Everyman had many friends,
and the Sheilas loved his looks.
He spent his days at football,
with not much time for books.

Everyman in the prime of life
was a wonder to behold.
Was any man more full of life?
Could any be so bold?

Everyman came to the day
where he lost a step in speed.
His mates had settled, mostly down,
or sold their souls to greed.

The game moved on to younger lads,
left everyman behind
He, of course, remained a fan
consigned to the sideline.

Everyman began to fail,
old concussions took their toll.
He'd enter a room full of friends
and couldn't name a soul

Everyman, now in a "home",
awaits his morning tea.
Sometimes a stranger visits-
a member of his family.

Everyman sits in shadows now.
The world goes on without.
His strength and wits deserted him
and he never was devout.

Everyman begins to die
with a murmur, not a shout
Nurse Deeds stays to hold his hand
till the light of life goes out.

She sent it to me as a text message, that is an image of a quote in situ, a piece of interpretation in a gallery. Saturday morning and I was driving home from a week in a remote cottage on a mountain. I had stopped to take one last look at the sea, where I usually take one last look, and the phone bleeped. A text message, but no text.  Just a photo of some words. It made me smile, the impossibility of it. Epic poems and tapestry weaving. Of course there are connections, in that for centuries the epic subject has so often been the stuff of the tapestry weaver’s art. I say this glibly, but cannot name a particular tapestry where this might be so. Those vast Arthurian pieces by William Morris to pictures by Burne-Jones have an epic quality both in scale and in subject, but, to my shame, I can’t put a name to one.

These days the tapestry can be epic once more - in size and intention - thanks to the successful, moneyed contemporary artist and those communities of weavers at West Dean and at Edinburgh’s Dovecot. Think of Grayson Perry’s The Walthamstowe Tapestry, a vast 3 x 15 metres executed by Ghentian weavers, a veritable apocalyptic vision where ‘Everyman, spat out at birth in a pool of blood, is doomed and predestined to spend his life navigating a chaotic yet banal landscape of brands and consumerism’.  Gosh! Doesn’t that sound epic!

I was at the Dovecot a little while ago, but the public gallery was closed. The weavers were too busy finishing Victoria Crowe’s Large Tree Group to cope with visitors. You see, I do know a little about this world even though my tapestry weaving is the sum total of three weekends tuition, even though I have a very large loom once owned by Marta Rogoyska. It languishes next door in the room that was going to be where I was to weave, where I was going to become someone other than I am. This is what I feel - just sometimes - when I’m at my floor loom, if only for those brief spells when life languishes sufficiently for me be slow and calm enough to pick up the shuttles and find the right coloured yarns. But I digress. In fact putting together tapestry and epic poetry is a digression from the intention of the quote on the image from that text - (it was from a letter to Janey written in Iceland). Her husband, William Morris, reckoned one could (indeed should) be able to compose an epic poem and weave a tapestry.  

This notion, this idea that such a thing as being actively poetic and throwing a pick or two should go hand in hand, and, in Morris’ words, be a required skill (or ‘he’d better shut up’), seemed (and still does a day later) an absurdity. Would such a man (must be a man I suppose) ‘never do any good at all’ because he can’t weave and compose epic poetry simultaneously?  Clearly so.  But then Morris wove his tapestries very early in the morning - often on a loom in his bedroom. Janey, I imagine, as with ladies of her day - she wasn’t one, being a stableman’s daughter, but she became one reading fluently in French and Italian and playing Beethoven on the piano- she had her own bedroom.

Do you know there are nights when I wish for my own room, even when sleeping with the one I love, as so often I wake in the night, and I lie there afraid (because I love her dearly and care for her precious rest) to disturb her sleep with reading or making notes, both of which I do when I’m alone.
Yet how very seductive is the idea of joining my loved one in her own space, amongst her fallen clothes, her books and treasures, her archives and precious things, those many letters folded into her bedside bookcase, and the little black books full of tender poems and attempts at sketches her admirer has bequeathed her when distant and apart. Equally seductive is the possibility of the knock on the bedroom / workroom door, and there she’ll be there like the woman in Michael Donaghy’s poem, a poem I find every time I search for it in his Collected Works one of the most arousing and ravishing pieces of verse I know: it makes me smile and imagine.  . .  Her personal vanishing point, she said, came when she leant against his study door all warm and wet and whispered 'Paolo’. Only she’ll say something in a barely audible voice like ‘Can I disturb you?’ and with her sparkling smile come in, and bring with her two cats and the hint of a naked breast nestling in the gap of the fold of her yellow Chinese gown she holds close to herself - so when she kneels on my single bed this gown opens and her beauty falls before her, and I am wholly, utterly lost that such loveliness is and can be so . . .

