These are poems I have written for other poets, after other poets, about other poets, and about poets and poetry in general.
What the Poet Sees
by Michael R. Burch
What the poet sees,
he sees as a swimmer
~~~~underwater~~~~
watching the shoreline blur
sees through his breath’s weightless bubbles ...
Both worlds grow obscure.
In Praise of Meter
by Michael R. Burch
The earth is full of rhythms so precise
the octave of the crystal can produce
a trillion oscillations, yet not lose
a second’s beat. The ear needs no device
to hear the unsprung rhythms of the couch
drown out the mouth’s; the lips can be debauched
by kisses, should the heart put back its watch
and find the pulse of love, and sing, devout.
If moons and tides in interlocking dance
obey their numbers, what’s been left to chance?
Should poets be more lax—their circumstance
as humble as it is?—or readers wince
to see their ragged numbers thin, to hear
the moans of drones drown out the Chanticleer?
Discrimination
by Michael R. Burch
for lovers of traditional poetry
The meter I had sought to find, perplexed,
was ripped from books of “verse” that read like prose.
I found it in sheet music, in long rows
of hologramic CDs, in sad wrecks
of long-forgotten volumes undisturbed
half-centuries by archivists, unscanned.
I read their fading numbers, frowned, perturbed—
why should such tattered artistry be banned?
I heard the sleigh bells’ jingles, vampish ads,
the supermodels’ babble, Seuss’s books
extolled in major movies, blurbs for abs ...
A few poor thinnish journals crammed in nooks
are all I’ve found this late to sell to those
who’d classify free verse “expensive prose.”
Published by The Chariton Review, The Eclectic Muse (Canada), FreeXpression (Australia), Famous Poets and Poems, Inspirational Stories, Poetry Life & Times and Trinacria (where it was nominated for the Pushcart Prize)
Goddess
by Michael R. Burch
for Kevin N. Roberts
“What will you conceive in me?”—
I asked her. But she
only smiled.
“Naked, I bore your child
when the wolf wind howled,
when the cold moon scowled . . .
naked, and gladly.”
“What will become of me?”—
I asked her, as she
absently stroked my hand.
Centuries later, I understand:
she whispered—“I Am.”
Published by Romantics Quarterly (the first poem in the first issue), Penny Dreadful, Unlikely Stories, Underground Poets, Poetically Speaking, Poetry Life & Times and Little Brown Poetry
The Forge
by Michael R. Burch
for Seamus Heaney
To at last be indestructible, a poem
must first glow, almost flammable, upon
a thing inert, as gray, as dull as stone,
then bend this way and that, and slowly cool
at arm’s-length, something irreducible
drawn out with caution, toughened in a pool
of water so contrary just a hiss
escapes it—water instantly a mist.
It writhes, a thing of senseless shapelessness ...
And then the driven hammer falls and falls.
The horses prick their ears in nearby stalls.
A soldier on his cot leans back and smiles.
A sound of ancient import, with the ring
of honest labor, sings of fashioning.
This is a sonnet about forging sonnets. The gray "anvil" is the human brain. The fiery "glow" is the poetic imagination. The cooling and shaping are the process of revision. The hammer is the poet's pen, producing order out of chaos.
A Passing Observation about Thinking Outside the Box
by Michael R. Burch
William Blake had no public, and yet he’s still read.
His critics are dead.
Caveat Spender
by Michael R. Burch
for Stephen Spender
It’s better not to speculate
“continually” on who is great.
Though relentless awe’s
a Célèbre Cause,
please reserve some time for the contemplation
of the perils of EXAGGERATION.
Bittersight
by Michael R. Burch
for Abu al-Ala Al-Ma'arri
To be plagued with sight
in the Land of the Blind,
—to know birth is death
and that Death is kind—
is to be flogged like Eve
(stripped, sentenced and fined)
because evil is “good”
in some backwards mind.
The Pain of Love
by Michael R. Burch
for Tom Merrill
The pain of love is this:
the parting after the kiss;
the train steaming from the station
whistling abnegation;
each interstate’s bleak white bar / every highways’ broken white bar
that vanishes under your car;
every hour and flower and friend / each (with the second option above)
that cannot be saved in the end;
dear things of immeasurable cost ...
now all irretrievably lost.
The title “The Pain of Love” was suggested by an interview with Little Richard, then eighty years old, in Rolling Stone. He said that someone should create a song called “The Pain of Love.”
At Wilfred Owen’s Grave
by Michael R. Burch
A week before the Armistice, you died.
They did not keep your heart like Livingstone’s,
then plant your bones near Shakespeare’s. So you lie
between two privates, sacrificed like Christ
to politics, your poetry unknown
except for that brief flurry’s: thirteen months
with Gaukroger beside you in the trench,
dismembered, as you babbled, as the stench
of gangrene filled your nostrils, till you clenched
your broken heart together and the fist
began to pulse with life, so close to death.
Or was it at Craiglockhart, in the care
of “ergotherapists” that you sensed life
is only in the work, and made despair
a thing that Yeats despised, but also breath,
a mouthful’s merest air, inspired less
than wrested from you, and which we confess
we only vaguely breathe: the troubled air
that even Sassoon failed to share, because
a man in pieces is not healed by gauze,
and breath’s transparent, unless we believe
the words are true despite their lack of weight
and float to us like chlorine—scalding eyes,
and lungs, and hearts. Your words revealed the fate
of boys who retched up life here, gagged on lies.
