Here is a primer on the history of poetry

Features of Modernism

To varying extents, writing of the Modernist period exhibits these features:

1. experimentation

belief that previous writing was stereotyped and inadequate
ceaseless technical innovation, sometimes for its own sake
originality: deviation from the norm, or from usual reader expectations
ruthless rejection of the past, even iconoclasm

2. anti-realism

sacralisation of art, which must represent itself, not something beyond preference for allusion (often private) rather than description
world seen through the artist's inner feelings and mental states
themes and vantage points chosen to question the conventional view
use of myth and unconscious forces rather than motivations of conventional plot

3. individualism

promotion of the artist's viewpoint, at the expense of the communal
cultivation of an individual consciousness, which alone is the final arbiter
estrangement from religion, nature, science, economy or social mechanisms
maintenance of a wary intellectual independence
artists and not society should judge the arts: extreme self-consciousness
search for the primary image, devoid of comment: stream of consciousness
exclusiveness, an aristocracy of the avant-garde

4. intellectualism

writing more cerebral than emotional
work is tentative, analytical and fragmentary, more posing questions more than answering them
cool observation: viewpoints and characters detached and depersonalized
open-ended work, not finished, nor aiming at formal perfection
involuted: the subject is often act of writing itself and not the ostensible referent

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Expressionism

Expressionism was a phase of twentieth-century writing that rejected naturalism and romanticism to express important inner truths. The style was generally declamatory or even apocalyptic, endeavoring to awaken the fears and aspirations that belong to all men, and which European civilization had rendered effete or inauthentic. The movement drew on Rimbaud and Nietzsche, and was best represented by German poetry of the 1910-20 period. Benn, Becher, Heym, Lasker-Schüler, Stadler, Stramm, Schnack and Werfel are its characteristic proponents, {1} though Trakl is the best known to English readers. {2} {3}

Like most movements, there was little of a manifesto, or consensus of beliefs and programmes. Many German poets were distrustful of contemporary society — particularly its commercial and capitalist attitudes — though others again saw technology as the escape from a perceived "crisis in the old order". Expressionism was very heterogeneous, touching base with Imagism, Vorticism, Futurism, Dadaism and early Surrealism, many of which crop up in English, French, Russian and Italian poetry of the period. Political attitudes tended to the revolutionary, and technique was overtly experimental. Nonetheless, for all the images of death and destruction, sometimes mixed with messianic utopianism, there was also a tone of resignation, a sadness of "the evening lands" as Spengler called them.

Expressionism also applies to painting, and here the characteristics are more illuminating. The label refers to painting that uses visual gestures to transmit emotions and emotionally charged messages. In the expressive work of Michelangelo and El Greco, for example, the content remains of first importance, but content is overshadowed by technique in such later artists as van Gogh, Ensor and Munch. By the mid twentieth-century even this attenuated content had been replaced by abstract painterly qualities — by the sheer scale and dimensions of the work, by colour and shape, by the verve of the brushwork and other effects.

Expressionism often coincided with rapid social change. Germany, after suffering the horrors of the First World War, and ineffectual governments afterwards, fragmented into violently opposed political movements, each with their antagonistic coteries and milieu. The painting of these groups was very variable, but often showed a mixture of aggression and naivety. Understandably unpopular with the establishment  — denounced as degenerate by the Nazis — the style also met with mixed reactions from the picture-buying public. It seemed to question what the middle classes stood for: convention, decency, professional expertise. A great sobbing child had been let loose in the artist's studio, and the results seemed elementally challenging. Perhaps German painting was returning to its Nordic roots, to small communities, apocalyptic visions, monotone starkness and anguished introspection.

What could poetry achieve in its turn? Could it use some equivalent to visual gestures, i.e. concentrate on aspects of the craft of poetry, and to the exclusion of content? Poetry can never be wholly abstract, a pure poetry bereft of content. But clearly there would be a rejection of naturalism. To represent anything faithfully requires considerable skill, and such skill was what the Expressionists were determined to avoid. That would call on traditions that were not Nordic, and that were not sufficiently opposed to bourgeois values for the writer's individuality to escape subversion. Raw power had to tap something deeper and more universal.