When I see a beautiful house, as I did last Thursday, far in the distance by an estuary-side, sheltering beneath wooded hills, and moor and rock-coloured mountains, with its long veranda, painted white, I imagine. I imagine our imaginary home where, when our many children are not staying in the summer months and work is impossible, we will live our ‘together yet apart’ lives. And there will be the joy of work. I will be like Ben Nicholson in that Italian villa his father-in-law bought, and have my workroom / bedroom facing a stark hillside with nothing but a carpenter’s table to lay out my scores. Whilst she, like Winifred, will work at a tidy table in her bedroom, a vase of spring flowers against the window with the estuary and the mountains beyond. Yes, her bedroom, not his, though their bed, their wonderful wooden 19C Swiss bed of oak, occupies this room and yes, in his room there is just a single affair, but robust, that he would sleep on when lunch had been late and friends had called, or they had been out calling and he wanted to give her the premise of having to go back to work – to be alone - when in fact he was going to sleep and dream, but she? She would work into the warm afternoons with the barest breeze tickling her bare feet, her body moving with the remembrance of his caresses as she woke him that morning from his deep, dark slumber. ‘Your brown eyes’, he would whisper, ‘your dear brown eyes the colour of an autumn leaf damp with dew’. And she would surround him with kisses and touch of her firm, long body and (before she cut her plaits) let her course long hair flow back and forward across his chest. And she did this because she knew he would later need the loneliness of his own space, need to put her aside, whereas she loved the scent of him in the room in which she worked, with his discarded clothes, the neck-tie on the door hanger he only reluctantly wore.

Back to epic poetry and its possibility. Even on its own, as a single, focused activity it seems to me, unadventurous poet that I am, an impossibility. But then, had I lived in the 1860s, it would probably not have seemed so difficult. There was no Radio 4 blathering on, no bleeb of arriving texts on the mobile. There were servants to see to supper, a nanny to keep the children at bay. At Kelmscott there was glorious Gloucestershire silence - only the roll and squeak of the wagon in the road and the rooks roosting. So, in the early mornings Morris could kneel at his vertical loom and, with a Burne-Jones cartoon to follow set behind the warp. With his yarns ready to hand, it would be like a modern child’s painting by numbers, his mind would be free to explore the fairy domain, the Icelandic sagas, the Welsh Mabinogion, the Kalevara from Finland, and write (in his head) an epic poem. These were often elaborations and retellings in his epic verse style of Norse and Icelandic sagas with titles like Sigurd the Volsung. Paul Thompson once said of Morris  ‘his method was to think out a poem in his head while he was busy at some other work.  He would sit at an easel, charcoal or brush in hand, working away at a design while he muttered to himself, 'bumble-beeing' as his family called it; then, when he thought he had got the lines, he would get up from the easel, prowl round the room still muttering, returning occasionally to add a touch to the design; then suddenly he would dash to the table and write out twenty or so lines.  As his pen slowed down, he would be looking around, and in a moment would be at work on another design.  Later, Morris would look at what he had written, and if he did not like it he would put it aside and try again.  But this way of working meant that he never submitted a draft to the painful evaluation which poetry requires’.

Let’s try a little of Sigurd

There was a dwelling of Kings ere the world was waxen old;
Dukes were the door-wards there, and the roofs were thatched with gold;
Earls were the wrights that wrought it, and silver nailed its doors;
Earls' wives were the weaving-women, queens' daughters strewed its floors,

And the masters of its song-craft were the mightiest men that cast
The sails of the storm of battle down the bickering blast.
There dwelt men merry-hearted, and in hope exceeding great
Met the good days and the evil as they went the way of fate:
There the Gods were unforgotten, yea whiles they walked with men,

Though e'en in that world's beginning rose a murmur now and again
Of the midward time and the fading and the last of the latter days,
And the entering in of the terror, and the death of the People's Praise.

Oh dear. And to think he sustained such poetry for another 340 lines, and that’s just book 1 of 4. So what dear reader, dear sender of that text image encouraging me to weave and write, just what would epic poetry be now? Where must one go for inspiration? Somewhere in the realms of sci-fi, something after Star-Wars or Ninja Warriors. It could be post-apocalyptic, a tale of mutants and a world damaged by chemicals or economic melt-down. Maybe a rich adventure of travel on a distant planet (with Sigourney Weaver of course), featuring brave deeds and the selfless heroism of saving companions from deadly encounters with amazing animals, monsters even. Or is ‘epic’ something else, something altogether beyond the Pixar Studios or James Cameron’s imagination? Is the  ‘epic’ now the province of AI boldly generating the computer game in 4D?  

And the epic poem? People once bought and read such published romances as they now buy and engage with on-line games. This is where the epic now belongs. On the tablet, PlayStation3, the X-Box. But, but . . . Poetry is so alive and well as a performance phenomenon, and with that oh so vigorous and relentless beat. Hell, look who won the T.S.Eliot prize this year! Story-telling lives and there are tales to be told, even if they are set in housing estates and not the ice caves of the frozen planet Golp. Just think of children’s literature, so rich and often so wild. This is word invention that revisits unashamedly those myths and sagas Morris loved, but in a different guise, with different names, in worlds that still bring together the incredible geographies of mountains and deserts and wilderness places, with fortresses and walled cities, and the startling, still unknown, yet to be discovered ocean depths.

