The Making of a Poet
by Michael R. Burch
I have a nice resume:
Michael R. Burch is one of the world's most-published poets, with over 11,500 publications (including poems that have gone viral but not self-published poems). Burch's poems have been published by hundreds of literary journals, taught in high schools and colleges, translated into 22 languages, incorporated into three plays and four operas, and set to music, from swamp blues to classical, 74 times by 33 composers. Burch is also a longtime editor, publisher and translator of Jewish Holocaust poetry as well as poems about the Trail of Tears, Hiroshima, Ukraine, the Nakba and school shootings.
But how did it all begin?
I like to think it started with an early poem quite appropriately titled "Poetry" and written to the Muse of lyric poetry, Erato.
While I don’t consider “Poetry” to be my best poem—I wrote the first version in my teens—it’s a poem that holds special meaning for me. I consider it my Ars Poetica. Here’s how I came to write “Poetry” as a teenager ...
When I was eleven years old, my father, a staff sergeant in the US Air Force, was stationed in Wiesbaden, Germany. We were forced to live off-base for two years, in a tiny German village where there were no other American children to play with, and no English radio or TV stations. To avoid complete boredom, I began going to the base library, checking out eight books at a time (the limit), reading them in a few days, then continually repeating the process. I quickly exhausted the library’s children’s fare and began devouring adult novels along with a plethora of books about history, science and nature.
In the fifth grade, I tested at the reading level of a college sophomore and was put in a reading group of one. I was an incredibly fast reader: I flew through books like crazy. I was reading Austen, Dickens, Hardy, et al, while my classmates were reading … whatever one normally reads in grade school. My grades shot through the roof and from that day forward I was always the top scholar in my age group, wherever I went.
But being bright and well-read does not invariably lead to happiness. I was tall, scrawny, introverted and socially awkward. I had trouble making friends. I began to dabble in poetry around age thirteen, but then we were finally granted base housing and for two years I was able to focus on things like marbles, quarters, comic books, baseball, basketball and football. And, from an incomprehensible distance, girls.
When I was fifteen my father retired from the Air Force and we moved back to his hometown of Nashville. While my parents were looking for a house, we lived with my grandfather and his third wife. They didn’t have air-conditioning and didn’t seem to believe in hot food—even the peas and beans were served cold!—so I was sweaty, hungry, lonely, friendless and miserable. It was at this point that I began to write poetry seriously. I’m not sure why. Perhaps because my options were so limited and the world seemed so impossibly grim and unfair.
Writing poetry helped me cope with my loneliness and depression. I had feelings of deep alienation and inadequacy, but suddenly I had found something I could do better than anyone around me. (Perhaps because no one else was doing it at all?)
However, I was a perfectionist and poetry can be very tough on perfectionists. I remember becoming incredibly frustrated and angry with myself. Why wasn’t I writing poetry like Shelley and Keats at age fifteen? I destroyed all my early poems in a fit of pique. Fortunately, I was able to reproduce most of the better poems from memory, but two in particular were lost forever and still haunt me.
Heir on Fire
by Michael R. Burch
I wanted to be Shelley’s heir,
Just fourteen years old, and consumed by desire.
Why wouldn’t my Muse play fair?
I went to work—pale, laden with care:
why wouldn’t the words do as I aspired,
when I wanted to Keats’s heir?
My "verse" seemed neither here nor there.
How the hell did Sappho tune her lyre?
And why wouldn’t my Muse play fair?
The journals laughed at my childish fare.
Had I bitten off more than eagles dare
when I wanted to be Byron’s heir?
My words lacked Rimbaud’s savoir faire.
My prospects were looking quite dire!
Why wouldn’t my Muse play fair?
At fifteen I committed my poems to the fire,
calling each goddess a liar.
I just wanted to be Shakespeare’s heir.
Why wouldn’t my Muse play fair?
In the tenth grade, at age sixteen, I had a major breakthrough. My English teacher gave us a poetry assignment. We were instructed to create a poetry booklet with five chapters of our choosing. I still have my booklet, a treasured memento, banged out on a Corona typewriter with cursive script, which gave it a sort of elegance, a cachet. My chosen chapters were: Rock Songs, English Poems, Animal Poems, Biblical Poems, and ta-da, My Poems! Audaciously, alongside the poems of Shakespeare, Burns and Tennyson, I would self-publish my fledgling work!
