Literary as hell.

Tag: poetry (Page 17 of 21)

“How to Write Poetry” by Martin Willitts Jr

How to Write Poetry

 

 

They will never understand you,

although you speak clearly

as light through leaf-break

splitting shadows in a dense forest.

You will be misunderstood,

because to them you are a river

evading a dam

to keep under control

for they will never comprehend wildness

and they will never try.

They will force what they cannot

into confines, but you are air

leaking in cracks, whispering

your difference. They are impatient.

They will go past gentle persuasion,

right to strong arm tactics.

It won’t work. You are light in a dark room.

 

Pretend to listen to them.

It appeases them. Make it believable.

Tell them, yes, yes, I agree;

when you don’t. Take what they say,

weigh the truth or lies of it.

If it seems almost right, consider slowly,

is it almost what you need

because it never will be one hundred percent.

If it feels like a half-truth or outright lie,

and it will, then consider what they gain,

what you lose, and the gap between.

Is it huge? They never expect thinking;

they only know forced cooperation.

They think everyone thinks like them.

They only know public relations

and blind obedience.

Become whitecaps stirring in a storm.

 

Continue reading

Poetry by Lucas Campbell

Qi

 

Lavender silk rains from above,

but there’s no longer a God to worship.

 

Instead we decide to worship the sky.

Sifting through purple waves, we find stars waiting.

 

I think they are patient mothers.

You think they are lanterns lighting our way.

 

We both agree that we can hear them

mourning. They are only meant to be felt

like dry ice filled with dying matter.

The separation between stars above

 

and ground below is little more than wind.

The sky sends a phoenix and a dragon

for us to behold. The emptiness swallows both

and spits out a new color that is sharp

at the edges, but burning at the center.

 

Shifting under our feet, the world

molts and we accept it. Cracked dirt gives way

to rising lakes. We try to name creation,

but only your tongue moves.

I am silent.

 

 

 

A Sage of Dreams

-to Li Bai

 

 

I love wine more than myself.

A red river like blood runs

through me as it ran through

you. When my mind fills

with the metal of war, I can empty it

 

into a cup. I don’t much care

for sitting with flowers and trees

on nights like this, but there’s comfort

in the moon. The moon’s light

embraces the dark and creates

 

a shadow. I turn towards it and imagine

that you’ve come to drink. I raise my glass

to you, and we make a toast to the moon.

There is no singing or dancing, though.

Spring has vanished and taken you

 

and your joy. I’m too drunk to care

that you’ve left me. The soft grass invites

my eyes to close, but I try to look through

blurred vision to find your River of Stars

floating in a sea of pearls. Instead, I see

 

the moon and her light flood the sky

and merge with the night water below.

Now I understand why you grasped

for the moon with your arms.

In her light there is an endless sleep.

 

 

Massacre

 

 

Can you tell me God’s name? I think I’ve forgotten it in the grass. Monsters take out their knives to carve out shrieking chests. I dream that each blade mourns for Sơn Mỹ.

 

“I’m alive,” says the child.

 

All of her ancestors were on the wrong end of a gun. She looks into my face, but I don’t demand anything. I’m tired of everyone preaching about freedom. It’d be better to go look at the headstones of Kennedy, Johnson, Nixon, and some 500 villagers.

 

“Who are you?” she asks me.

 

My mouth won’t answer sweetly; instead I talk with my eyes. I try to say I am from a place of trees, passion, and fire. I think those are related somehow, but I can’t put it together. The sunlight in her eyes fades. My words can’t seem to stop the clouds from coming.

 

“You’ll be fine,” I say.

 

I look for some salvation, but there is no one left to ask. I turn to America, to God, to the masses. They all turn away from me, so I turn to the jungle instead. The trees offer me the compassion of fruit, but leave none for the girl. All that’s left is heat beating down on my shoulders and mud sticking to my boots.

 

 

The Tet Offensive

 

 

The vase went missing

years ago, during the hunting

season. My uncle swore it was lost

in the Gulf of Tonkin.

I think he lost it in Saigon,

but I let his unrelenting waves

beat against my side.

His furniture fled

from the mermaids

as they rode in on green tides

and into our beige walls, leaving

a taste of ash in my mouth.

The family portraits waited

patiently to be taken

by these thieves. Instead,

the paint peeled into sirens

and waited for something new

to happen; maybe like the extinction

of the dinosaur.