                                    And so let my tale begin . . . My epic poem.

                                                 THE SEAGASP OF ENNLI.
       A TALE IN VERSE OF EARTHQUAKE, ISLAND FASTNESS, MALEVOLENT SPIRITS,
                                                AND REDEMPTIVE LOVE.

Whose women these are I think I know.
His housefly’s dead on the vignette though;
He will not see me stopping here
To watch his women pick snowdrops.

My little hornpipe is quite queer
He stops without a farce or sneer
Between the women with their frozen ‘la’s
The commonest everyman of the yawl.

He gives his harlot beldams his shaft
To assure they are his mistresses.
The only other soundtrack's the sweat
Of easy win from downing flagons.

The women are lovely, dark and deep.
But I have promenades to keep,
And migraines to go before I sleep,
And migraines to go before I sleep.

I've given poetry readings where less than a handful of people were present. It's a humbling experience. It’s also a deeply familiar experience.

"Poetry is useless," poet Geoffrey ****** said in a 2013 interview, "but it is useless the way the soul is useless—it is unnecessary, but we would not be what we are without it."

I was raised a Roman Catholic, and though I don’t go to Mass regularly anymore, I still remember early mornings during Advent when I went to liturgies at my parochial school. It was part of my offering—the sacrifice I made to honor the impending birth of the Savior—along with giving up candy at Lent. So few people attended at that hour that the priest turned on only a few lights near the altar. Approaching the front of the church, my plastic book bag rustling against my winter coat, I felt as if I were nearing the seashore at sunrise: the silhouettes of old widows on their kneelers at low tide, waiting for the priest to come in, starting the ritual in plain, unsung vernacular. No organist to blast us into reverence. No procession.

Every day, all over the world, these sparsely attended ceremonies still happen. Masses are said. Poetry is read. Poems are written on screens and scraps of paper. When I retire for the day, I move into a meditative, solitary, poetic space. These are the central filaments burning through my life, and the longer I live, the more they seem to be fused together.

Poetry is marginal, thankless, untethered from fame and fortune; it's also gut level, urgent, private yet yearning for connection. In all these ways, it's like prayer for me. I’m a not-quite-lapsed Catholic with Zen leanings, but I’ll always pray—and I’ll always write poems. Writing hasn’t brought me the Poetry Jackpot I once pursued, but it draws on the same inner wiring that flickers when I pray.        

• • •

In the 2012 collection A God in the House: Poets Talk About Faith, nineteen contemporary American poets, from Buddhist to Wiccan to Christian, discuss how their artistic and spiritual lives inform one another. Kazim Ali, who was raised a Shia Muslim, observes in his essay “Doubt and Seeking”:

[Prayer is] speaking to someone you know is not going to be able to speak back, so you're allowed to be the most honest that you can be. In prayer you're allowed to be as purely selfish as you like. You can ask for something completely irrational. I have written that prayer is a form of panic, because in prayer you don't really think you're going to be answered. You'll either get what you want or you won't.

You could replace the word "prayer" with "poetry" with little or no loss of meaning. I'd even go so far as to say that submitting my work to a journal often feels like this, too. Sometimes, when I get an answer in the form of an acceptance, I'm stunned.

"I never think of a possible God reading my poems, although the gods used to love the arts,” writes ***** Howe in her essay "Footsteps over Ground." She adds:

Poetry could be spoken into a well, of course, and drop like a penny into the black water. Sometimes I think that there is a heaven for poems and novels and music and dance and paintings, but they might only be hard-worked sparks off a great mill, which may add up to a whole-cloth in the infinite.

And here, you could easily replace the word "poetry" with "prayer." The penny falling to the bottom of a well is more often what we experience. But both poetry and prayer are things humans have learned to do in order to go on. Doubt is a given, but we do get to choose what it is we doubt.

A God in the House Book Cover
Quite a few authors in A God in the House (Howe, Gerald Stern, Jane Hirschfield, Christian Wiman) invoke the spiritual writing of Simone Weil, including her assertion that "absolutely unmixed attention is prayer." This sounds like the Zen concept of mindfulness. And it broadens the possibility for poetry as prayer, regardless of content, since writing poetry is an act of acute mindfulness. We mostly use words in the practical world to persuade or communicate, but prayers in various religious traditions can be lamentations of great sorrow. Help me, save me, take this pain away—I am in agony. In a church or a temple or a mosque, such prayerful lamentation is viewed as a form of expression for its own good, even when it doesn't lead immediately to a change of emotional state.

Perhaps the unmixed attention Weil wrote of is a unity of intention and utterance that’s far too rare in our own lives. We seldom match what we think or feel with what we actually say. When it happens spontaneously in poetry or prayer—Allen Ginsberg's "First thought, best thought" ideal —it feels like a miracle, as do all the moments when I manage to get out of my own way as a poet.

Many people who pray don’t envision a clear image of whom or what they’re praying to. But poets often have some sense of their potential readers. There are authorities whose approval I've tried to win or simply people I've tried to please: teachers, fellow writers, editors, contest judges—even my uncle, who actually reads my poems when they appear in the Pittsburgh Post-Gazette, where he used to work.