My teacher wrote “This poem is beautiful” beside one my earliest compositions, “Playmates.” Her comment was like rocket fuel to my stellar aspirations. Surely I was next Keats, the next Shelley! Surely immediate and incontrovertible success was now fait accompli, guaranteed!
Of course I had no idea what I was getting into. How many fifteen-year-old poets can compete with the immortal bards? I was in for some very tough sledding because I had good taste in poetry and could tell the difference between merely adequate verse and the real thing. I continued to find poetry vexing. Why the hell wouldn’t it cooperate and anoint me its next Shakespeare, pronto?
Then I had another breakthrough. I remember it vividly. I working at a McDonald’s at age seventeen, salting away money for college because my parents had informed me they didn’t have enough money to pay my tuition. Fortunately, I was able to earn a full academic scholarship, but I still needed to make money for clothes, dating (hah!), etc. I was sitting in the McDonald’s break room when I wrote a poem, “Reckoning” (later re-titled “Observance”), that sorta made me catch my breath. Did I really write that? For the first time, I felt like a “real poet.” This was the best of my early poems to be completed.
Observance
by Michael R. Burch
Here the hills are old, and rolling
casually in their old age;
on the horizon youthful mountains
bathe themselves in windblown fountains . . .
By dying leaves and falling raindrops,
I have traced time's starts and stops,
and I have known the years to pass
almost unnoticed, whispering through treetops . . .
For here the valleys fill with sunlight
to the brim, then empty again,
and it seems that only I notice
how the years flood out, and in . . .
Another early poem, “Infinity,” written around age eighteen, again made me feel like a real poet.
Infinity
by Michael R. Burch
Have you tasted the bitterness of tears of despair?
Have you watched the sun sink through such pale, balmless air
that your soul sought its shell like a crab on a beach,
then scuttled inside to be safe, out of reach?
Might I lift you tonight from earth’s wreckage and damage
on these waves gently rising to pay the moon homage?
Or better, perhaps, let me say that I, too,
have dreamed of infinity . . . windswept and blue.
Now, two “real poems” in two years may not seem like a big deal to non-poets. But they were very big deals to me. I would go off to college feeling that I was, really, a real poet, with two real poems under my belt. I felt like someone, at last. I had, at least, potential.
But I was in for another rude shock. Being a good reader of poetry—good enough to know when my own poems were falling far short of the mark—I was absolutely floored when I learned that impostors were controlling Poetry’s fate! These impostors were claiming that meter and rhyme were passé, that honest human sentiment was something to be ridiculed and dismissed, that poetry should be nothing more than concrete imagery, etc.
At first I was devastated, but then I quickly became enraged. I knew the difference between good poetry and bad. I could feel it in my flesh, in my bones. Who were these impostors to say that bad poetry was good, and good was bad? How dare they? I was incensed! I loved Poetry. I saw her as my savior because she had rescued me from depression and feelings of inadequacy. So I made a poetic pledge to help save my Savior from the impostors. "Poetry" was another early poem, written at age 18...
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
I consider "Poetry" to be my Ars Poetica. However, the poem has been misinterpreted as the poet claiming to be Poetry's sole "savior." The poet never claims to be a savior or hero, but more like a member of a rescue operation. The poem says that when Poetry is finally freed, in some unspecified way, the poet will be there to take her hand and watch her glory be re-revealed to the world. The poet expresses love for Poetry, and gratitude, but never claims to have done anything heroic himself. This is a poem of love, compassion and reverence. Poetry is the Messiah, not the poet. The poet washes her feet with his tears, like Mary Magdalene.
These are other poems I have written since, that I particularly like, and hope you like them too ...
In this Ordinary Swoon
by Michael R. Burch
In this ordinary swoon
as I pass from life to death,
I feel no heat from the cold, pale moon;
I feel no sympathy for breath.
Who I am and why I came,
I do not know; nor does it matter.
The end of every man’s the same
and every god’s as mad as a hatter.
I do not fear the letting go;
I only fear the clinging on
to hope when there’s no hope, although
I lift my face to the blazing sun
and feel the greater intensity
of the wilder inferno within me.