I’ve been thinking,

they should have bought

better life insurance before the war.

 

 

Supernova

 

 

When the solar flares woke up,

they stuffed our lungs full of soot

and exiles. Our skin sizzled,

 

or maybe that was just the streets

trying to stop roses from blossoming.

Now those streets stretch on

 

and on and on. Everyone calls it space.

I don’t know if it’s empty enough

for that kind of name.

 

I’m pretty blue,

but I hear that’s the color of heaven.

 

I try to fit my words into infinity,

but I hear that science killed god.

 

I’m not sure what that means,

but I think I’m going to fly out to Mars

where no one gets lost in all-consuming blazes.

 

Everyone calls it the End

of Days, but I don’t know

any myths that end like this.

 

Instead I’ll trust my eyes, filling up

with crimson dust and an old sky

twisted into a slightly new frame.

 

 

 

Lucas Campbell is a poet whose greatest goal is to become a professional vagabond. He currently lives in Ohio, but will always have California on his mind. While he writes about a variety of topics, he has a special place in his heart for madness, wine, and myth.

Trip by Carmel L. Morse

Trip

Carmel L. Morse

 

Lark, my artist friend,

my compatriot,

wakes me every Sunday morning,

 

I’m crashing, dear God,
please talk to me.
The flowers are vicious.
Eyes crawl from foreheads
and dark cloaks in corners
are dancing to smother me.
I am dying. Help me.

 

I spend an hour

on the phone

calming her.

 

Imagine a single rose,
swimming in a crystal vase –
petals open in slow motion
like in a movie
and it smells like June,
your birth month.

 

Find a mirror,
look deeply
your green eyes shimmer
like a proud cat
and there are only two,
a pair.
That is all you require.
Pretend that your eyes
are face cards,
two-eyed jacks
In a royal flush..
You can hold them
in your hands.
They are not exchangeable.

 

Walk to your closet,
remove your black cape
with the paisley embroidery,
put it on.
The swirls in the design
create a maze
that takes you on a journey
but the paths always
circle back to you.

 

You are the center
of your universe
that nothing can steal.

 

Your breathing has slowed.
There. There.
You have returned.

 

And Lark promises

she will never again

touch mescaline. Never.

 

But next Sunday

the phone will ring.

 

 

Carmel L. Morse has been writing creatively since she was in her teens. She received a PhD from the University of Nebraska and wrote a creative dissertation of her poetry. She has previously been published in The Connecticut Review, Darkling, Pudding Magazine, and The Great American Poetry Show, among others. She is currently an assistant professor in general studies at the University of Northwestern Ohio in Lima, Ohio.

“You Descend Like Rain” and “At the Observatory” from Love Poems by Charles Bane

This post concludes the Furious Gazelle’s serialization of Charles Bane’s new book of poetry, Love Poems. You can find the rest of Love Poems here.

You Descend Like Rain

You descend like rain
on fleece and I am
a second hand circling
nights around your
face. Bowed in sleep
you form in clusters
past the window ledge
and burrowing deeper in
the sheets set fires.

At the Observatory

At the observatory, I can
watch all the water mills
of galaxies. I deny every
injury in me and long to see
not backward but to forward
cliffs. I think the consequence
of you is written into the structures
we cannot know but by candles
in our room. Do you unfurl for
me? No, rather it is starry in your
eyes naturally and I want you
to order all the murdering
unstained from paper histories.
I deny sacredness
not born of your womb,
your hair the thousand
gestures of lovingness that
fall in gravity.

Charles Bane, Jr. is the American author of The Chapbook (Curbside Splendor, 2011) and Love Poems (Kelsay Books, 2014). His work was described by the Huffington Post as “not only standing on the shoulders of giants, but shrinking them.” A writing contributor for The Gutenberg Project, he is a current nominee as Poet Laureate of Florida.

“Undying Light” from Love Poems by Charles Bane

The Furious Gazelle is continuing to serialize Charles Bane’s new book of poetry, Love Poems. You can find more of his poetry here.

Undying Light

Undying light, undying
words that carry into
times to come the
power of undying such as
we, who loved and
fell. Spilling like
wine from the largest
skins, or clouds holding
seas. Beloved, all the
surface wears away the
stones of fear that stand
in the way of running
streams and the cupped
hands of explorers drink
cold and thirsty when
they kneel. Only mystics
see, but the air is charged
and forked and I have always
known what is written in
me is you, again and
again, repeatedly.