Abide
by Michael R. Burch
after Philip Larkin’s “Aubade”
It is hard to understand or accept mortality—
such an alien concept: not to be.
Perhaps unsettling enough to spawn religion,
or to scare mutant fish out of a primordial sea
boiling like goopy green soup in a kettle.
Perhaps a man should exhibit more mettle
than to admit such fear, denying Nirvana exists
simply because we are stuck here in such a fine fettle.
And so we abide ... even in life, staring out across that dark brink.
And if the thought of death makes your questioning heart sink,
it is best not to drink (or, drinking, certainly not to think).
Published by Light Quarterly, Lighten Up Online, Triplopia and Poetry Life & Times
The Harvest of Roses
by Michael R. Burch
for Harvey Stanbrough
I have not come for the harvest of roses—
the poets' mad visions,
their railing at rhyme ...
for I have discerned what their writing discloses:
weak words wanting meaning,
beat torsioning time.
Nor have I come for the reaping of gossamer—
images weak,
too forced not to fail;
gathered by poets who worship their luster,
they shimmer, impendent,
resplendently pale.
This poem was originally published by The Raintown Review when Harvey Stanbrough was the editor, then later by Mindful of Poetry.
Gallant Knight
by Michael R. Burch
for Alfred Dorn
Till you rest with your beautiful Anita,
rouse yourself, Poet; rouse and write.
The world is not ready for your departure,
Gallant Knight.
Teach us to sing in the ringing cathedrals
of your Verse, as you outduel the Night.
Give us new eyes to see Love’s bright Vision
robed in Light.
Teach us to pray, that the true Word may conquer,
that slaves may be freed, the blind have Sight.
Write the word LOVE with a burning finger.
I shall recite.
O, bless us again with your chivalrous pen,
Gallant Knight!
Confetti for Ferlinghetti
by Michael R. Burch
Lawrence Ferlinghetti
is the only poet whose name rhymes with “spaghetti”
and, while not being quite as rich as J. Paul Getty,
he still deserves some confetti
for selling a million books while being a modern Dante Gabriel Rossetti.
Like Dante Gabriel Rossetti, his rhyming namesake Lawrence Ferlinghetti was a poet and a painter. ver one million copies at home and abroad.
Me?
Whee!
(I stole this poem
From Muhammad Ali.)
—Michael R. Burch
This poem was written in response to the Quora question: “Can you write a poem titled “Me”?
The Princess and the Pauper
by Michael R. Burch
for Norman Kraeft in memory of his beloved wife June
Here was a woman bright, intent on life,
who did not flinch from Death, but caught his eye
and drew him, powerless, into her spell
of wanting her himself, so much the lie
that she was meant for him—obscene illusion!—
made him seem a monarch throned like God on high,
when he was less than nothing; when to die
meant many stultifying, pained embraces.
She shed her gown, undid the tangled laces
that tied her to the earth: then she was his.
Now all her erstwhile beauty he defaces
and yet she grows in hallowed loveliness—
her ghost beyond perfection—for to die
was to ascend. Now he begs, penniless.
Poets must sometimes re-butt asses like Trump.—Michael R. Burch
An Obscenity Trial
by Michael R. Burch
The defendant was a poet held in many iron restraints
against whom several critics cited numerous complaints.
They accused him of trying to reach the "common crowd,"
and they said his poems incited recitals far too loud.
The prosecutor alleged himself most artful (and best-dressed);
it seems he’d never lost a case, nor really once been pressed.
He was known far and wide for intensely hating clarity;
twelve dilettantes at once declared the defendant another fatality.
The judge was an intellectual well-known for his great mind,
though not for being merciful, honest, sane or kind.
Clerks loved the "Hanging Judge" and the critics were his kin.
Bystanders said, "They'll crucify him!" The public was not let in.
The prosecutor began his case by spitting in the poet's face,
knowing the trial would be a farce.
"It is obscene," he screamed, "to expose the naked heart!"
The recorder (bewildered Society), well aware of his notoriety,
greeted this statement with applause.
"This man is no poet. Just look—his Hallmark shows it.
Why, see, he utilizes rhyme, symmetry and grammar! He speaks without a stammer!
His sense of rhythm is too fine!
He does not use recondite words or conjure ancient Latin verbs.
This man is an imposter!
I ask that his sentence be . . . the almost perceptible indignity
of removal from the Post-Modernistic roster!"
The jury left, in tears of joy, literally sequestered.
The defendant sighed in mild despair, "Might I not answer to my peers?"
But how His Honor giggled then,
seeing no poets were let in.
Later, the clashing symbols of their pronouncements drove him mad
and he admitted both rhyme and reason were bad.
PROFESSOR POETS
These are poems about professor poets and other “intellectuals” who miss the main point of poetry, which is to connect with readers via pleasing sounds and the communication of emotion as well as meaning.
Professor Poets
by Michael R. Burch
Professor poets remind me of drones
chasing the Classical queen's aging bones.
With bottle-thick glasses they still see to write —
droning on, endlessly buzzing all night.
And still in our classrooms their tomes are decreed ...
Perhaps they're too busy with buzzing to breed?
In my next poem the “businessmen” are the poetry professors and professional poetry publishers who speak dismissively of the things that made poetry popular with the masses: rhythm, rhyme, clarity, accessible storytelling, etc.