Hence the turn inward to private torments. Poets became the judges of poetry, since only they knew the value of originating emotions. Intensity was essential.  Artists had to believe passionately in their responses, and find ways of purifying and deepening those responses — through working practices, lifestyles, and philosophies. Freud was becoming popular, and his investigations into dreams, hallucinations and paranoia offered a rich field of exploration. Artists would have to glory in their isolation, moreover, and turn their anger and frustration at being overlooked into a belief in their own genius. Finally, there would be a need to pull down and start afresh, even though that contributed to a gradual breakdown in the social fabric and the apocalypse of the Second World War.

Expressionism is still with us. Commerce has invaded bohemia, and created an elaborate body of theory to justify, support and overtake what might otherwise appear infantile and irrational. And if traditional art cannot be pure emotional expression, then a new art would have to be forged. Such poetry would not be an intoxication of life (Nietzsche's phrase) and still less its sanctification.  Great strains on the creative process were inevitable, moreover, as they were in Georg Trakl's case, who committed suicide shortly after writing the haunting and beautiful piece given below

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SYMBOLIST POETS
symbolism in poetry

Symbolism in literature was a complex movement that deliberately extended the evocative power of words to express the feelings, sensations and states of mind that lie beyond everyday awareness. The open-ended symbols created by Charles Baudelaire (1821-67) brought the invisible into being through the visible, and linked the invisible through other sensory perceptions, notably smell and sound. Stéphane Mallarmé (1842-98), the high priest of the French movement, theorized that symbols were of two types. One was created by the projection of inner feelings onto the world outside. The other existed as nascent words that slowly permeated the consciousness and expressed a state of mind initially unknown to their originator.

None of this came about without cultivation, and indeed dedication. Poets focused on the inner life. They explored strange cults and countries. They wrote in allusive, enigmatic, musical and ambiguous styles. Rimbaud deranged his senses and declared "Je est un autre". Von Hofmannstahl created his own language. Valéry retired from the world as a private secretary, before returning to a mastery of traditional French verse. Rilke renounced wife and human society to be attentive to the message when it came.

Not all were great theoreticians or technicians, but the two interests tended to go together, in Mallarmé most of all. He painstakingly developed his art of suggestion, what he called his "fictions". Rare words were introduced, syntactical intricacies, private associations and baffling images. Metonymy replaced metaphor as symbol, and was in turn replaced by single words which opened in imagination to multiple levels of signification. Time was suspended, and the usual supports of plot and narrative removed. Even the implied poet faded away, and there were then only objects, enigmatically introduced but somehow made right and necessary by verse skill. Music indeed was the condition to which poetry aspired, and Verlaine, Jimenez and Valéry were among many who concentrated efforts to that end.

So appeared a dichotomy between the inner and outer lives. In actuality, poets led humdrum existences, but what they described was rich and often illicit: the festering beauties of courtesans and dance-hall entertainers; far away countries and their native peoples; a world-weariness that came with drugs, isolation, alcohol and bought ***. Much was mixed up in this movement — decadence, aestheticism, romanticism, and the occult — but its isms had a rational purpose, which is still pertinent. In what way are these poets different from our own sixties generation? Or from the young today: clubbing, experimenting with relationships and drugs, backpacking to distant parts? And was the mixing of sensory perceptions so very novel or irrational? Synaesthesia was used by the Greek poets, and indeed has a properly documented basis in brain physiology.

What of the intellectual bases, which are not commonly presented as matters that should engage the contemporary mind, still less the writing poet? Symbolism was built on nebulous and somewhat dubious notions: it inspired beautiful and historically important work: it is now dead: that might be the blunt summary. But Symbolist poetry was not empty of content, indeed expressed matters of great interest to continental philosophers, then and now. The contents of consciousness were the concern of Edmund Husserl (1859-1938), and he developed a terminology later employed by Heidegger (1889-1976), the Existentialists and hermeneutics. Current theories on metaphor and brain functioning extend these concepts, and offer a rapprochement between impersonal science and irrational literary theory.