Second Sight
by Michael R. Burch
I never touched you—
that was my mistake.
Deep within,
I still feel the ache.
Can an unformed thing
eternally break?
Now, from a great distance,
I see you again
not as you are now,
but as you were then—
eternally present
and Sovereign.
Mending
by Michael R. Burch
for the survivors of 9-11
I am besieged with kindnesses;
sometimes I laugh,
delighted for a moment,
then resume
the more seemly occupation of my craft.
I do not taste the candies...
The perfume
of roses is uplifted
in a draft
that vanishes into the ceiling’s fans
which spin like old propellers
till the room
is full of ghostly bits of yarn...
My task
is not to knit,
but not to end too soon.
This poem is dedicated to the victims of 9-11 and their families and friends.
Love Unfolded Like a Flower
by Michael R. Burch
Love unfolded
like a flower;
Pale petals pinked and blushed to see the sky.
I came to know you
and to trust you
in moments lost to springtime slipping by.
Then love burst outward,
leaping skyward,
and untamed blossoms danced against the wind.
All I wanted
was to hold you;
though passion tempted once, we never sinned.
Now love's gay petals
fade and wither,
and winter beckons, whispering a lie.
We were friends,
but friendships end . . .
yes, friendships end and even roses die.
Shadowselves
by Michael R. Burch
In our hearts, knowing
fewer days―and milder―beckon,
how now are we to measure
that wick by which we reckon
the time we have remaining?
We are shadows
spawned by a blue spurt of candlelight.
Darkly, we watch ourselves flicker.
Where shall we go when the flame burns less bright?
When chill night steals our vigor?
Why are we less than ourselves? We are shadows.
Where is the fire of our youth? We grow cold.
Why does our future loom dark? We are old.
And why do we shiver?
In our hearts, seeing
fewer days―and briefer―breaking,
now, even more, we treasure
this brittle leaf-like aching
that tells us we are living.
Dust (II)
by Michael R. Burch
We are dust
and to dust we must
return ...
but why, then,
life’s pointless sojourn?
Leave Taking (II)
by Michael R. Burch
Although the earth renews itself, and spring
is lovelier for all the rot of fall,
I think of yellow leaves that cling and hang
by fingertips to life, let go . . . and all
men see is one bright instance of departure,
the flame that, at least height, warms nothing. I,
have never liked to think the ants that march here
will deem them useless, grimly tramping by,
and so I gather leaves’ dry hopeless brilliance,
to feel their prickly edges, like my own,
to understand their incurled worn resilience―
youth’s tenderness long, callously, outgrown.
I even feel the pleasure of their sting,
the stab of life. I do not think―at all―
to be renewed, as earth is every spring.
I do not hope words cluster where they fall.
I only hope one leaf, wild-spiraling,
illuminates the void, till glad hearts sing.
It's not that every leaf must finally fall ...
it's just that we can never catch them all.
Originally published by Silver Stork
Less Heroic Couplets: Funding Fundamentals
by Michael R. Burch
*"I found out that I was a Christian for revenue only and I could not bear the thought of that, it was so ignoble." ― Mark Twain
Making sense from nonsense is quite sensible! Suppose
you’re running low on moolah, need some cash to paint your toes ...
Just invent a new religion; claim it saves lost souls from hell;
have the converts write you checks; take major debit cards as well;
take MasterCard and Visa and good-as-gold Amex;
hell, lend and charge them interest, whether payday loan or flex.
Thus out of perfect nonsense, glittery ores of this great mine,
you’ll earn an easy living and your toes will truly shine!
Originally published by Lighten Up Online
Marsh Song
by Michael R. Burch
Here there is only the great sad song of the reeds
and the silent herons, wraithlike in the mist,
and a few drab sunken stones, unblessed
by the sunlight these late sixteen thousand years,
and the beaded dews that drench strange ferns, like tears
collected against an overwhelming sadness.
Here the marsh exposes its dejectedness,
its gutted rotting belly, and its roots
rise out of the earth’s distended heaviness,
to claw hard at existence, till the scars
remind us that we all have wounds, and I
have learned again that living is despair
as the herons cleave the placid, dreamless air.