The Board
by Michael R. Burch
Accessible rhyme is never good.
The penalty is understood—
soft titters from dark board rooms where
the businessmen paste on their hair
and, Colonel Klinks, defend the Muse
with reprimands of Dr. Seuss.
The Beat Goes On (and On and On and On ...)
by Michael R. Burch
Bored stiff by his board-stiff attempts
at “meter,” I crossly concluded
I’d use each iamb
in lieu of a lamb,
bedtimes when I’m under-quaaluded.
Alien
by Michael R. Burch
for J. S. S., a poetry professor
On a lonely outpost on Mars
the astronaut practices “speech”
as alien to primates below
as mute stars winking high, out of reach.
And his words fall as bright and as chill
as ice crystals on Kilimanjaro —
far colder than Jesus’s words
over the “fortunate” sparrow.
And I understand how gentle Emily
felt, when all comfort had flown,
gazing into those inhuman eyes,
feeling zero at the bone.
Oh, how can I grok his arctic thought?
For if he is human, I am not.
The opposite approach to the poetry professors, the poetry journalists and the uber-intellectuals is that of musicians to their instruments and the music they produce…
Duet, Minor Key
by Michael R. Burch
Without the drama of cymbals
or the fanfare and snares of drums,
I present my case
stripped of its fine veneer:
Behold, thy instrument.
Play, for the night is long.
US Verse, after Auden
by Michael R. Burch
“Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.”
Verse has small value in our Unisphere,
nor is it fit for windy revelation.
It cannot legislate less taxing fears;
it cannot make us, several, a nation.
Enumerator of our sins and dreams,
it pens its cryptic numbers, and it sings,
a little quaintly, of the ways of love.
(It seems of little use for lesser things.)
The Unisphere mentioned is a spherical stainless steel representation of the earth constructed for the 1964 New York World’s Fair. It was commissioned to celebrate the beginning of the space age and dedicated to "Man's Achievements on a Shrinking Globe in an Expanding Universe." The lines quoted in the epigraph are from W. H. Auden’s love poem “Lullaby.”
Caveat
by Michael R. Burch
If only we were not so eloquent,
we might sing, and only sing, not to impress,
but only to enjoy, to be enjoyed.
We might inundate the earth with thankfulness
for light, although it dies, and make a song
of night descending on the earth like bliss,
with other lights beyond—not to be known—
but only to be welcomed and enjoyed,
before all worlds and stars are overthrown ...
as a lover’s hands embrace a sleeping face
and find it beautiful for emptiness
of all but joy. There is no thought to love
but love itself. How senseless to redress,
in darkness, such becoming nakedness . . .
Come Down
by Michael R. Burch
for Harold Bloom and the Ivory Towerists
Come down, O, come down
from your high mountain tower.
How coldly the wind blows,
how late this chill hour ...
and I cannot wait
for a meteor shower
to show you the time
must be now, or not ever.
Come down, O, come down
from the high mountain heather
blown, brittle and brown,
as fierce northern gales sever.
Come down, or your heart
will grow cold as the weather
when winter devours
and spring returns never.
Rant: The Elite
by Michael R. Burch
When I heard Harold Bloom unsurprisingly say:
"Poetry is necessarily difficult. It is our elitist art ..."
I felt a small suspicious thrill. After all, sweetheart,
isn’t this who we are? Aren’t we obviously better,
and certainly fairer and taller, than they are?
Though once I found Ezra Pound
perhaps a smidgen too profound,
perhaps a bit over-fond of Benito
and the advantages of fascism
to be taken ad finem, like high tea
with a pure white spot of intellectualism
and an artificial sweetener, calorie-free.
I know! I know! Politics has nothing to do with art
And it tempts us so to be elite, to stand apart ...
but somehow the word just doesn’t ring true,
echoing effetely away—the distance from me to you.
Of course, politics has nothing to do with art,
but sometimes art has everything to do with becoming elite,
with climbing the cultural ladder, with being able to meet
someone more Exalted than you, who can demonstrate how to fart
so that everyone below claims one’s odor is sweet.
"You had to be there! We were falling apart
with gratitude! We saw him! We wept at his feet!"
Though someone will always be far, far above you, clouding your air,
gazing down at you with a look of wondering despair.
Keywords/Tags: Harold Bloom, literary critic, literary criticism, elitist, ivory tower, poetry professor, literary fascist
Sweenies (or Swine-ies) Among the Nightingales
by Michael R. Burch
for the Corseted Ones and the Erratics
Open yourself to words, and if they come,
be glad the stone-tongued apes are stricken dumb
by anything like music; they believe
in petrified dry meaning. Love conceives
wild harmonies,
while lumberjacks fell trees.
Sweet, unifying music, a cappella ...
but apeneck Sweeny’s not the brightest fella.
He has no interest in celestial brightness;
he’d distill Love to chivalry, politeness,
yet longs to be acclaimed, like those before him
who (should the truth be told) confuse and bore him.
For Sweeney is himself a piggish boor —
the kind pale pearl-less swine claim to adore.
Untitled Haiku
Fireflies
thinking to illuminate the darkness?
Poets!
—Michael R. Burch
BeMused
by Michael R. Burch
You will find in her hair
a fragrance more severe
than camphor.