So why has the Symbolism legacy dwindled into its current narrow concepts? Denied influence in the everyday world, poets turned inward, to private thoughts, associations and the unconscious. Like good Marxist intellectuals they policed the area they arrogated to themselves, and sought to correct and purify the language that would evoke its powers. Syntax was rearranged by Mallarmé. Rhythm, rhyme and stanza patterning were loosened or rejected. Words were purged of past associations (Modernism), of non-visual associations (Imagism), of histories of usage (Futurism), of social restraint (Dadaism) and of practical purpose (Surrealism). By a sort of belated Romanticism, poetry was returned to the exploration of the inner lands of the irrational. Even Postmodernism, with its bric-a-brac of received media images and current vulgarisms, ensures that gaps are left for the emerging unconscious to engage our interest

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IMAGIST POETRY
imagist poetry

Even by twentieth-century standards, Imagism was soon over. In 1912 Ezra Pound published the Complete Poetical Works of its founder, T.E. Hulme (five short poems) and by 1917 the movement, then overseen by Amy Lowell, had run its course. {1} {2} {3} {4} {5} The output in all amounted to a few score poems, and none of these captured the public's heart. Why the importance?

First there are the personalities involved — notably Ezra Pound, James Joyce, William Carlos Williams {6} {7} {8} {9} — who became famous later. If ever the (continuing) importance to poets of networking, of being involved in movements from their inception, is attested, it is in these early days of post-Victorian revolt.

Then there are the manifestos of the movement, which became the cornerstones of Modernism, responsible for a much taught in universities until recently, and for the difficulties poets still find themselves in. The Imagists stressed clarity, exactness and concreteness of detail. Their aims, briefly set out, were that:

1. Content should be presented directly, through specific images where possible.
2. Every word should be functional, with nothing included that was not essential to the effect intended.
3. Rhythm should be composed by the musical phrase rather than the metronome.

Also understood — if not spelled out, or perhaps fully recognized at the time — was the hope that poems could intensify a sense of objective reality through the immediacy of images.

Imagism itself gave rise to fairly negligible lines like:

You crash over the trees,
You crack the live branch…  (Storm by H.D.)

Nonetheless, the reliance on images provided poets with these types of freedom:

1. Poems could dispense with classical rhetoric, emotion being generated much more directly through what Eliot called an objective correlate: "The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." {10}

2. By being shorn of context or supporting argument, images could appear with fresh interest and power.

3. Thoughts could be treated as images, i.e. as non-discursive elements that added emotional colouring without issues of truth or relevance intruding too mu
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PROSE BASED POETRY
prose based poetry

When free verse lacks rhythmic patterning, appearing as a lineated prose stripped of unnecessary ornament and rhetoric, it becomes the staple of much contemporary work. The focus is on what the words are being used to say, and their authenticity. The language is not heightened, and the poem differs from prose only by being more self-aware, innovative and/or cogent in its exposition.

Nonetheless, what looks normal at first becomes challenging on closer reading — thwarting expectations, and turning back on itself to make us think more deeply about the seemingly innocuous words used. And from there we are compelled to look at the world with sharper eyes, unprotected by commonplace phrases or easy assumptions. Often an awkward and fighting poetry, therefore, not indulging in ceremony or outmoded traditions.
What is Prose?

If we say that contemporary free verse is often built from what was once regarded as mere prose, then we shall have to distinguish prose from poetry, which is not so easy now. Prose was once the lesser vehicle, the medium of everyday thought and conversation, what we used to express facts, opinions, humour, arguments, feelings and the like. And while the better writers developed individual styles, and styles varied according to their purpose and social occasion, prose of some sort could be written by anyone. Beauty was not a requirement, and prose articles could be rephrased without great loss in meaning or effectiveness.

Poetry, though, had grander aims. William Lyon Phelps on Thomas Hardy's work: {1}

"The greatest poetry always transports us, and although I read and reread the Wessex poet with never-lagging attention — I find even the drawings in "Wessex Poems" so fascinating that I wish he had illustrated all his books — I am always conscious of the time and the place. I never get the unmistakable spinal chill. He has too thorough a command of his thoughts; they never possess him, and they never soar away with him. Prose may be controlled, but poetry is a possession. Mr. Hardy is too keenly aware of what he is about. In spite of the fact that he has written verse all his life, he seldom writes unwrinkled song. He is, in the last analysis, a master of prose who has learned the technique of verse, and who now chooses to express his thoughts and his observations in rime and rhythm."