Originally published by The Lyric
Moon Lake
by Michael R. Burch
Starlit recorder of summer nights,
what magic spell bewitches you?
They say that all lovers love first in the dark . . .
Is it true?
Is it true?
Is it true?
Starry-eyed seer of all that appears
and all that has appeared―
What sights have you seen?
What dreams have you dreamed?
What rhetoric have you heard?
Is love an oration,
or is it a word?
Have you heard?
Have you heard?
Have you heard?
Originally published by Romantics Quarterly
Tomb Lake
by Michael R. Burch
Go down to the valley
where mockingbirds cry,
alone, ever lonely . . .
yes, go down to die.
And dream in your dying
you never shall wake.
Go down to the valley;
go down to Tomb Lake.
Tomb Lake is a cauldron
of souls such as yours―
mad souls without meaning,
frail souls without force.
Tomb Lake is a graveyard
reserved for the dead.
They lie in her shallows
and sleep in her bed.
I believe this poem and "Moon Lake" were companion poems, written around my senior year in high school, in 1976.
Mother of Cowards
by Michael R. Burch aka "The Loyal Opposition"
So unlike the brazen giant of Greek fame
With conquering limbs astride from land to land,
Spread-eagled, showering gold, a strumpet stands:
A much-used trollop with a torch, whose flame
Has long since been extinguished. And her name?
"Mother of Cowards!" From her enervate hand
Soft ash descends. Her furtive eyes demand
Allegiance to her ****'s repulsive game.
"Keep, ancient lands, your wretched poor!" cries she
With scarlet lips. "Give me your hale, your whole,
Your huddled tycoons, yearning to be pleased!
The wretched refuse of your toilet hole?
Oh, never send one unwashed child to me!
I await Trump's pleasure by the gilded bowl!"
Frantisek “Franta” Bass was a Jewish boy murdered by the Nazis during the Holocaust.
The Garden
by Franta Bass
translation by Michael R. Burch
A small garden,
so fragrant and full of roses!
The path the little boy takes
is guarded by thorns.
A small boy, a sweet boy,
growing like those budding blossoms!
But when the blossoms have bloomed,
the boy will be no more.
Jewish Forever
by Franta Bass
translation by Michael R. Burch
I am a Jew and always will be, forever!
Even if I should starve,
I will never submit!
But I will always fight for my people,
with my honor,
to their credit!
And I will never be ashamed of them;
this is my vow.
I am so very proud of my people now!
How dignified they are, in their grief!
And though I may die, oppressed,
still I will always return to life ...
Options Underwater: The Song of the First Amphibian
by Michael R. Burch
“Evolution’s a Fishy Business!”
1.
Breathing underwater through antiquated gills,
I’m running out of options. I need to find fresh Air,
to seek some higher Purpose. No porpoise, I despair
to swim among anemones’ pink frills.
2.
My fins will make fine flippers, if only I can walk,
a little out of kilter, safe to the nearest rock’s
sweet, unmolested shelter. Each eye must grow a stalk,
to take in this green land on which it gawks.
3.
No predators have made it here, so I need not adapt.
Sun-sluggish, full, lethargic―I’ll take such nice long naps!
The highest form of life, that’s me! (Quite apt
to lie here chortling, calling fishes saps.)
4.
I woke to find life teeming all around―
mammals, insects, reptiles, loathsome birds.
And now I cringe at every sight and sound.
The water’s looking good! I look Absurd.
5.
The moral of my story’s this: don’t leap
wherever grass is greener. Backwards creep.
And never burn your bridges, till you’re sure
leapfrogging friends secures your Sinecure.
Originally published by Lighten Up Online
Keywords/Tags: amphibian, amphibians, evolution, gills, water, air, lungs, fins, flippers, fish, fishy business
Unlikely Mike
by Michael R. Burch
I married someone else’s fantasy;
she admired me despite my mutilations.
I loved her for her heart’s sake, and for mine.
I hid my face and changed its connotations.
And in the dark I danced—slight, Chaplinesque—
a metaphor myself. How could they know,
the undiscerning ones, that in the glow
of spotlights, sometimes love becomes burlesque?