You will find in her dress
no hint of a sweet
distractedness.
You will find in her eyes
horn-owlish and wise
no metaphors
of love, but only reflections
of books, books, books.
If you like Her looks,
meet me in the long rows,
between Poetry and Prose,
where we’ll win Her favor
with jousts, and savor
the wine of Her hair,
the shimmery wantonness
of Her rich-satined dress;
where we’ll press
our good deeds upon Her, save Her
from every distress,
for the lovingkindness
of Her matchless eyes
and all the suns of Her tongues.
We were young,
once,
unlearned and unwise . . .
but, O, to be young
when love comes disguised
with the whisper of silks
and idolatry,
and even the childish tongue claims
the intimacy of Poetry.
Impotent
by Michael R. Burch
Tonight my pen
is barren
of passion, spent of poetry.
I hear your name
upon the rain
and yet it cannot comfort me.
I feel the pain
of dreams that wane,
of poems that falter, losing force.
I write again
words without end,
but I cannot control their course . . .
Tonight my pen
is sullen
and wants no more of poetry.
I hear your voice
as if a choice,
but how can I respond, or flee?
I feel a flame
I cannot name
that sends me searching for a word,
but there is none
not over-done,
unless it's one I never heard.
I believe this poem was written in my late teens or early twenties.
The Monarch’s Rose or The Hedgerow Rose
by Michael R. Burch
I lead you here to pluck this florid rose
still tethered to its post, a dreary mass
propped up to stiff attention, winsome-thorned
(what hand was ever daunted less to touch
such flame, in blatant disregard of all
but atavistic beauty)? Does this rose
not symbolize our love? But as I place
its emblem to your breast, how can this poem,
long centuries deflowered, not debase
all art, if merely genuine, but not
“original”? Love, how can reused words
though frailer than all petals, bent by air
to lovelier contortions, still persist,
defying even gravity? For here
beat Monarch’s wings: they rise on emptiness!
Over(t) Simplification
by Michael R. Burch
“Keep it simple, stupid.”
A sonnet is not simple, but the rule
is simply this: let poems be beautiful,
or comforting, or horrifying. Move
the reader, and the world will not reprove
the idiosyncrasies of too few lines,
too many syllables, or offbeat beats.
It only matters that *she* taps her feet
or that *he* frowns, or smiles, or grimaces,
or sits bemused—a child—as images
of worlds he’d lost come flooding back, and then...
they’ll cheer the poet’s insubordinate pen.
A sonnet is not simple, but the rule
is simply this: let poems be beautiful.
Writing Verse for Free, Versus Programs for a Fee
by Michael R. Burch
How is writing a program like writing a poem? You start with an idea, something fresh. Almost a wish. Something effervescent, like foam flailing itself against the rocks of a lost tropical coast . .
After the idea, of course, there are complications and trepidations, as with the poem or even the foam. Who will see it, appreciate it, understand it? What will it do? Is it worth the effort, all the mad dashing and crashing about, the vortex—all that? And to what effect?
Next comes the real labor, the travail, the scouring hail of things that simply don’t fit or make sense. Of course, with programming you have the density of users to fix, which is never a problem with poetry, since the users have already had their fix (this we know because they are still reading and think everything makes sense); but this is the only difference.
Anyway, what’s left is the debugging, or, if you’re a poet, the hugging yourself and crying, hoping someone will hear you, so that you can shame them into reading your poem, which they will refuse, but which your mother will do if you phone, perhaps with only the tiniest little mother-of-the-poet, harried, self-righteous moan.
The biggest difference between writing a program and writing a poem is simply this: if your program works, or seems to work, or almost works, or doesn’t work at all, you’re set and hugely overpaid. Made-in-the-shade-have-a-pink-lemonade-and-ticker-tape-parade OVERPAID.
If your poem is about your lover and sucks up quite nicely, perhaps you’ll get laid. Perhaps. Regardless, you’ll probably see someone repossessing your furniture and TV to bring them posthaste to someone like me. The moral is this: write programs first, then whatever passes for poetry. DO YOUR SHARE; HELP END POVERTY TODAY!
a peom in supsport of a dsylexci peot
by michael r. burch, allso a peot
for ken d williams
pay no hede to the saynayers,
the asburd wordslayers,
the splayers and sprayers,
the heartless diecriers,
the liers!
what the hell due ur criticks no?
let them bellow below!
ur every peom has a good haert
and culd allso seerv as an ichart!
There are a number of puns, including ur (my term for original/ancient/first), no/know, pay/due, the critic as both absurd and an as(s)-burd who is he(artless), and the poet as the (seer)v of an (i)-chart for all. Here is an encoded version:
(pay) k(no)w hede to the say(nay)ers,
the as(s)bird word(s*)layers,
the s*(players) and s*(prayers),
the he(artless) (die)(cry)ers,
the (lie)rs!
what the hell (due) ur (cry)(ticks) k(no)w?
let them (be)l(low) below!
(ur) every peom has a good haert
and culd (all)so (seer)ve as an (i)chart!
***
Rejection Slip
by Michael R. Burch
pour Melissa Balmain
Whenever my writing gets rejected
I always wonder how the rejecter got elected.
Are we exchanging at the same Bourse?
(Excepting present company, of course!)