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OPEN FORMS IN POETRY
open forms in poetry

Poets who write in open forms usually insist on the form growing out of the writing process, i.e. the poems follow what the words and phrase suggest during the composition

for Jennie in gratitude*

For days afterwards he was preoccupied by what he’d collected into himself from the gallery viewing. He could say it was just painting, but there was a variety of media present in the many surrounding images and artefacts. Certainly there were all kinds of objects: found and gathered, captured and brought into a frame, some filling transparent boxes on a window ledge or simply hung frameless on the wall; sand, fixed foam, paper sea-water stained, a beaten sheet of aluminium; a significant stone standing on a mantelpiece, strange warped pieces of metal with no clue to what they were or had been, a sketchbook with brooding pencilled drawings made fast and thick, filling the page, colour like an echo, and yes, paintings.
 
Three paintings had surprised him; they did not seem to fit until (and this was sometime later) their form and content, their working, had very gradually begun to make a sort of sense.  Possible interpretations – though tenuous – surreptitiously intervened. There were words scrawled across each canvas summoning the viewer into emotional space, a space where suggestions of marks and colour floated on a white surface. These scrawled words were like writing in seaside sand with a finger: the following bird and hiraeth. He couldn’t remember the third exactly. He had a feeling about it – a date or description. But he had forgotten. And this following bird? One of Coleridge’s birds of the Ancient Mariner perhaps? Hiraeth he knew was a difficult Welsh word similar to saudade. It meant variously longing, sometimes passionate (was longing ever not passionate?), a home-sickness, the physical pain of nostalgia. It was said that a well-loved location in conjunction with a point in time could cause such feelings. This small exhibition seemed full of longing, full of something beyond the place and the time and the variousness of colour and texture, of elements captured, collected and represented. And as the distance in time and memory from his experience of the show in a small provincial gallery increased, so did his own thoughts of and about the nature of longing become more acute.
 
He knew he was fortunate to have had the special experience of being alone with ‘the work’ just prior to the gallery opening. His partner was also showing and he had accompanied her as a friendly presence, someone to talk to when the throng of viewers might deplete. But he knew he was surplus to requirements as she’d also brought along a girlfriend making a short film on this emerging, soon to be successful artist. So he’d wandered into the adjoining spaces and without expectation had come upon this very different show: just the title Four Tides to guide him in and around the small white space in which the art work had been distributed. Even the striking miniature catalogue, solely photographs, no text, did little to betray the hand and eye that had brought together what was being shown. Beyond the artist’s name there were only faint traces – a phone number and an email address, no voluminous self-congratulatory CV, no list of previous exhibitions, awards or academic provenance. A light blue bicycle figured in some of her catalogue photographs and on her contact card. One photo in particular had caught the artist very distant, cycling along the curve of a beach. It was this photo that helped him to identify the location – because for twenty years he had passed across this meeting of land and water on a railway journey. This place she had chosen for the coming and going of four tides he had viewed from a train window. The aspect down the estuary guarded by mountains had been a highpoint of a six-hour journey he had once taken several times a year, occasionally and gratefully with his children for whom crossing the long, low wooden bridge across the estuary remained into their teens an adventure, always something telling.
 
He found himself wishing this work into a studio setting, the artist’s studio. It seemed too stark placed on white walls, above the stripped pine floor and the punctuation of reflective glass of two windows facing onto a wet street. Yes, a studio would be good because the pictures, the paintings, the assemblages might relate to what daily surrounded the artist and thus describe her. He had thought at first he was looking at the work of a young woman, perhaps mid-thirties at most. The self-curation was not wholly assured: it held a temporary nature. It was as if she hadn’t finished with the subject and or done with its experience. It was either on-going and promised more, or represented a stage she would put aside (but with love and affection) on her journey as an artist. She wouldn’t milk it for more than it was. And it was full of longing.
 
There was a heaviness, a weight, an inconclusiveness, an echo of reverence about what had been brought together ‘to show’. Had he thought about these aspects more closely, he would not have been so surprised to discovered the artist was closer to his own age, in her fifties. She in turn had been surprised by his attention, by his carefully written comment in her guest book. She seemed pleased to talk intimately and openly, to tell her story of the work. She didn’t need to do this because it was there in the room to be read. It was apparent; it was not oblique or difficult, but caught the viewer in a questioning loop. Was this estuary location somehow at the core of her longing-centred self?  She had admitted that, working in her home or studio, she would find herself facing westward and into the distance both in place and time?
 