And yet, my most immersed writing is not done with those real faces in mind. I write to the same general entity to which I pray. It's as if the dome of my skull extends to the ceiling of the room I'm in, then to the dome of the sky and outward. It’s like the musings I had as a child lying awake at night, when my imagination took me to the farthest reaches of the galaxy. But then I emerge from this wide-open state and begin thinking about possible readers—and the faces appear.

This might also be where the magic ends.

• • •

I write poetry because it’s what I do, just as frogs croak and mathematicians ponder numbers. Poetry draws on something in me that has persisted over time, even as I’ve distracted myself with other goals, demands, and purposes; even as I’ve been forced by circumstance to strip writing poetry of certain expectations.

"Life on a Lily Pad" © Michelle Tribe
"Life on a Lily Pad"
© Michelle Tribe
At 21, I was sure I’d publish my first book before I was 25. I’m past my forties now and have yet to find a publisher for a book-length collection, though I've published more than a hundred individual poems and two chapbooks. So, if a “real” book is the equivalent of receiving indisputable evidence that your prayers are being answered, I’m still waiting.

It hasn’t been easy to shed the bitter urgency I’ve felt on learning that one of my manuscripts was a finalist in this or that contest, but was not the winner. Writing in order to attain external success can be as tainted and brittle as saying a prayer that, in truth, is more like a command: (Please), God, let me get through this difficulty (or else)—

Or else what? It’s a false threat, if there’s little else left to do but pray. When my partner is in the ICU, his lungs full of fluid backed up from a defective aortic valve; when my nephew is deployed to Afghanistan; when an ex is drowning in his addiction; when I hit a dead end in my job and don’t think I can do it one more day—every effort to imagine that these things might be gotten through is a kind of prayer that helps me weather a life over which I have little control.

Repeated disappointment in my quest to hit the Poetry Jackpot has taught me to recast the jackpot in the lowercase—locating it not in the outcome but in the act of writing itself, sorting out the healthy from the unhealthy intentions for doing it. Of course, this shift in perspective was not as neat as the preceding sentence makes it seem. There were years of thrashing about, of turning over stones and even throwing them, then moments of exhaustion when I just barely heard the message from within:

This is too fragile and fraught to be something that guides your whole life.

I didn't hear those words, exactly—and this is important. For decades, I’ve made my living as a writer. But I can't manipulate or edit total gut realizations. I can throw words at them, but it would be like shaking a water bottle at a forest fire; at best, I can chase the feeling with metaphors: It's like this—no, like this—or like this.

So, odd as this sounds for a poet, I now seek wordlessness. When I meditate, I intercept hundreds of times the impulse to shape a perception into words. Reduced to basics, the challenge facing any writer is knowing what to say—and what not to.

• • •

To read or listen to poetry requires unmixed attention just as writing it does. And when a poem is read aloud, there's a communal, at times ritualistic, element that can make a reading feel like collective prayer, even if there are only a few listeners in the audience or I’m listening by myself.

"Allen Ginsberg" © MDCArchives
Allen Ginsberg
© MDCArchives
When I want to feel moved and enlarged, all I have to do is play Patti Smith's rendition of Ginsberg's "Footnote to Howl." His long list poem from 1955 gathers people, places, objects, and abstractions onto a single exuberant altar. It’s certainly a prayer, one that opens this way:

Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy!

The world is holy! The soul is holy! The skin is holy! The nose is holy! The tongue and **** and hand and ******* holy!

Everything is holy! everybody’s holy! everywhere is holy! everyday is in eternity! Everyman’s an angel!

Some parts of Ginsberg's list ("forgiveness! charity! faith! bodies! suffering! magnanimity!") belong in any conventional catalogue of what a prayer celebrates as sacred. Other profane elements ("the ***** of the grandfathers of Kansas!") gain admission because they are swept up into his ritualistic roll call.

I can easily parody Ginsberg's litany: Holy the Dairy Queen, holy the barns of the Amish where cheese is releasing its ambitious stench, holy the Pittsburgh Pirates and the Internet. But reading the poem aloud feels to me the way putting on ritual garments must to a shaman or rabbi or priest. Watching Patti Smith perform the poem (various versions are available on YouTube), I get shivers seeing how it transforms her, and it's clear why she titled her treatment of the poem "Spell."

A parody can't do that. It can't manifest as the palpable unity of intention and utterance. It can't do what Emily Dickinson famously said that poetry did to her:

If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only [ways] I know it. Is there any other way.

Like the process of prayer—to God, to a better and bigger self, to the atmosphere—writing can be a step toward unifying heart, mind, body, universe. Ginsberg's frenzied catalogue ends on "brilliant intelligent kindness of the soul"; Eliot's The Waste Land on "shantih," or "the peace that surpasseth understanding." Neither bang nor whimper, endings like these are at once humble and tenacious. They say "Amen" and step aside so that a greater wordlessness can work its magic.