***
escape!
by michael r. burch
for anaïs vionet
to live among the daffodil folk . . .
slip down the rainslickened drainpipe . . .
suddenly pop out
the GARGANTUAN SPOUT . . .
minuscule as alice, shout
yippee-yi-yee!
in wee exultant glee
to be leaving behind the
LARGE
THREE-DENALI GARAGE.
Published by Andwerve, Bewildering Stories and The HyperTexts
***
Millay Has Her Way with a Vassar Professor
by Michael R. Burch
After a night of hard drinking and spreading her legs,
Millay hits the dorm, where the Vassar don begs:
“Please act more chastely, more discretely, more seemly!”
(His name, let’s assume, was, er ... Percival Queemly.)
“Expel me! Expel me!”—She flashes her eyes.
“Oh! Please! No! I couldn’t! That wouldn’t be wise,
for a great banished Shelley would tarnish my name ...
Eek! My game will be lame if I can’t milque your fame!”
“Continue to live here—carouse as you please!”
the beleaguered don sighs as he sags to his knees.
Millay grinds her crotch half an inch from his nose:
“I can live in your hellhole, strange man, I suppose ...
but the price is your firstborn, whom I’ll sacrifice to Moloch.”
(Which explains what became of pale Percy’s son, Enoch.)
Originally published by Lucid Rhythms
***
Of Civilization and Disenchantment
by Michael R. Burch
for Anaïs Vionet
Suddenly uncomfortable
to stay at my grandfather’s house—
actually his third new wife’s,
in her daughter’s bedroom
—one interminable summer
with nothing to do,
all the meals served cold,
even beans and peas—
Lacking the words to describe
ah!, those pearl-lustrous estuaries—
strange omens, incoherent nights.
Seeing the flares of the river barges
illuminating Memphis,
city of bluffs and dying splendors.
Drifting toward Alexandria,
Pharos, Rhakotis, Djoser’s fertile delta,
lands at the beginning of a new time and “civilization.”
Leaving behind sixty miles of unbroken cemetery,
Alexander’s corpse floating seaward,
bobbing, milkwhite, in a jar of honey.
Memphis shall be waste and desolate,
without an inhabitant.
Or so the people dreamed, in chains.
Published by The Centrifugal Eye and The Centrifugal Eye Fifth Anniversary Anthology
***
Professor Poets
by Michael R. Burch
Professor poets remind me of drones
chasing the Classical queen's aging bones.
With bottle-thick glasses they still see to write —
droning on, endlessly buzzing all night.
And still in our classrooms their tomes are decreed ...
Perhaps they're too busy with buzzing to breed?
***
Poetry
by Michael R. Burch
Poetry, I found you where at last they chained and bound you;
with devices all around you to torture and confound you,
I found you—shivering, bare.
They had shorn your raven hair and taken both your eyes
which, once cerulean as Gogh’s skies, had leapt with dawn to wild surmise
of what was waiting there.
Your back was bent with untold care; there savage brands had left cruel scars
as though the wounds of countless wars; your bones were broken with the force
with which they’d lashed your flesh so fair.
You once were loveliest of all. So many nights you held in thrall
a scrawny lad who heard your call from where dawn’s milling showers fall—
pale meteors through sapphire air.
I learned the eagerness of youth to temper for a lover’s touch;
I felt you, tremulant, reprove each time I fumbled over-much.
Your merest word became my prayer.
You took me gently by the hand and led my steps from boy to man;
now I look back, remember when—you shone, and cannot understand
why here, tonight, you bear their brand.
I will take and cradle you in my arms, remindful of the gentle charms
you showed me once, of yore;
and I will lead you from your cell tonight—back into that incandescent light
which flows out of the core of a sun whose robes you wore.
And I will wash your feet with tears for all those blissful years . . .
my love, whom I adore.
Originally published by The Lyric, then subsequently by Amerikai költok a második (Hungarian translation by István Bagi), La Luce Che Non Muore (Italy), The Eclectic Muse (Canada), Shabestaneh (Iran), Kritya (India), Sailing in the Mist of Time (Anthology of Fifty Award-Winning Poems), Anthology of Contemporary American Poetry, Captivating Poetry (Anthology), Formal Verse, Tucumcari Literary Review, The Chained Muse, The New Lyre, Poet’s Haven, Poet’s Corner, Famous Poets and Poems and Inspirational Stories
***
Nightfall
by Michael R. Burch
for Kevin Nicholas Roberts
Only the long dolor of dusk delights me now,
as I await death.
The rain has ruined the unborn corn,
and the wasting breath
of autumn has cruelly, savagely shorn
each ear of its radiant health.
As the golden sun dims, so the dying land seems to relinquish its vanishing wealth.
Only a few erratic, trembling stalks still continue to stand,
half upright,
and even these the winds have continually robbed of their once-plentiful,
golden birthright.
I think of you and I sigh, forlorn, on edge
with the rapidly encroaching night.
Ten thousand stillborn lilies lie limp, mixed with roses, unable to ignite.
Whatever became of the magical kernel, golden within
at the winter solstice?
What of its promised kingdom, Amen!, meant to rise again
from this balmless poultice,
this strange bottomland where one Scarecrow commands
dark legions of ravens and mice?
And what of the Giant whose bellows demand our negligible lives, his black vice?
I find one bright grain here aglitter with rain, full of promise and purpose
and drive.
