) (die)(cry)ers,
the (lie)rs!
what the hell (due) ur (cry)(ticks) k(no)w?
let them (be)l(low) below!
(ur) every peom has a good haert
and culd (all)so (seer)ve as an (i)chart!
Ode to Postmodernism, or, Bury Me at St. Edmonds!
by Michael R. Burch
“Bury St. Edmonds—Amid the squirrels, pigeons, flowers and manicured
lawns of Abbey Gardens, one can plug a modem into a park bench and check e-mail,
download files or surf the Web, absolutely free.”—Tennessean News Service. (The
bench was erected free of charge by the British division of MSN, after a local
bureaucrat wrote a contest-winning ode of sorts to MSN.)
Our post-modernist-equipped park bench will let
you browse the World Wide Web, the Internet,
commune with nature, interact with hackers,
design a virus, feed brown bitterns crackers.
Discretely-wired phone lines lead to plugs—
four ports we swept last night for nasty bugs,
so your privacy’s assured (a threesome’s fine)
while invited friends can scan the party line:
for Internet alerts on new positions,
the randier exploits of politicians,
exotic birds on web cams (DO NOT FEED!).
The cybersex is great, it’s guaranteed
to leave you breathless—flushed, free of disease
and malware viruses. Enjoy the trees,
the birds, the bench—this product of Our pen.
We won in with an ode to MSN.
The Insurrection of Sighs
by Michael R. Burch
She was my Shiloh, my Gethsemane;
she nestled my head to her breast
and breathed upon my insensate lips
the fierce benedictions of her ubiquitous sighs,
the veiled allegations of her disconsolate tears . . .
Many years I abided the agile assaults of her flesh . . .
She loved me the most when I was most sorely pressed;
she undressed with delight for her ministrations
when all I needed was a good night’s rest . . .
She anointed my lips with her soft lips’ dews;
the insurrection of sighs left me fallen, distressed, at her elegant heel.
I felt the hard iron, the cold steel, in her words and I knew:
the terrible arrow showed through my conscripted flesh.
The sun in retreat left her victor and all was Night.
The last peal of surrender went sinking and dying—unheard.
Bio: Michael R. Burch is an American poet who lives in Nashville, Tennessee with his wife Beth, their son Jeremy, and three outrageously spoiled puppies. His poems, epigrams, translations, essays, articles, reviews,
short stories and letters have appeared more than 6,000 times in publications which include TIME, USA Today, The Hindu, BBC Radio 3, CNN.com, Daily Kos, The Washington Post,
Writer's Digest—The Year's Best Writing and hundreds of literary journals, websites and blogs. Mike Burch is also the founder and editor-in-chief
of The HyperTexts, a former columnist for the Nashville City Paper and, according to Google's
rankings, a relevant online publisher of poems about the Holocaust, Hiroshima, the Trail of Tears,
Gaza and the Palestinian Nakba. He has two published books, Violets for Beth (White Violet Press, 2012) and
O, Terrible Angel (Ancient Cypress Press, 2013). A third book, Auschwitz Rose, is still in the chute but long delayed. Burch's
poetry has been translated into fourteen languages, taught in high schools and
colleges around the globe, and set to music by twelve composers. His poem "First They Came for the Muslims" has been adopted by
Amnesty International for its Words That Burn anthology, a free online resource for students and educators,
and the poem has returned a staggering 691,000 Google results. Burch is on the
board of the Indian literary journal Borderless Journal and in the past served as editor of International Poetry and Translations for the
American literary journal
Better Than Starbucks.
For an expanded bio, circum vitae and career timeline of the author, please click here: Michael R. Burch Expanded Bio.
Michael R. Burch Related Pages:
Early Poems,
Rejection Slips,
Epigrams and Quotes,
Sonnets by Michael R. Burch,
Free Love Poems by Michael R. Burch,
Romantic Poems by Michael R. Burch,
Poems for Children by Michael R. Burch
Michael R. Burch poems about:
Ireland,
Time, Aging, Loss and Death
The HyperTexts