Disfigured to my soul, I could not lose
or choose or name myself; I came to be
another of life’s odd dichotomies,
like Dickey’s Sheep Boy, Pan, or David Cruse:
as pale, as enigmatic. White, or black?
My color was a song, a changing track.
This is my translation of one of my favorite Dimash Kudaibergen songs, the French song "S.O.S." ...
S.O.S.
by Michel Berger
loose translation/interpretation by Michael R. Burch
Why do I live, why do I die?
Why do I laugh, why do I cry?
Voicing the S.O.S.
of an earthling in distress ...
I have never felt at home on the ground.
I'd rather be a bird;
this skin feels weird.
I'd like to see the world turned upside down.
It ever was more beautiful
seen from up above,
seen from up above.
I've always confused life with cartoons,
wishing to transform.
I feel something that draws me,
that draws me,
that draws me
UP!
In the great lotto of the universe
I didn't draw the right numbers.
I feel unwell in my own skin,
I don't want to be a machine
eating, working, sleeping.
Why do I live, why do I die?
Why do I laugh, why do I cry?
I feel I'm catching waves from another world.
I've never had both feet on the ground.
This skin feels weird.
I'd like to see the world turned upside down.
I'd rather be a bird.
Sleep, child, sleep ...
"Late Autumn" aka "Autumn Strong"
loose translation/interpretation by Michael R. Burch
based on the version sung by Dimash Kudaibergen
Autumn ...
The feeling of late autumn ...
It feels like golden leaves falling
to those who are parting ...
A glass of wine
has stirred
so many emotions swirling in my mind ...
Such sad farewells ...
With the season's falling leaves,
so many sad farewells.
To see you so dispirited pains me more than I can say.
Holding your hands so tightly to my heart ...
... Remembering ...
I implore you to remember our unspoken vows ...
I dare bear this bitterness,
but not to see you broken-hearted!
All contentment vanishes like leaves in an autumn wind.
Meeting or parting, that's not up to me.
We can blame the wind for our destiny.
I do not fear my own despair
but your sorrow haunts me.
No one will know of our desolation.
My Forty-Ninth Year
by Michael R. Burch
My forty-ninth year
and the dew remembers
how brightly it glistened
encrusting September, ...
one frozen September
when hawks ruled the sky
and death fell on wings
with a shrill, keening cry.
My forty-ninth year,
and still I recall
the weavings and windings
of childhood, of fall ...
of fall enigmatic,
resplendent, yet sere, ...
though vibrant the herald
of death drawing near.
My forty-ninth year
and now often I've thought on
the course of a lifetime,
the meaning of autumn,
the cycle of autumn
with winter to come,
of aging and death
and rebirth ... on and on.
Less Heroic Couplets: Rejection Slips
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!)
I consider the term “rejection slip” to be a double entendre. When editors reject my poems, did I slip up, or did they? Is their slip showing, or is mine?
Spring Was Delayed
by Michael R. Burch
Winter came early:
the driving snows,
the delicate frosts
that crystallize
all we forget
or refuse to know,
all we regret
that makes us wise.
Spring was delayed:
the nubile rose,
the tentative sun,
the wind’s soft sighs,
all we omit
or refuse to show,
whatever we shield
behind guarded eyes.
Originally published by Borderless Journal
Drippings
by Michael R. Burch
I have no words
for winter’s pale splendors
awash in gray twilight,
nor these slow-dripping eaves
renewing their tinkling songs.
Life’s like the failing resistance
of autumn to winter
and plays its low accompaniment,
slipping slowly
away
...
..
.
The Drawer of Mermaids
by Michael R. Burch
This poem is dedicated to Alina Karimova, who was born with severely deformed legs and five fingers missing. Alina loves to draw mermaids and believes her fingers will eventually grow out.
Although I am only four years old,
they say that I have an old soul.
I must have been born long, long ago,
here, where the eerie mountains glow
at night, in the Urals.
A madman named Geiger has cursed these slopes;
now, shut in at night, the emphatic ticking
fills us with dread.
(Still, my momma hopes
that I will soon walk with my new legs.)
It’s not so much legs as the fingers I miss,
drawing the mermaids under the ledges.
(Observing, Papa will kiss me
in all his distracted joy;
but why does he cry?)
And there is a boy
who whispers my name.