Through lightning and hail and nightfalls and pale, cold sunless moons
it will strive
to rise up from its “place” on a network of lace, to the glory
of being alive.
Why does it bother, I wonder, my brother? O, am I unwise to believe?
But Jack had his beanstalk
and you had your poems
and the sun seems intent to ascend
and so I also must climb
to the end of my time,
however the story
may unwind
and
end.
This poem was written around a month after Kevin’s death.
***
Storied Lovers
by Michael R. Burch
for Kevin and Janice Roberts
In your quest for the Beloved,
my brother, did you make
a near-fatal mistake?
Did you trust in the Enchantress,
La Belle Dame, as they say,
Sans Merci? Shall I pray
more kindly hands to gather you
to warmer breasts, and hold
your Spirit there, enfold
your heart in love’s sweet blessedness?
No need! One Angel’s fond caress
was your sweet haven here.
None ever held more dear,
you harbored with your Anchoress
whenever storms drew near.
Whatever storms drew near,
however great the Flood,
she held you, kind and good,
no imperious savage Empress,
but as earthly Angels should.
In your quest for the Beloved
did the road take some strange fork
where ecstatic feys cavort
that led you to her hermitage
and her hearth, safe from that wood.
(Did La Belle Dame’s dark eyes hood?)
I am thankful for the marriage
two tender spirits shared.
When the raging waters glared
and the deadly bugles blared
like cruel Trumps of Doom, below
how strong death’s undertow!
But true spirits never sink.
Though he swam through hell’s fell stink
and a sea of putrid harms,
he swam back to your arms!
Life lived upon the brink
of death, man’s human fate,
can yet such Love create
that the hosts above, spellbound,
fall silent. So confound
the heavens with your Love
and fly, O tender Dove!,
to wherever hearts may rest
once having sweetly blessed
a heart like my dear brother’s
and be both storied lovers.
Amen
I wrote this poem on New Year’s Day, January 1, 2009.
***
Orpheus
by Michael R. Burch
for and after William Blake
I.
Many a sun
and many a moon
I walked the earth
and whistled a tune.
I did not whistle
as I worked:
the whistle was my work.
I shirked
nothing I saw
and made a rhyme
to children at play
and hard time.
II.
Among the prisoners
I saw
the leaden manacles
of Law,
the heavy ball and chain,
the quirt.
And yet I whistled
at my work.
III.
Among the children’s
daisy faces
and in the women’s
frowsy laces,
I saw redemption,
and I smiled.
Satanic millers,
unbeguiled,
were swayed by neither girl,
nor child,
nor any God of Love.
Yet mild
I whistled at my work,
and Song
broke out,
ere long.
***
At Cædmon’s Grave
by Michael R. Burch
“Cædmon’s Hymn,” composed at the Monastery of Whitby (a North Yorkshire fishing village), is one of the oldest known poems written in the English language, dating back to around 680 A.D. According to legend, Cædmon, an illiterate Anglo-Saxon cowherd, received the gift of poetic composition from an angel; he subsequently founded a school of Christian poets. Unfortunately, only nine lines of Cædmon’s verse survive, in the writings of the Venerable Bede. Whitby, tiny as it is, reappears later in the history of English literature, having been visited, in diametric contrast, by Lewis Carroll and Bram Stoker’s ghoulish yet evocative Dracula.
At the monastery of Whitby,
on a day when the sun sank through the sea,
and the gulls shrieked wildly, jubilant, free,
while the wind and time blew all around,
I paced those dusk-enamored grounds
and thought I heard the steps resound
of Carroll, Stoker and good Bede
who walked there, too, their spirits freed
—perhaps by God, perhaps by need—
to write, and with each line, remember
the glorious light of Cædmon’s ember,
scorched tongues of flame words still engender.
Here, as darkness falls, at last we meet.
I lay this pale garland of words at his feet.
Published by The Lyric, Volume 80, Number 4
***
Caedmon’s Face
by Michael R. Burch
1.
At the monastery of Whitby,
on a day when the sun sank through the sea,
and the gulls shrieked wildly, jubilant, free,
while the wind and Time blew all around,
I paced that dusk-enamored ground
and thought I heard the steps resound
of Carroll, Stoker and good Bede
who walked here too, their spirits freed
—perhaps by God, perhaps by need—
to write, and with each line, remember
the glorious light of Caedmon’s ember:
scorched tongues of flame words still engender.
2.
He wrote here in an English tongue,
a language so unlike our own,
unlike—as father unto son.
But when at last a child is grown.
his heritage is made well-known;
his father’s face becomes his own.
3.
He wrote here of the Middle-Earth,
the Maker’s might, man’s lowly birth,
of every thing that God gave worth
suspended under heaven’s roof.
He forged with simple words His truth
and nine lines left remain the proof:
his face was Poetry’s, from youth.
***
Downdraft
by Michael R. Burch
for Dylan Thomas
We feel rather than understand what he meant
as he reveals a shattered firmament
which before him never existed.
Here, there are no images gnarled and twisted
out of too many words,
but only flocks of white birds
wheeling and flying.
Here, as the sun spins, reeling and dying,
the voice of a last gull
or perhaps some spirit no longer whole,
echoes its lonely madrigal
and we feel its strange pull
on the astonished soul.
O My Prodigal!
The vents of the sky, ripped asunder,
echo this wild, primal thunder—
now dying into undulations of vanishing wings . . .
and this voice which in haggard bleak rapture still somehow downward sings.