Charles Bane, Jr. is the American author of The Chapbook (Curbside Splendor, 2011) and Love Poems (Kelsay Books, 2014). His work was described by the Huffington Post as “not only standing on the shoulders of giants, but shrinking them.” A writing contributor for The Gutenberg Project, he is a current nominee as Poet Laureate of Florida.

Poetry by Caitlin Johnson

Elizabeth R.

A redhead. A queen. A woman.

Yes, she is me, and no:

no one’s woman, someone’s queen, sometime redhead.

Power(ful)(less)(hungry).

Every day a society to conquer, a territory to annex.

Gold in my eyes, on my fingers, in my coffers.

 

Storm Season

Summer nights so hot even the rain

can’t cool us down, & steam radiates

from the asphalt, like the fog

we get in winter, yet more sinister

somehow, billowing the way it does.

All we want is bare feet, but we

can’t risk burning our toes. I don’t know

how the toads survive it, their tiny

bumpy bodies absorbing what the sun

left behind before the clouds rolled in.

Thunder keeps rumbling.

 

Susannah, I’m Sorry

I couldn’t be your mother.

The specter of you follows me

through unexpected doorways,

like when I look at the man I wanted

as your father & am tempted to say,

“Go ahead. Knock me up.”

But I promise it’s better for you

that you’ll never be born

or incubated

or even conceived.

You see, Susannah, I wouldn’t be able

to love you, because I would be too afraid

a mysterious impulse would float

into my brain, begging me to make a ghost

out of your tiny, breakable, pale-skinned body.

At best, I’d have to abandon you,

leaving you to be raised by anyone

other than me.

At worst–well, let’s just say

you and I would be buried together.

Susannah, it’s not your fault.

I want you & your sister Dominique.

I do. But what I don’t want

is the haunted look I’ll see in my own eyes

in the mirror, the face of a woman

who still feels like a girl & is just selfish

enough to contemplate disappearing

so I can go live the life I planned,

& then I’ll be an apparition of the mother

you deserve: wandering the roads at night,

asking to be spirited away

to escape your midnight howls.

 

Caitlin Johnson holds a Master of Fine Arts in Creative Writing from Lesley University. Her work has appeared in Boston Poetry Magazine, Clare Literary Journal, Eternal Haunted Summer, Fortunates, Momoware, Pembroke Magazine, Vagina: The Zine, and What the Fiction, among other outlets, and is forthcoming in Baseline Literary Arts Journal and Stoneboat Literary Journal. She can be found online at cateismilesaway.net.

 

Poetry by Matthew Konkel

So This is What I’ll Do

 

I’m gonna turn that switch off.
Turn that valve and make sure that’s off too.
Then I’ll unscrew this thing over here. (I don’t even know what that is.)
Then I can disassemble that.
Take that thing apart piece by piece.
Just completely dismantle everything that’s around me:

My TV.
My furniture (including the bed and dressers.)
That lamp.
The refrigerator.
Then the walls of my house too. Everything.

Get everything down to its barest pieces until there’s nothing left to take apart.
And once that’s done I can move on to my car and the neighbor’s car and his house and the house next door and the house and car after that and so on. However long that takes it takes.
And once that’s done I’ll start on my toes— take those off one by one.
And then I’ll take out each shin bone. (They’ll make good doorstops if nothing else.)
Remove my feet and disconnect my legs from my hips.
Detach the knees and throw them in a corner somewhere. (Or somewhere where there used to be a corner.)
Twist off my torso and chest and bend away every rib like plastic branches of plastic trees.
Remove every tooth and strand of hair and pluck out each eye and tear away each ear.
And then finally…
I’ll plant whatever is left in the ground.
Cover it up with dirt packed nice and tight and hope that maybe something grows there.
Something different.
Because sometimes it’s good just to start over.
Start again from absolute peaceful desolate scratch.

seminal incident #3

it was early 1981.
alas
the change from the
previous year
had not fully
integrated into my eleven
year old consciousness and I
I still believed it was 1980. so much so
that when
I discovered that
newspaper in
art class underneath our
rudimentary
watercolor paintings
with the
current year I was
convinced with
indisputable certitude that
a genuine
document from the
future
had been delivered
to my hands.
breathless,
I turned to my
classmate, “Jason, look at the date
on this newspaper. 1981.”
“So,” he responded derisively.
“It’s 1980,” I said in the voice of
a fraudulent scholar.
even before he could
contradict me with
words of simple fact, the
true date
finally became realized
in my
brain and
I shrunk up like plastic in a flame.