I was a lost soul
In this world so cold
Where everyone knows the mind becomes corrupted
Because everything in life is about money cars
and that ****** seduction

Just becareful bcus if u get ****** in
Ull cnfuse love with lust
Money for power  
In it's self a contradiction
But still has Everyman wishing
For the life of a superstar when really it's the little ones that make galaxies

but see we are confused by our own infatuations nd a touch of insanity
So here I am trying to figure out my souls anatomy

My attire, flyer than a kite
Bellowing higher
Floating, but ******
Sober, I'm told
The only state I'm in
Ain't about sin
Just a means to avoid
a loose mind
Of a multiple kind
Where happy and mad coincide
Follow me through the workings,

Go inside.

Where the mood pendulates
side to side
With reckless abandon.

Manifest in a man
To have childish tantrums
Self righteous in  his self deprecating anthems
To spring one's phantoms alive.

This, I strive to evade
I hide, but to save
No one else, but me.

Everyman for himself!

The mantra (sadly) of anyone seeking to be Free!

Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy! Holy!
     Holy! Holy! Holy! Holy! Holy! Holy!
The world is holy! The soul is holy! The skin is holy!
     The nose is holy! The tongue and **** and hand
     and ******* holy!
Everything is holy! everybody's holy! everywhere is
     holy! everyday is in eternity! Everyman's an
     angel!
The ***'s as holy as the seraphim! the madman is
     holy as you my soul are holy!
The typewriter is holy the poem is holy the voice is
     holy the hearers are holy the ecstasy is holy!
Holy Peter holy Allen holy Solomon holy Lucien holy
     Kerouac holy Huncke holy Burroughs holy Cas-
     sady holy the unknown buggered and suffering
     beggars holy the hideous human angels!
Holy my mother in the insane asylum! Holy the *****
     of the grandfathers of Kansas!
Holy the groaning saxophone! Holy the bop
     apocalypse! Holy the jazzbands marijuana
     hipsters peace & junk & drums!
Holy the solitudes of skyscrapers and pavements! Holy
     the cafeterias filled with the millions! Holy the
     mysterious rivers of tears under the streets!
Holy the lone juggernaut! Holy the vast lamb of the
     middle class! Holy the crazy shepherds of rebell-
     ion! Who digs Los Angeles IS Los Angeles!
Holy New York Holy San Francisco Holy Peoria &
     Seattle Holy Paris Holy Tangiers Holy Moscow
     Holy Istanbul!
Holy time in eternity holy eternity in time holy the
     clocks in space holy the fourth dimension holy
     the fifth International holy the Angel in Moloch!
Holy the sea holy the desert holy the railroad holy the
     locomotive holy the visions holy the hallucina-
     tions holy the miracles holy the eyeball holy the
     abyss!
Holy forgiveness! mercy! charity! faith! Holy! Ours!
     bodies! suffering! magnanimity!
Holy the supernatural extra brilliant intelligent
     kindness of the soul!

                                   Berkeley 1955

Look, I just want to move you.
Woo you.
Shake you loose but never lose you.
I want to
Savor the glazed reverent silence
Of your gasping, ungrasped breath.
Sip it down till there's nothing left
Yet still explain all the rest.
See, it's time I unearth some gold.
Nothing here sold.
Just given freely to slurp up,
served up cold.
But I dare not go it alone.
Not when there's so many heplping hands
Beyond my own.
So I first court Eloquence.
She's an easy mark to find,
volubly masticating volumes
while leisurely lathering her tanned,
Leather skin.
Dolloping her monocle-bodied features
In librarian sin.
She says...
"My dear boy.
Berate them NOT
with your false start,
lethargic oddities.
Your penchant,
Melancholic falsities.
You must but grunt through the trudgery
Of your muddy misgivings,
And birth only accessible
Pertinent notions.
Neither precarious nor
Incongruous to the truth!
Robby.
You must simply relinquish your
Intrepid, frenzied paucities!
So I dismiss the diss.
Since
her big scary words are kinda lost to me.
Evidently, though,
I must need a Joe Blow.
An Everyman.
A Streetcorner Clairvoyant.
I turn to
(drum roll)
Raunchiness.
His beer belly **** and **** jokes
And dollar store aftershave suggest
A pleasing 'pull-my-finger' charm
that just might turn the trick.
He licks his lips,
And chides through a buck-tooth,
Spit shine smile.
Sheeeooot, boy,
That there one's easy.
All you gotsta do is
Go down deep
And speak from your gut.
Tell em how you feel..
How you REALLY feel.
Tell em..
shoot, tell em they rub you just right,
You might well feel as ***** as
Your gas gauge after a good pump.
As ***** as a McD's wrapper
Corner-pinch-discarded like
A used diaper hammock.
Yeah! You tell em your as ******
As a receptacle
For used diaper hammocks!
Hells yeah.
Girls will eat that **** up!
And say you're as gay as rainbow gold
As straight as an arrow-head.
As misled as finding your folks are still *** fiends
or as contradictory as ***** like me!
Boy, you are as con-fused as the
Lumpy, stumpy, pimply dimpled teen who finds out
Santa Claus IS real!
And he's hanging out loose
In every single Hustler Magazine!
Now hear me boy.
If they still don't care,
Or they see that you're scared,
Just say you feel as guilty as midnight dials
From parents of Girls-Gone-Wild,
sneering,
"Well shoot, sugar plum.
You sure ain't been feeling
Real secure in awhile."
And as he loosely labels me
As awkward as **** thermometers,
As misunderstood as **** plugs,
I give Raunchiness a dismissive shrug,
And return to the mystery
Of what I've missed from me,
Whatever still may be
My own poetic style.