***
Caveat
by Michael R. Burch
If only we were not so eloquent,
we might sing, and only sing, not to impress,
but only to enjoy, to be enjoyed.
We might inundate the earth with thankfulness
for light, although it dies, and make a song
of night descending on the earth like bliss,
with other lights beyond—not to be known—
but only to be welcomed and enjoyed,
before all worlds and stars are overthrown ...
as a lover’s hands embrace a sleeping face
and find it beautiful for emptiness
of all but joy. There is no thought to love
but love itself. How senseless to redress,
in darkness, such becoming nakedness . . .
Originally published by Clementine Unbound
***
Distances
by Michael R. Burch
There is a small cleanness about her,
as if she has always just been washed,
and there is a dull obedience to convention
in her accommodating slenderness
as she feints at her salad.
She has never heard of Faust, or Frost,
and she is unlikely to have been seen
rummaging through bookstores
for mementos of others
more difficult to name.
She might imagine “poetry”
to be something in common between us,
as we write, bridging the expanse
between convention and something . . .
something the world calls “art”
for want of a better word.
At night I scream
at the conventions of both our worlds,
at the distances between words
and their objects: distances
come lately between us,
like a clean break.
Published by Verse Libre, Triplopia and Lone Stars
***
Elemental
by Michael R. Burch
for and after Dylan Thomas
The poet delves earth’s detritus—hard toil—
for raw-edged nouns, barbed verbs, vowels’ lush bouquet;
each syllable his pen excretes—dense soil,
dark images impacted, rooted clay.
The poet sees the sea but feels its meaning—
the teeming brine, the mirrored oval flame
that leashes and excites its turgid surface ...
then squanders years imagining love’s the same.
Belatedly, he turns to what lies broken—
the scarred and furrowed plot he fiercely sifts,
among death’s sicksweet dungs and composts seeking
one element whose scorching flame uplifts.
The original title of this poem was “Elemental.” I have also gone with “Radiance” and “Elemental Radiance” from time to time. I think both “elemental” and “radiant” apply to Dylan Thomas’s best poems.
***
Confession
by Michael R. Burch
What shall I say to you, to confess,
words? Words that can never express
anything close to what I feel?
For words that seem tangible, real,
when I think them
become vaguely surreal when I put ink to them.
And words that I thought that I knew,
like "love" and "devotion"
never ring true.
While "passion"
sounds strangely like the latest fashion
or a perfume.
At the time I wrote this poem, a perfume called Passion was in fashion. Keywords/Tags: confession, confess, words, tangible, real, surreal, feelings, love, devotion, passion, perfume, fashion, false advertising, hype
***
Editor's Notes
by Michael R. Burch
Eat, drink and be merry
(tomorrow, be contrary).
(Bitch and complain
in bad refrain,
but please—not till I'm on the plane!)
Write no poem before its time
(in your case, this means never).
Linger over every word
(by which, I mean forever).
By all means, read your verse aloud.
I'm sure you'll be a star
(and just as distant, when I'm gone);
your poems are beauteous (afar).
***
The Board
by Michael R. Burch
Accessible rhyme is never good.
The penalty is understood:
soft titters from dark board rooms where
the businessmen paste on their hair
and, Walter Mitties, woo the Muse
with reprimands of Dr. Seuss.
The best book of the age sold two,
or three, or four (but not to you),
strange copies of the ones before,
misreadings that delight the board.
They sit and clap; their revenues
fall trillions short of Mother Goose.
***
Rant: The Elite
by Michael R. Burch
When I heard Harold Bloom unsurprisingly say:
Poetry is necessarily difficult. It is our elitist art ...
I felt a small suspicious thrill. After all, sweetheart,
isn’t this who we are? Aren’t we obviously better,
and certainly fairer and taller, than they are?
Though once I found Ezra Pound
perhaps a smidgen too profound,
perhaps a bit over-fond of Benito
and the advantages of fascism
to be taken ad finem, like high tea
with a pure white spot of intellectualism
and an artificial sweetener, calorie-free.
I know! I know! Politics has nothing to do with art
And it tempts us so to be elite, to stand apart ...
but somehow the word just doesn’t ring true,
echoing effetely away—the distance from me to you.
Of course, politics has nothing to do with art,
but sometimes art has everything to do with becoming elite,
with climbing the cultural ladder, with being able to meet
someone more Exalted than you, who can demonstrate how to fart
so that everyone below claims one’s odor is sweet.
You had to be there! We were falling apart
with gratitude! We saw him! We wept at his feet!
Though someone will always be far, far above you, clouding your air,
gazing down at you with a look of wondering despair.
***
An Ecstasy of Fumbling
by Michael R. Burch
The poets believe
everything resolves to metaphor—
a distillation,
a vapor
beyond filtration,
although perhaps not quite as volatile as before.
The poets conceive
of death in the trenches
as the price of art,
not war,
fumbling with their masque-like
dissertations
to describe the Hollywood-like gore
as something beyond belief,
abstracting concrete bunkers to Achaemenid bas-relief.