On the following day he made time to write, to look through this artist’s window on a creative engagement with a place he was familiar. The experience of viewing her work had affected him. He was not sure yet whether it was the representation of the place or the artist’s engagement with it. In writing about it he might find out. It seemed so deeply personal. It was perhaps better not to know but to imagine. So he imagined her making the journey, possibly by train, finding a place to stay the night – a cheerful B & B - and cycling early in the morning across the long bridge to her previously chosen spot on the estuary: to catch the first of the tides. He already understood from his own experience how an artist can enter trance-like into an environment, absorb its particularness, respond to the uncertainty of its weather, feel surrounded by its elements and textures, and most of all be governed by the continuous and ever-complex play of light.
 
He knew all about longing for a place. For nearly twenty years a similar longing had grown and all but consumed him: his cottage on a mountain overlooking the sea. It had become a place where he had regularly faced up to his created and invented thoughts, his soon-to-be-music and more recently possible poetry and prose. He had done so in silence and solitude.
 
But now he was experiencing a different longing, a longing born from an intensity of love for a young woman, an intensity that circled him about. Her physical self had become a rich landscape to explore and celebrate in gaze, and stroke and caress. It seemed extraordinary that a single person could hold to herself such a habitat of wonder, a rich geography of desire to know and understand. For so many years his longing was bound to the memory of walking cliff paths and empty beaches, the hypnotic viewing of seascaped horizons and the persistent chaos of the sea and wild weather. But gradually this longing for a coming together of land, sea and sky had migrated to settle on a woman who graced his daily, hourly thoughts; who was able to touch and caress him as rain and wind and sun can act upon the body in ever-changing ways. So when he was apart from her it was with such a longing that he found himself weighed down, filled brimfull.
 
In writing, in attempting to consider longing as a something the creative spirit might address, he felt profoundly grateful to the artist on the light blue bicycle whose her observations and invention had kept open a door he felt was closing on him. She had faced her own longing by bringing it into form, and through form into colour and texture, and then into a very particular play: an arrangement of objects and images for the mind to engage with – or not. He dared to feel an affinity with this artist because, like his own work, it did not seem wholly confident. It contained flaws of a most subtle kind, flaws that lent it a conviction and strength that he warmed to. It had not been massaged into correctness. The images and the textures, the directness of it, flowed through him back and forward just like the tides she had come far to observe on just a single day. He remembered then, when looking closely at the unprotected pieces on the walls, how his hand had moved to just touch its surfaces in exactly the way he would bring his fingers close to the body of the woman he loved so much, adored beyond any poetry, and longed for with all his heart and mind.

A burden is the depression settling in around you like a rain cloud over only your head.
Walking from place to place soaking wet from the storm.
You are cold, you are sick, you are not okay.

2. A burden is the anxiety shaking your body until you feel like you might burst at the seams.
People can see that your hands won't stay still, and they stare.
You are trembling, you are scared, you are not okay.

3. A burden is the rumors your "best friend" has spread around the whole freshman class.
Secrets exposed to people you don't even know.
You are found out, you are alone, you are not okay.

4. A burden is the thought of suicide bouncing around your head.
The thought of death so good, yet so bad.
You are confused, you are conflicted, you are not okay.

5. A burden is reaching out for help and being punished.
No longer allowed to talk to those they told you would help.
You are lost, you are unprotected, you are not okay.

6. A burden is not a student who has experienced 1-5.
A  student who yearns so much to get better, and just keeps getting pushed down.
A student who is terrified, who is lonely, who is not okay

7. You called yourself a mental health professional.
But 8. would never deal with this student yourself.
and 9. called her a burden to the entire campus.

But the campus is unaffected, the campus is stable, and the campus is okay.

So did you mean the campus would be better off without me?

Or that you would?