Then I am not lame;
for I leap, and I follow.
(G’amma brings a wiseman who says
our infirmities are ours, not God’s,
that someday a beautiful Child
will return from the stars,
and then my new fingers will grow
if only I trust Him; and so
I am preparing to meet Him, to go,
should He care to receive me.)
Keywords/Tags: mermaid, mermaids, child, children, childhood, Urals, Ural Mountains, soul, soulmate, radiation
The Blobfish
by Michael R. Burch
You can call me a "blob"
with your oversized gob,
but what's your excuse,
great gargantuan Zeus
whose once-chiseled abs
are now marbleized flab?
But what really alarms me
(how I wish you'd abstain)
is when you start using
that oversized "brain."
Consider the planet! Refrain!
There’s a Stirring and Awakening in the World
by Michael R. Burch
There’s a stirring and awakening in the world,
and even so my spirit stirs within,
imagining some Power beckoning—
the Force which through the stamen gently whirrs,
unlocking tumblers deftly, even mine.
The grape grows wild-entangled on the vine,
and here, close by, the honeysuckle shines.
And of such life, at last there comes there comes the Wine.
And so it is with spirits’ fruitful yield—
the growth comes first, Green Vagrance, then the Bloom.
The world somehow must give the spirit room
to blossom, till its light shines—wild, revealed.
And then at last the earth receives its store
of blessings, as glad hearts cry—More! More! More!
Originally published by Borderless Journal
POEMS ABOUT SHAKESPEARE by Michael R. Burch
These are poems I have written about Shakespeare, poems I have written for Shakespeare, and poems I have 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.
Originally published by Romantics Quarterly
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!
Chloe
by Michael R. Burch
There were skies onyx at night... moons by day...
lakes pale as her eyes... breathless winds
******* tall elms ... she would say
that we’d loved, but I figured we'd sinned.
Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray...
all the light of that world softly dimmed.
Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.
What I found, I found lost in her face
while yielding all my virtue to her grace.
“Chloe” is a Shakespearean sonnet about being parted from someone you wanted and expected to be with forever. It was originally published by Romantics Quarterly as "A Dying Fall"
Sonnet: The City Is a Garment
by Michael R. Burch
A rhinestone skein, a jeweled brocade of light,—
the city is a garment stretched so thin
her festive colors bleed into the night,
and everywhere bright seams, unraveling,
cascade their brilliant contents out like coins
on motorways and esplanades; bead cars
come tumbling down long highways; at her groin
a railtrack like a zipper flashes sparks;
her hills are haired with brush like cashmere wool
and from their cleavage winking lights enlarge
and travel, slender fingers ... softly pull
themselves into the semblance of a barge.
When night becomes too chill, she softly dons
great overcoats of warmest-colored dawn.
“The City is a Garment” is a Shakespearean sonnet.
Afterglow
by Michael R. Burch
for Beth
The night is full of stars. Which still exist?
Before time ends, perhaps one day we’ll know.
For now I hold your fingers to my lips
and feel their pulse ... warm, palpable and slow ...
once slow to match this reckless spark in me,
this moon in ceaseless orbit I became,
compelled by wilder gravity to flee
night’s universe of suns, for one pale flame ...
for one pale flame that seemed to signify
the Zodiac of all, the meaning of
love’s wandering flight past Neptune. Now to lie
in dawning recognition is enough ...
enough each night to bask in you, to know
the face of love ... eyes closed ... its afterglow.
“Afterglow” is a Shakespearean sonnet.
I Learned Too Late
by Michael R. Burch
“Show, don’t tell!”
I learned too late that poetry has rules,
although they may be rules for greater fools.
In any case, by dodging rules and schools,
I avoided useless duels.
I learned too late that sentiment is bad—
that Blake and Keats and Plath had all been had.
In any case, by following my heart,
I learned to walk apart.
I learned too late that “telling” is a crime.
Did Shakespeare know? Is Milton doing time?
In any case, by telling, I admit:
I think such rules are ****.
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.
Keywords/Tags: Shakespeare, Shakespearean, sonnet, epigram, epigrams, Hamlet, Ophelia, Lear, Benedick, tweet, tweets
Untitled Epigrams
Teach me to love:
to fly beyond sterile Mars
to percolating Venus.
