Mind Storm [Free Verse]

A loose shard of thought
Flips and twists about in
My brain,
Poking sensitive tissue,
And sending firestorms
Riffling through my circuitry.
I can't really say I feel each
Prickle or pierce, but they
Do make me wince, sometimes.

A Feather in Flow [Free Verse]

How do I roll like a
feather in flow?

The one that can't be
pulled from the pool.
It slips around the
lifted hand,
Retreating back into
the water that it never
really left.

It's like sleight of hand
one plays upon oneself:
at once magician & mark.

The faster one snatches at it,
the greater the miss.
The slower one moves,
the more frustratingly
one sees one's failure.

How to roll like a feather in flow?

“A London Thoroughfare. 2 A.M.” by Amy Lowell [w/ Audio]

They have watered the street,
It shines in the glare of lamps,
Cold, white lamps,
And lies
Like a slow-moving river,
Barred with silver and black.
Cabs go down it,
One,
And then another.
Between them I hear the shuffling of feet.
Tramps doze on the window-ledges,
Night-walkers pass along the sidewalks.
The city is squalid and sinister,
With the silver-barred street in the midst,
Slow-moving,
A river leading nowhere.

Opposite my window,
The moon cuts,
Clear and round,
Through the plum-colored night.
She cannot light the city;
It is too bright.
It has white lamps,
And glitters coldly.

I stand in the window and watch the moon.
She is thin and lustreless,
But I love her.
I know the moon,
And this is an alien city.

Red [Haiku]

the turning leaves
catch the morning sunlight
to show depths of red.

Ripe Grass [Haiku]

heavy-headed grass sways:
the clockwork counting down
the days of Autumn.

“The Builders” by Henry Wadsworth Longfellow [w/ Audio]

All are architects of Fate,
Working in these walls of Time,
Some with massive deeds and great,
Some with ornaments of rhyme.

Nothing useless is, or low;
Each thing in its place is best;
And what seems but idle show
Strengthens and supports the rest.

For the structure that we raise,
Time is with materials filled;
Our to-days and yesterdays
Are the blocks with which we build.

Truly shape and fashion these;
Leave no yawning gaps between;
Think not, because no man sees,
Such things will remain unseen.

In the elder days of Art,
Builders wrought with greatest care
Each minute and unseen part;
For the Gods see everywhere.

Let us do our work as well,
Both the unseen and the seen;
Make the house, where Gods may dwell,
Beautiful, entire, and clean.

Else our lives are incomplete,
Standing in these walls of Time,
Broken stairways, where the feet
Stumble as they seek to climb.

Build to-day, then, strong and sure,
With a firm and ample base;
And ascending and secure
Shall tomorrow find its place.

Thus alone can we attain
To those turrets where the eye
Sees the world as one vast plain,
And one boundless reach of sky.

Duck Drift [Haiku]

ducks drift lazily
on water that sparkles
with winter sunlight.

“The Fly” by William Blake [w/ Audio]

Source: USGS Bee Inventory and Monitoring Lab
Little fly,
Thy summer's play
My thoughtless hand
Has brushed away.

Am not I
A fly like thee?
Or art not thou
A man like me?

For I dance
And drink and sing,
Till some blind hand
Shall brush my wing.

If thought is life
And strength and breath,
And the want
Of thought is death,

Then am I
A happy fly,
If I live,
Or if I die.

BOOKS: “The Flowers of Evil” by Charles Baudelaire

Les Fleurs du MalLes Fleurs du Mal by Charles Baudelaire
My rating: 5 of 5 stars

Amazon.in Page

I read the 1909 Cyril Scott translation of Baudelaire’s poetry collection. It consists of 54 poems, including “Condemned Women” but not including others of the six poems that were banned in early editions and which only came to be included in later editions. (I did look up and read a couple translations each for the six poems — because censorship can’t be allowed to prevail. Not surprisingly, they are calm by today’s standards. It should be noted that Baudelaire played in symbolism, and so his poems – while ahead of their time in subject matter – didn’t tend toward explicit vulgarity in the first place.)

The Scott translation is all in rhymed verse, the largest share of it presented as sonnets — though there are some longer pieces (longer, but not long. It’s a quick read.) “The Broken Bell” and “Spleen” were highlights for me, but the whole collection is intriguing, evocative, and readable.

I enjoyed this collection tremendously, even with such an old translation. The hedonism, eroticism, and macabre of Baudelaire’s work creates an intense tone.

I’d highly recommend this collection for all poetry readers.



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