To impregnate a women, you have to feel the horn
Being soft is not much good, or if your ***** is worn
Many men they want a ****, but don't want babies born
It's best to avoid men like Boyd, because he's low on corn

If you have unprotected ***, and your cocktails on the prawn
Then pregnancy is immanent, unless a line is drawn
Wearing a sheaf is sensible, that's if it isn't torn
Make sure your rubbers in one piece, or watch some ******* ****

****** stimulation can be achieved, when there is a certain need
You soon had some excuses, when your rubber tore at speed
There's no need to lie, because it's just for your own greed
Suddenly your low on ***** after you had your ****** feed

You didn't mind your pleasure, when you layed and did the deed
Some consequences matter, when you know where things may lead
No mention of low ***** counts, you came and spread your seed
Pregnancies have happened, because low ***** counts can still breed

Hay now Boyd I wonder how, your ***** count is so low ?
It seems to me your capable, but you don't want to know
If you can break a ******, then it just goes to show
The only thing you can count, is a free cash money flow

Counting *****'s not easy, was it sitting in a row
Low ***** count is an excuse, for just another ***
Responsibility is not your thing, you want to ***** and go
You don't care you've had your ***, instead of going slow

Avoid Boyd because I think, his low count is a lie
It can get through rubber sheafs, and it doesn't even try
Destroying morning after pills, it looks like his counts sky high
His Low count cant be so low, to kiss pregnancy goodbye

He's implied the kids not his, its enough to make you cry
It didn't bother him before, when he layed in the pie
Now that pregnancies occurred, he's now done up his fly
Suddenly his ***** is low, and that's the reason why

Isn't Boyd just a boy, but with an added D
The laziness of proper names, at least to a degree
What's his parent's thinking of, are they completely of their tree
What's wrong with naming a boy, ben or pete or lee

Is it a bit like catchphrase, where you say what you see
Was there born a baby boy, holding brook bond tea
I don't think Boyd is a real name, but you may disagree
A better name I could supply, and I wouldn't charge a fee

Poor old Boyd his ***** is low, they must be quite annoyed
Their waiting for orders to go, but now there unemployed
Most of them are killed off, and the rest just get destroyed
Not one of those *****'s hanging high, unlike Harold Lloyd

He's claiming that his count is low, he must be paranoid
******* that rips rubber, that's some ***** you should avoid
Combating morning after pills, once his ***** has been deployed
If you value your own dignity, for **** sake avoid Boyd

I sit here alone
wondering where my life is
where it all went wrong
despair haunts me
how I got involved
why I lost what love is

The days go on
just one at a time
waiting for the
goodbye to all the anxiety
to anger with myself
for surely I have suffered enough
through all these months

left unprotected
so lost
lost by your embrace
haunted by your words
I search around everywhere
for the passion and hopes of life
searching for the day chaos
no longer in my head
perhaps I won't feel so lost

I feel I am finding my way

Then

I want to scream..all I want to do is scream
I want my anger to go away
but its like a blazing flame
I want my despair to leave me
but I am drowning in pain
I want my sanity back
but I don't know where to find it

My name is *** and I have no friend, I infect unborn during labor and infents during breastfeeding ,teenage s during unprotected ***,adults with multiple partners, I don't choose colours.

I infect whites,blacks,coloured and Indian,people call me names,like 3 series, magama mathathu,koloi ya eliya,go slowly and I have no problem because I have one friend which is death,you fail to use my enermy ******,my friend will attack you.

please young generation upstain for I have no mercy,adults be faithful because I will pass like a chameleon and once I reach you,you will point your finger to witches and while doing that,you will be on the grave unknown.

get tested and stay loyal,me hlv my high point is ***** or viginal fluid so be careful little mistake I will get there and hide there till I end all off your immune system or in an easy way your white blood cells.

to win me is to condomise,be faithful, abstain or do it your self that's musterbation, wear gloves when helping any one because you may never know where I am hiding.

if you already have me talk to your health professionals ,if not I will finish you without knowledge, because I am a bio slim and I am in love with your blood.

to win me test before is too late because I will take you into your bed as you took that partner of yours and to me is gonna be hard to be awake.

Something about being 151 miles from home
walking around barefoot all day
in Golden Gate Park, San Francisco, California
wearing a vest and some black cotton pants,
drinking good Cabernet and lots of water,
eating homemade pasta salad and chicken sandwiches,
in the early-Autumn Summer-esque temperatures,
the third day of the 2013 Hardly Strictly Bluegrass Festival,
witnessing Gogol Bordello and The Devil Makes Three,
with my great Friends, and also Roomates, Abdul and his Wife,
and their friend and her 20 month old Son
makes me feel sort of ... *****.

Funny how that works;
Unprotected feet on very Public grounds
Unprotected feet on verily treded grounds;
Going barefoot is nice, though.

