I ran outside that night,
so full of life and excitement.
Imagined your surprise and thought I would see
a worried frown.
Someone finally broke through.
Landed. Slammed into you
and stepped into your heart.
Your cold, aloof self,
And yet I saw nothing new.
Your face unchanged,
seeing me only
as one of many who adore you,
who live and stare each night
beneath your remote reserve.
Thirty-plus years have passed.
I arise more slowly to morning sun,
less sure of my footing,
skin aged and sallow.
I still await the end of day
to feel your face upon my soul.
I peer through clouds within my eyes
and those that skirt your skies.
For I have loved you all these years
even as you appear
and appear again.
You my love, care not.
You seem to ignore what I crave.
All I seek these many nights
is some recognition,
that we have been with you.
Written for Tuesday Poetics at dVerse where Grace asks us to write about the moon as if the moon is a person – flesh, sweat and blood. “Describe him or her, and tell us about your moon.”
On July 20, 1969, I was 22, a graduate student at Bradley University in Peoria, Illinois. I’d heard about “the man in the moon” since I was a young child. You can “see” his face in the full moon, made by shadows and craters visible to the naked eye. On that July night at 9:56 PM, I watched my tiny portable television screen as Neil Armstrong stepped onto the surface of the moon. I remember staring in awe and then immediately running outside, standing on the sidewalk and looking up at the moon, as if I could see some sign up there! And I remember thinking: tonight there really is a “man in the moon.” Dverse opens at 3PM EST. Come join us!
Do not be squeamish about the reptilian way.
It is in the leaving that release comes.
Rid oneself of dead skin,
not as a phoenix turns to ash
and rises again.
Rather as the serpent who uncoils,
shrugs off its past
and continues on.
Quadrille (44 words: no more no less; not including the title) written for dVerse. De asks us to write a quadrille that includes the word “leave” or a form of the word. dVerse is a virtual bar for poets and opens today at 3 PM Boston time. Come try your hand and post a quadrille of your own or just come to imbibe the words of others! dVerse offers prompts on Mondays and Tuesdays and most Thursdays are Open Link Night — a time to post a poem of your choice, without restraint or motivation of a prompt. Hope you’ll join us!
Like a magnificent crystal chandelier
in the wake of a coarse wind.
Swaying erratically. Shards of glass colliding.
Each piece hitting, pinging,
She felt like this.
Except she was enclosed. Caged.
Stifled in some cold garment.
Arms wrapped around her torso
in comfortless embrace.
And the ceiling was bare.
And the walls were bare.
But she was that fixture,
except without light.
Sia – Chandelier (Official Video) – YouTube
Sharing with dVerse for OLN where Bjorn is hosting from Sweden.
THANKS to Bjorn for pointing me to this video after my poem was posted with the photo below. Bjorn’s poem written on October 2015 was inspired by the video. I wasn’t aware of dVerse at that time and never heard the song or saw the video until Bjorn mentioned it. The video does uncannily fit Misfit which is very eerie! Stop by dVerse to post your own poem (the more the merrier) or to imbibe/read other posts. Tis an amazing place!
I warned you!
and the spiders have taken heed . . .
You cared not to sit with ordinary blokes,
dangled your feet and watched all their woes.
You squirreled me away with Peter’s wife,
stuck in a pumpkin shell for life.
I am not addled nor scrambled in wits.
And so in the evenings of hey diddle diddle
your eyes on the cow and the cat and the fiddle,
I found my way out, maneuvering the vine.
I added more bricks by the light of the moon,
layer by layer, higher it grew.
Til I smiled in the window that final day,
snacking on pumpkin and watching you swoon.
You sat on your wall, looking down upon me
sneering and laughing and kicking in glee.
And then with bravado, a tip of your hat,
you leaned forward and laughed
until . . .
All the King’s horses and all the King’s men
couldn’t rewrite you together again.
The wall is demolished, Jill’s bucket is full.
I am quite proud and raucously so,
to sit on my tuffet, secure in my ways,
eating, nay feasting, on curds and whey.
Kim is hosting Tuesday Poetics at dVerse, a virtual pub for poets. Bar opens at 3 PM. We’re asked to take a character, fictional or non-fictional, and re-write their story from the point of view of their husband or wife. I’ve taken the liberty of assuming Little Miss Muffet was married to Humpty Dumpty🙂 Photos from Childcraft, Volume One Poems of Early Childhood, copyright 1947. I may be a tad older than my readers so these photos provide the Mother Goose rhymes alluded to in my poem.
He was a quiet man. I don’t remember playing with my father or hearing words of praise or love. I don’t remember hugs. But I do remember a few summer mornings each year when I was young. A silent drive to the lake. A long walk out the pier. He’d take a wriggly worm from an old tin can and put it on the end of my bamboo pole. And we’d sit. Just sit. A skinny little girl with giraffe-knobby knees and her whiskered dad, under the rising sun and ever bluing sky. No need for words. No need to catch a thing.
Steadfast sky and sun,
their promise always fulfilled.
Light shall break through clouds.
It’s Haibun Monday at dVerse, the virtual pub for poets, where Toni asks us to write a haibun about the day sky. Thanks Toni. Your prompt brought back this cherished memory.
quick stepping through raucous times
colored prisms less defined
pace slowed coming round the bend
A second Tanka shared with dVerse — although I’ve broken the rules a bit and added a title for this one. Tanka: 5 lines with syllabic count of 5-7-5-7-7. Third line contains a cutting shift; no punctuation; no capitalization.
waves crash in full tide
rush starts at epicenter
full moon excitement
night’s passion touched rekindled
we lie in sweet exhaustion
Toni hosts the bar at dVerse today (bar opens at 3 PM) and asks us to write a Tanka, a Japanese form of poetry comprised of five lines with the following syllabic count: 5-7-5-7-7. This form is older than the haiku, first appearing in the 8th century! There is no punctuation, no capitalization, and no title. Third line is a cutting or pivot line. The first two lines examine an image and the final two lines are a personal response. Tankas were considered a “female” form, written more by females than males and were often sensuous. Photos from Bermuda.