You Can’t Avoid That Swerve in the Road

The willow in the yard where I grew up is no longer there.
And I am no longer there.
My brothers are no longer there.
The willow was tired of us leaving and got out before anyone else did.

There’s an unopened package from a guy named Schrödinger.

That swerve in the road is there whether you continue to move or not.
It’s unavoidable— like the smell of new painted walls.

There’s a comic strip character walking the streets.
He doesn’t know he’s left his frames.

A child from China digs a hole in his yard trying to reach America.
He’s got one match in the rain.
One chance to get it right.

The devil lurks somewhere in the dark sharpening his pencils.
He’s composing a complaint letter to the cereal company that sold him a stale box.

The phone rings, caller: unknown.

 

Matthew is a teaching-artist, playwright and independent filmmaker from Milwaukee. His latest film is titled Neptune (www.lasthouseproductions.com). You can find his fiction and poetry at the Newer York, Paragraph Planet, Postcard Shorts, Linguistic Erosion, The Eunoia Review, Danse Macabre and Streetcake Magazine. His plays have been produced nationally and internationally by theater companies including Edmonds Driftwood Players, Pink Banana Theatre, Cupcake Lady Productions and Screaming Media Gi60. Pennster Media recently published his short play Walk, Don’t Walk. www.matthewkonkel.com

“As Einstein Pedaled” … Excerpt from Love Poems

The Furious Gazelle is continuing to serialize Charles Bane’s new book of poetry, Love Poems. You can find more of his poetry here.

As Einstein Pedaled

As Einstein pedaled his
bicycle in wide and wider arcs
and laughed among the multitudes
of pi, did he sense what
you and I discovered too,
that there is a great unsaid
and you alone with me walk the wildness
of its storms? Its circumference is garlanded
around your head and granaries
of unborn stars are sifted through the
hands, and my love, I fall.
I fall.
I fall unbordered and
unwound as time
and surrounding like snow.

Charles Bane, Jr. is the American author of The Chapbook (Curbside Splendor, 2011) and Love Poems (Kelsay Books, 2014). His work was described by the Huffington Post as “not only standing on the shoulders of giants, but shrinking them.” A writing contributor for The Gutenberg Project, he is a current nominee as Poet Laureate of Florida.

“For Jane Kenyon” … Excerpt from Love Poems

The Furious Gazelle is continuing to serialize Charles Bane’s new book of poetry, Love Poems. You can find more of his poetry here.

For Jane Kenyon

The hollow is
filled with every
kind of traveling
bird that lowers its
wings to drink, and
I rage beside the flock
and remember I closed your eyes.
It is difficult to be snared
in warmth and cold
and pressed inside
a page. Unread times
are so far away; with
every taste that holds
me, my lips close
on yours.

Charles Bane, Jr. is the American author of The Chapbook ( Curbside Splendor, 2011) and Love Poems ( Kelsay Books, 2014). His work was described by the Huffington Post as “not only standing on the shoulders of giants, but shrinking them.” A writing contributor for The Gutenberg Project, he is a current nominee as Poet Laureate of Florida.

“How to Get a Jewish Divorce,” by Nina Bennett

How to Get a Jewish Divorce

 

Don’t live in the same house with your wife

after you’ve decided to divorce her. See your rabbi,

find a scribe. Observe the sun, divorce

proceedings must take place during daylight.

Do not let the scribe use a form, or any paper

that can be erased, it should be parchment.

Choose two righteous men as witnesses.

 

Your wife removes all rings, holds cupped hands

beside each other, palms up, fingers

somewhat raised. You hold the Get, tell her

This is your divorce. Accept this document

and you are divorced from me from here on.

Allow the paper to fall into her hands.

She closes her fingers around the document,

lifts it up, places it under her arm, walks away.

Have no further contact.

 

Delaware native Nina Bennett is the author of Sound Effects (2013, Broadkill Press Key Poetry Series chapbook #4). Her poetry has appeared in numerous journals and anthologies such as Kansas City Voices, Big River Poetry Review, Houseboat, Bryant Literary Review, Yale Journal for Humanities in Medicine, Philadelphia Stories, and The Broadkill Review. Nina was a 2012 Best of the Net nominee.

 

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