greece, even, in the nostalgia decades sometimes wore american clothes
but she spoke no english, was starkly unilingual
save for the french "sillage". she was the reason they teach you safe ***
and abstinence: the reason they couldn't trust you
she dressed more american than everybody else; she was a beautiful cockeyed anachronism

your jimmy stewart baby blues on her, brandy-sanctioned
better than the everyman. and a hallucination of your stand-in therapist
asking you "why should there be guilt if there is pleasure?"
and you replying horselike/illogical "it is the unconscious fantasy that i can be torn apart"

My biggest fear has nothing to do
     with monsters, the dark, death,
     or any of those usual frights.
No, my most intense scare comes
     from the anticipation that one day
     you may see me the same way
     I see myself.
For you see I'm not the girl that guys
     conjure up in their daydreams.
I could never hope to pass as one
     of those flitty girly-girls who know
     of quizzical things such as
               make-up
               cute hairstyles
               or fashion.
My blemishes show, and honestly
     I haven't a clue how to hide them
     anyway.
I look at braided hair, beachy waves,
     and effortless updos with envy
     My hair has two styles: up or down.
I've never in my life looked casually cute,
     and am obviously uncomfortable
     in a dress.  Please just pass me
     my jeans and t-shirt back,
     I'm much more myself in them.
     How does one even walk in heels?
I'd like to think I'm one of those
     "cool" girls that guys claim
     they love, the low-maintenance
     type chick, but I don't think
     I'm "cool" at all, really.
When guys describe those chicks,
     they do things like
               play video games
               quote Star Wars
               read comic books
     like some ideal gorgeous geek.
Well that's **** sure not me either.
     I **** at video games,
     love Star Wars, but
     I'm terrible with movie references,
     and have never read comics.
     Does manga count?
     I'm kind of starting to get into that...
I'm not the nerd's epitome of perfection
     either, the everyman's ideal.
So what am I? I'm just boring,
     little ole me.
I love to read, and would rather
     spend the night reading
     or watching something than go out.
I'm shy and self-conscious to a fault,
     so don't try bringing me around
     friends, I'll just bring you down.
Honestly, I'm basically a child. I love
               Teenage Mutant Ninja Turtles
               Gargoyles
               Tom & Jerry
               Animaniacs
     and cartoons in general.
I'm quiet and contemplative, often caught
     writing in my notebook,
     detailing my observations
     about the world around me.
I have a ***** mind and a messed-up
     sense of humor, giggling
     of the worst times occasionally.
But all in all, I think of myself
     as pretty boring.  Laidback,
     but with the most capricious of moods.
     I'm both low and high maintenance.
I don't know why you think positively
     of me, but I anticipate the day
     you realize I'm really nothing
     special at all.
The day you discover the truth
     I already know all too well.

Everybody fighting this war
no you cannot win
fighting for these things
everything you've been feeling
fighting for these things
everything you've been learning
everyman is at fight with a war
no you cannot win
a war with yourself
man its a war left within
everyman fighting this war
you know you cannot win
a war with yourself
man its a war left within

Everyman fighting this war
a war with yourself
man its a war left within
trapped with nowhere to hide
you gotta see through blue eagles eyes
soaring high through the trees
yes soaring out, out into thee
now everyman can't you see
the answer my friends always born free
it could be the time and the space
this wonder that you seek

There is a passion that rends the skies
dark of pain, to thunder forth
in this suffering world;

Grace that rains and brings forth
an oasis of refuge in this
world weak of flesh;

The spirit rises weighed on the cross
by the suffering inflicted in place
of Barabbases, thousands.

In the dunes of the desert, a call echoes:
husbandsman, tinkerman, everyman,

Never mind the pharisees;
The spirit to the letter is moon
to the mirage.

Weighed down by the burden of life,
you who have been told you deserve
nothing more than the dirt of the earth
you sinner, you sufferer,

A passion calls forth to you. So difficult
indeed is to see the father, aye,
lawmongers, enough for us to see
this humble son of a carpenter here;

O you crushed
under the wagon wheels of time
taste that love by which you are
before Abraham was.
Come, be pillars
in the mansion of your father;

Tiller toiling away in the sweat of life,
you on whose shoulders walk
the sweet-talking liars
who yet enthroned say
you are worth
only more taxation,

You can part waters. You are a miracle.
You drive away ghosts. You can
call the dead to life. Yet you are
love and see no difference
in Mary from Mary,

a secret ocean at the shore of an oasis
to drink of, until we are here
as He is in heaven.