—Michael R. Burch
The LIV is LIVid:
livid with blood,
and full of egos larger
than continents.
—Michael R. Burch
Evil is as evil does.
Evil never needs a cause.
Evil loves amoral “laws,”
laughs and licks its blood-red claws
while kids are patched together with gauze.
— Michael R. Burch
Poets laud Justice’s
high principles.
Trump just gropes
her raw genitals.
—Michael R. Burch
When Pigs Fly
by Michael R. Burch
On the Trail of Tears,
my Cherokee brothers,
why hang your heads?
Why shame your mothers?
Laugh wildly instead!
We will soon be dead.
When we lie in our graves,
let the white-eyes take
the woodlands we loved
for the *** and the rake.
It is better to die
than to live out a lie
in so narrow a sty.
Perhat Tursun (1969-) is one of the foremost living Uyghur language poets, if he is still alive. Tursun has been described as a "self-professed Kafka character" and that comes through splendidly in poems of his like "Elegy." Unfortunately, Tursun was "disappeared" into a Chinese "reeducation" concentration camp where extreme psychological torture is the norm. According to a disturbing report he was later "hospitalized."
Elegy
by Perhat Tursun
loose translation/interpretation by Michael R. Burch
"Your soul is the entire world."
— Hermann Hesse, Siddhartha
Asylum seekers, will you recognize me among the mountain passes' frozen corpses?
Can you identify me here among our Exodus's exiled brothers?
We begged for shelter but they lashed us bare; consider our naked corpses.
When they compel us to accept their massacres, do you know that I am with you?
Three centuries later they resurrect, not recognizing each other,
Their former greatness forgotten.
I happily ingested poison, like a fine wine.
When they search the streets and cannot locate our corpses, do you know that I am with you?
In that tower constructed of skulls you will find my dome as well:
They removed my head to more accurately test their swords' temper.
When before their swords our relationship flees like a flighty lover,
Do you know that I am with you?
When men in fur hats are used for target practice in the marketplace
Where a dying man's face expresses his agony as a bullet cleaves his brain
While the executioner's eyes fail to comprehend why his victim vanishes, ...
Seeing my form reflected in that bullet-pierced brain's erratic thoughts,
Do you know that I am with you?
In those days when drinking wine was considered worse than drinking blood,
did you taste the flour ground out in that blood-turned churning mill?
Now, when you sip the wine Ali-Shir Nava'i imagined to be my blood
In that mystical tavern's dark abyssal chambers,
Do you know that I am with you?
Lullaby
by Michael R. Burch, age 25
Frail bit of elfin magic
with eyes of brightest blue,
sleep now lines your lashes,
the sandman beckons you …
please don't fight—
it's all right.
My newborn son, cease sighing,
softly, slowly close your eyes,
purse your tiny lips
and kiss the crisp, cool night
a warm goodbye.
Fierce yet gentle fragment,
the better part of me,
why don't you dream a dream
deep as eternity,
until sunrise?
Frail bit of elfin magic
with eyes of brightest blue,
sleep now lines your lashes,
the sandman beckons you …
please don't fight —
it's all right.
Hermann Hesse
Hermann Karl Hesse (1877-1962) was a German-Swiss poet, novelist, essayist, painter and mystic. Hesse’s best-known works include Steppenwolf, Siddhartha, Demian, Narcissus and Goldmund and The Glass Bead Game. One of Germany’s greatest writers, Hesse was awarded the Nobel Prize in Literature in 1946.
"Stages" or "Steps"
by Hermann Hesse
from his novel The Glass Bead Game
loose translation/interpretation by Michael R. Burch
As every flower wilts and every youth
must wilt and exit life from a curtained stage,
so every virtue—even our truest truth—
blooms some brief time and cannot last forever.
Since life may summons death at any age
we must prepare for death’s obscene endeavor,
meet our end with courage and without remorse,
forego regret and hopes of some reprieve,
embrace death’s end, as life’s required divorce,
some new beginning, calling us to live.
Thus let us move, serene, beyond our fear,
and let no sentiments detain us here.
The Universal Spirit would not chain us,
but elevates us slowly, stage by stage.