***
Wonderland
by Michael R. Burch
We stood, kids of the Lamb, to put to test
the beatific anthems of the blessed,
the sentence of the martyr, and the pen’s
sincere religion. Magnified, the lens
shot back absurd reflections of each face—
a carnival-like mirror. In the space
between the silver backing and the glass,
we caught a glimpse of Joan, a frumpy lass
who never brushed her hair or teeth, and failed
to pass on GO, and frequently was jailed
for awe’s beliefs. Like Alice, she grew wee
to fit the door, then couldn’t lift the key.
We failed the test, and so the jury’s hung.
In Oz, “The Witch is Dead” ranks number one.
Keywords/Tags: Alice, Wonderland, Joan, Arc, martyr, blessed, beatific, religion, witch, Oz, carnival, mirror, lens, jury, kids, lamb, beliefs, faith
***
POEMS ABOUT SHAKESPEARE
by Michael R. Burch
These are poems about Shakespeare, poems written for Shakespeare, and poems written after Shakespeare.
Fleet Tweet: Apologies to Shakespeare
by Michael R. Burch
a tweet
by any other name
would be as fleet!
@mikerburch
Fleet Tweet II: Further Apologies to Shakespeare
by Michael R. Burch
Remember, doggonit,
heroic verse crowns the Shakespearean sonnet!
So if you intend to write a couplet,
please do it on the doublet!
@mikerburch
Stage Fright
by Michael R. Burch
To be or not to be?
In the end Hamlet
opted for naught.
Ophelia
by Michael R. Burch
for Kevin N. Roberts
Ophelia, madness suits you well,
as the ocean sounds in an empty shell,
as the moon shines brightest in a starless sky,
as suns supernova before they die ...
Shakespeare's Sonnet 130 Refuted
by Michael R. Burch, circa age 18
My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
—Shakespeare, Sonnet 130
Seas that sparkle in the sun
without its light would have no beauty;
but the light within your eyes
is theirs alone; it owes no duty.
Whose winsome flame, not half so bright,
is meant for me, and brings delight.
Coral formed beneath the sea,
though scarlet-tendriled, cannot warm me;
while your lips, not half so red,
just touching mine, at once inflame me.
Whose scorching flames mild lips arouse
fathomless oceans fail to douse.
Bright roses’ brief affairs, declared
when winter comes, will wither quickly.
Your cheeks, though paler when compared
with them?—more lasting, never prickly.
Whose tender cheeks, so enchantingly warm,
far vaster treasures, harbor no thorns.
This was my first sonnet, written in my teens after I discovered Shakespeare's "Sonnet 130." At the time I didn't know the rules of the sonnet form, so mine is a bit unconventional. I think it is not bad for the first attempt of a teen poet. I remember writing this poem in my head on the way back to my dorm from a freshman English class. I would have been 18 or 19 at the time.
Attention Span Gap
by Michael R. Burch
What if a poet, Shakespeare,
were still living to tweet to us here?
He couldn't write sonnets,
just couplets, doggonit,
and we wouldn't have Hamlet or Lear!
Yes, a sonnet may end in a couplet,
which we moderns can write in a doublet,
in a flash, like a tweet.
Does that make it complete?
Should a poem be reduced to a stublet?
Bring back that Grand Era when men
had attention spans long as their pens,
or rather the quills
of the monsieurs and fils
who gave us the Dress, not its hem!
Heaven Bent
by Michael R. Burch
This life is hell; it can get no worse.
Summon the coroner, the casket, the hearse!
But I’m upwardly mobile. How the hell can I know?
I can only go up; I’m already below!
This is a poem in which I imagine Shakespeare speaking through a modern Hamlet.
That Mella Fella
by Michael R. Burch
John Mella was the longtime editor of Light Quarterly.
There once was a fella
named Mella,
who, if you weren’t funny,
would tell ya.
But he was cool, clever, nice,
gave some splendid advice,
and if you did well,
he would sell ya.
Shakespeare had his patrons and publishers; John Mella was one of my favorites in the early going, along with Jean Mellichamp Milliken of The Lyric.
Chip Off the Block
by Michael R. Burch
for Jeremy
In the fusion of poetry and drama,
Shakespeare rules! Jeremy’s a ham: a
chip off the block, like his father and mother.
Part poet? Part ham? Better run for cover!
Now he’s Benedick — most comical of lovers!
NOTE: Jeremy’s father is a poet and his mother is an actress; hence the fusion, or confusion, as the case may be.
#SHAKESPEARE #MRB-SHAKESPEARE #MRBSHAKESPEARE
***
Alien Nation
by Michael R. Burch
for J. S. S., a Christian poet who believes in “hell”
On a lonely outpost on Mars
the astronaut practices “speech”
as alien to primates below
as mute stars winking high, out of reach.
And his words fall as bright and as chill
as ice crystals on Kilimanjaro —
far colder than Jesus’s words
over the “fortunate” sparrow.
And I understand how gentle Emily
must have felt, when all comfort had flown,
gazing into those inhuman eyes,
feeling zero at the bone.
Oh, how can I grok his arctic thought?
For if he is human, I am not.
The coinage “grok” appears in Robert Heinlein’s classic sci-fi novel Stranger in a Strange Land. The novel’s protagonist, Valentine Michael Smith, was raised on Mars by enlightened Martians, and he often feels out of sorts on Earth, where he struggles to grok (understand deeply and profoundly) earthlings and their primitive, often inhuman, ways.
Keywords/Tags: poet, poets, poetry, writing poetry, composition, scop, bard, influence
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