Heaven for us to see and live here
not some unknowable hereafter.

Why Has Everyman Turned To Beards?

It’s weird,
This shift to beard controlled appearance.
A trend it seems, not only spreading,
But which has no end.
Scratching when it kisses,
Missing out on blisses, I assure you.
Shaping face, I must admit,
(but not to everyman’s face-benefit).

If truth be told,
It must be hell to keep a chin/cheek fold all squeaky smooth.
But who in heavens want to hold, take hold
                                                           of bristles,
Or see badly shaped and prickly thistles?
Men have aped since lunar’s start.
Everyone knows that!
Fashion is contagious as the rabies from a bat.

Long, short, food-y flecked, unchecked,
Yet there is self-absorption’s admiration.
Let us hope the puppy generation
Growing up will razor up,
Shave every self-helped hair
Formed there (or anywhere.)
It grows unlimitedly wild.

Undefiled, I plead,
Wield the blade
And beauteously shear with care.
Brave new men, you are not cavemen!
Shave men!
One more time and once again -
Just shave!

Why Has Everyman Turned To Beards? 3.27.2020 Our Times, Our Culture II; A Sense Of The Ridiculous II; Arlene Nover Corwin

He is everywhere at once, yet a total mystery
He get's through any lock, yet never has a key
No matter where you go, there is nowhere to hide
He'll be there in the snow, he'll search far and wide

He's the shoulder for your tears
He's the blanket for your fears
He's the voice that no one hears
Yet always there all these years

He is sensitive and caters to all your needs
Where the others fail, he always succeeds
Your every hungry urge now finally feeds
He is the tourniquet for thy heart that bleeds

He is always there for you
In each and every single way
Until you find someone new
And you call him Mr. Yesterday

And now you know who this is truly about
But you may not yet know his very name
Yet you've met him without a single doubt
Because in this game we are all the same

So please, without any further delay
It is and always will be to my dismay

Allow me to introduce you to Mr. Everyman
If a girl is in need, he will be there...if he can

Someone please tell me,  that

..The true Art of Love  is more
than the self-centered,  'incestuous'
  form of  love,  shown
within what the Modern world
refers to as "Romantic love"..
aw ****.. please tell me it is more

    Romantic love says this--
"You are 'of value' to me because I love you"
"You are 'of value' to me because you are in my life"
"You are 'of value' to me because you are  mine"

And after the 'bliss-filled'  romantic love
     ***** the bed..
the only value that remains is through the residual,
soon to be diluted and washed out by displacement--

..Either that of a new self-centered based  'filling'
or that of the re-placement of "value-image"  
with that, brought about through the all-too-ready
  and internally-available Gaslighting process

So please, please explain it to me just how  wonderfully
"romantic' love can truly ever aid in the healing process..
     someone.. please.


     .      .      .      .      .      .      .    

Alone  she sits in her room,  waiting.
The atoms  of the air,  
carry  both sides  of the story--

  The coldness  and the warmth
  the closeness, and the distance

  ..the empty-black
  followed by the Sky-filled Blue

  Someone please tell me,  just who
  helped this little-one  to see
     that the way  out..
     is the way,  through?

Protected to the point  of nearly dying
    Insulation is isolation to the bone
     (she is crying, crying,  crying)

On a Prayer mat,  facing East;
a grounded soul  is flying

    (but flying  so very all alone)

There is a Chaste,  and a Purity
  Borne separated
from the Un-doings  of man..
    Void of all walls,  
   there is a susceptibility

Yet also  a wide-Opening
    to the pressings  of the Ache

There has been a waiting
to the point of near Death
A look in Patient eyes
    (One that separates me  
       from my breath)

Not all are so protected
from the Fallen  love of man
..Not all  have almost died
so all alone  in their room; 

  protected

From that empty kind  of love
leading to an empty, empty  Death

I celebrate this journey in the desert -
I am but a traveler in my time:
in this pasture of my fathers, land,
where stands this miracle of glass
now calling manna down
from the high home of eagles:
I am but a helpless everyman, lost
in the desert, on a journey out
from the clutches of misery, and pain;
The world is making progress.
As I see the oases running farther
away from my sights: on
elevators to the skies, numbers
of the young call on benefactors
across the seas, for a ropeway
across the quagmires: a home, a car
and the family life; saving for a
better day, in the future, while
my home went from mudbrick
to thatched grass, then out on streets
by the gutter with the dogs;
I am a cleaner, cobbler, janitor
in the land where I was the tiller.
Wiping the sweat on my brows
as I loaf on the lawns, awaiting
labour days hyphenated by mealtimes,
there is no witch-doctor now, and
no money to pay up at the hospitals
that the wealthy from afar line up to,
but to die helpless a wretched death,
I celebrate my helplessness!