(Except the ******* sidewalks, incidentally.
Even the streets are nicer to walk on barefoot. Even pineneedles!
I am disappointed, San Francisco! I thought you were on the side of the hippies!)

If anything was learned from the Sixties,
it's that unprotected anything
in San Francisco
is easily a hazard.
-
Now, that was a ******* amazing day.
Now; to the shower and then directly the **** to bed!
Away!

Beauty out in the open, light falls on linoleum tiles like heel-worn stones
Windows to a sunny world sit at the end of locker-lined tunnels, beckoning beyond fluorescent mazes
Clotted with conversation, upperclassmen stroll like the elderly
Young blood doge or cling to the sides, scared of the critical runway that is us

Windows to a sunny world sit at the end of locker-lined tunnels, beckoning beyond fluorescent mazes
Eyes from all sides, thinking nothing yet are supplied by our own thoughts
Young blood doge or cling to the sides, scared of the critical runway that is us
Finding refuge in educational terrariums, an ecosystem that saves me from the weight

Eyes from all sides, thinking nothing yet are supplied by our own thoughts
Finding solace in stairwells, sealed off by doors and hold awkward opportunities
Finding refuge in educational terrariums, an ecosystem that saves me from the weight
Clanging like a child’s cry releases stress like floodgates, another trip into the shark tank

Finding solace in stairwells, sealed off by doors and hold awkward opportunities
Open doors that are actually closed; they are like aquariums – no tapping on the glass please.
Clanging like a child’s cry releases stress like floodgates, another trip into the shark tank
The longer I stay the more I wish to leave, away from substituted confrontations


Open doors that are actually closed; they are like aquariums – no tapping on the glass please.
Prejudice like heavy rain beats at my skin and soaks my clothes - but I know it was I who brought the downpour
The longer I stay the more I wish to leave, away from substituted confrontations
Must comparisons be so obvious when I walk alone, unprotected? They are lucky to have such equals to act as parents; they hold each other’s hands to keep from drowning

Prejudice like heavy rain beats at my skin and soaks my clothes – but I know it was I who brought the downpour
They pull like vultures at flesh; I am not allowed to wrap myself in hurricanes while out in the open
Must comparisons be so obvious when I walk alone, unprotected? They are lucky to have such equals to act as parents; they hold each other’s hands to keep from drowning
Ignorance is bliss, they say, and truth that is here – the less you know the less hate you bear the weight of.

They pull like vultures at flesh; I am not allowed to wrap myself in hurricanes while out in the open
Look down, one foot – and then the other!
Ignorance is bliss they say, and truth that is here – the less you know the less hate you bear the weight of.
Anger and sadness, guilt and fear turn like Viewmaster slides lit up by the sun

Or am I on my own here? Each boy's path runs along each other like long-exposure stars, leaving streaks between the darkness.

The Miner, Absolom
(a haibun)


green hill where sheep graze
white bones and coal, buried, held
seasons all the same
  
My grandfather worked in the mines from age thirteen to seventy. His life was closed in by mountains, the green one at the back, the dark looming one at the front and the pit head along the valley., winding the men in and out of the shaft, day after day, dawn until dusk when they came home singing  

boots ring on the road
deep valley voices echo
backyard starlit smoke

.
They worked on their bellies or crouched, often in water for days, water that undermines rock. Shaft collapses where frequent. Life was cheap. He came home covered in coal dust to his wife and two sons, sons he was determined to keep out of the mines. Yet he loved that coal - coal that he always polished with care before lighting a fire, brushing dust off black diamond surfaces.

water breaks through rock
with wood and straining shoulders
man becomes the beam

He saved twenty lives that day, men he had known from boyhood. When his lungs were affected they laid him off, no pay, no pension, no life. He bought an insurance book with the money he had and every day he trudged over the mountains and valleys gathering pennies that would help to secure some livelihood to the widows who lost their men in the mines. He never told his wife that when a family couldn't pay he put the pennies in for them rather than leave them unprotected.

winter, summer, fall
the mountain hangs over all
tired to the backbone

When the mines were nationalised my grandfather went straight back to the coal face despite his age. He wasn't going to miss those days of glory. Safety was suddenly the watchword and changes were made very fast. Hot showers were installed at the pit head and the miners came home clean at last.

men stripped to the skin
hot water, steam, baptised
brothers singing hymns