Every man
I have ever
Loved
Admired
Or even
Respected
Has in some way degraded me
Unforgivably.
This is why I prefer to meet them in passing,
As shadows with hard fingers and
Leers
Or as ghosts with an extra tip
For the pretty waitress.
I cannot love
Admire
Or even
Respect them
If I really see their faces.
So I don't
Look.

If you want flowery poetry
Hit pause, backspace delete.
I write on a lot of subjects;
Only a few could be called sweet.
I’m not into swirling windstorms
Or describing billowy clouds.
Not into extolling autumn leaves
Or conifers standing proud.

I try to select the human things
Whether good or even bad.
Sometimes I wrestle with
Life twists that make us sad.
I try to speak for everyman
And that includes the women.
I try to reflect life circumstances
And the results the travel with them.

So, crooning polysyllabically
Is seldom my favorite tune,
Nor is waxing limerickally
About June, and spoon and moon.
Instead I’ll probably take to task
Those who live in sappy hope
A prince shows up in their life
A proper romantic dope.

I write the rhymes about crooks
That steal from your children
And the supposed leaders
That ****** and abuse women.
I write about parents who
Ignore what their children need
And instead find their joy
On selfishness and greed.

After so many millennia
We really need to stop
Waiting for someone else to come
And be the moral traffic cop.
It is us who need to change
And teach our children accordingly
Because the way we are fixing things
Humanity is progressing dismally.

So keep your butterfly couplets
And views of rain on hedges.
We are falling apart as humans
And it’s visible on the edges.
It will only take a few crazies
With power enough to wield
And this planet, and us of course,
Will no longer have a shield.

What was it like
To be who I was
Before I became
Who I am now?
You want to know
The old, old story
All about the tale
Of when and how?

You know I was not
A member of nobility.
That is not a part
Of my ignoble history.
You know I was not rich
Because I have no gold.
So, what was I after all
In my days of old?

As I was no hero
Heralded in legend songs.
I was but a normal person.
Any praise would be wrong.
There are no carvings,
Friezes on marble walls.
No horde of loyal soldiers
Rally at my urgent call.

But I can leave life
Proud to say what is true.
I died without a penny
To any other person due.
I achieved most of my dreams.
I will say that with my last breath
Between my humble life
And my inglorious death.

The Great Falls,
was a massive
clone of ice;
yet still
her waters
poured forth
in roaring waves
over the ebb
of the river.

Sliding into
a frozen crevasse,
down an icy bar,
I land wet,
chilled and numb
from the duration
of the decent
and the soul
piercing cold.

On the landing,
the carcasses
of industrial waste
were encased
in a frozen loam.

The giant
mill wheel
locked in place,
entombed
in a glacier
of ice.

It made
good sense
to found
this city
on an
industrious
bluff.

The Great Falls
spun the wheels
that powered
vast manufactures.

Shoots
and trams
shot flumes
of water
down
every
street.

Everyman
was a master
of his
cottage industry,
forging bullets
constructing
locomotives,
spinning
the finest silk
from the
most exotic
foreign worms.

But the machines
shut down.

The handiwork
of learned men,
entrepreneurs,
urban planners,
engineers
and artisans
now encased
in frozen rust.

Barely a tool
could be used
to produce
a product
or plumb
a line.

A simple
hand tool
could not
be lifted
without
betraying
its purpose.

A society
of useful
manufactures
frozen shut;
dissolving
into bankrupt
liquidation;
so I left
my home
on Chianci Street
and caught the first
Paterson Plank coach
to the Hoboken Ferry.

I would be in
Manhattoes
by nightfall.

The morning travels
consumed thoughts
of future prospects.

The
silk mill
forever
closed.

The industry
of my home
city,
dead.

This weaver
of fine silk
had lost
his loom.

For William Carlos Williams
From: Vesuvia, 1997

Music Selection:
Yo-Yo Ma & Silk Road Ensemble,
Arabian Waltz

You could say he hates her,

From the way she talks to him, how every rose is ****** at him thorns first - millions of little slashes - battle wounds of the everyman adding up day to day week to week year to year the river of blood leaks to the ocean big enough to drown them both.

He fires back though, and across the battlements of the dinner table sits the enemy shaking a half empty bottle of depression pills, basing how much happiness was left for the month off of the rattling of white capsules against the orange bottle.. She, how could she have ever given birth to him? Some might argue that was all she ever did for him, too preoccupied with her reflection to see the mirror image her son had become with his suken eyes, a rotton apple, a cyanide cynic at the ripe fresh age of fifteen.

So six months later when they both led the cavalry in charge for the umpteenth time throwing dagger words laced with poison aimed high at heads ducked below cover to a safe place (but of course there is no safe place),

Who would've thought when he told her to start taking her pills she'd take them all. Tip top of the bottle bottoms up for the bottle plain white capsules and blood red wine because when she goes out  she goes out like a lady.

Its a sad sight seeing all her family weep at her grave, cry true tears clear and pure. All her family but one, her beloved boy. How dry face and stone visage were oh so heart wrenching.

But perhaps worst of all, is that you could say he hates her even now