If we demand a halt, our fears restrain us,
caught in the webs of creaturely defense.
We must prepare for imminent departure
or else be bound by foolish “permanence.”
Death’s hour may be our swift deliverance,
from which we speed to fresher, newer spaces,
and Life may summons us to bolder races.
So be it, heart! Farewell, and adieu, then!
The Poet
by Hermann Hesse
loose translation/interpretation by Michael R. Burch
Only upon me, the lonely one,
Do this endless night’s stars shine
As the fountain gurgles its faery song.
For me alone, the lonely one,
The shadows of vagabond clouds
Float like dreams over slumbering farms.
What is mine lies beyond possession:
Neither manor, nor pasture,
Neither forest, nor hunting permit …
What is mine belongs to no one:
The plunging brook beyond the veiling woods,
The terrifying sea,
The chick-like chatter of children at play,
The weeping and singing of a lonely man longing for love.
The temples of the gods are mine, also,
And the distant past’s aristocratic castles.
And mine, no less, the luminous vault of heaven,
My future home …
Often in flights of longing my soul soars heavenward,
Hoping to gaze on the halls of the blessed,
Where Love, overcoming the Law, unconditional Love for All,
Leaves them all nobly transformed:
Farmers, kings, tradesman, bustling sailors,
Shepherds, gardeners, one and all,
As they gratefully celebrate their heavenly festivals.
Only the poet is unaccompanied:
The lonely one who continues alone,
The recounter of human longing,
The one who sees the pale image of a future,
The fulfillment of a world
That has no further need of him.
Many garlands
Wilt on his grave,
But no one cares or remembers him.
On a Journey to Rest
by Hermann Hesse
loose translation/interpretation by Michael R. Burch
Don't be downcast, the night is soon over;
then we can watch the pale moon hover
over the dawning land
as we rest, hand in hand,
laughing secretly to ourselves.
Don't be downcast, the time will soon come
when we, too, can rest
(our small crosses will stand, blessed,
on the edge of the road together;
the rain, then the snow will fall,
and the winds come and go)
heedless of the weather.
Lonesome Night
by Hermann Hesse
loose translation/interpretation by Michael R. Burch
Dear brothers, who are mine,
All people, near and far,
Wishing on every star,
Imploring relief from pain;
My brothers, stumbling, dumb,
Each night, as pale stars ache,
Lift thin, limp hands for crumbs,
mutter and suffer, awake;
Poor brothers, commonplace,
Pale sailors, who must live
Without a bright guide above,
We share a common face.
Return my welcome.
How Heavy the Days
by Hermann Hesse
loose translation/interpretation by Michael R. Burch
How heavy the days.
Not a fire can warm me,
Nor a sun brighten me!
Everything barren,
Everything bare,
Everything utterly cold and merciless!
Now even the once-beloved stars
Look distantly down,
Since my heart learned
Love can die.
Without You
by Hermann Hesse
loose translation/interpretation by Michael R. Burch
My pillow regards me tonight
Comfortless as a gravestone;
I never thought it would be so bitter
To face the night alone,
Not to lie asleep entangled in your hair.
I lie alone in this silent house,
The hanging lamp softly dimmed,
Then gently extend my hands
To welcome yours …
Softly press my warm mouth
To yours …
Only to kiss myself,
Then suddenly I'm awake
And the night grows colder still.
The star in the window winks knowingly.
Where is your blonde hair,
Your succulent mouth?
Now I drink pain in every former delight,
Find poison in every wine;
I never knew it would be so bitter
To face the night alone,
Alone, without you.
Secretly We Thirst…
by Hermann Hesse
from his novel The Glass Bead Game
loose translation/interpretation by Michael R. Burch
Charismatic, spiritual, with the gracefulness of arabesques,
our lives resemble fairies’ pirouettes,
spinning gently through the nothingness
to which we sacrifice our beings and the present.
Whirling dreams of quintessence and loveliness,
like breathing in perfect harmony,
while beneath your bright surface
blackness broods, longing for blood and barbarity.
Spinning aimlessly in emptiness,
dancing (as if without distress), always ready to play,
yet, secretly, we thirst for reality
for the conceiving, for the birth pangs, for suffering and death.
Across The Fields
by Hermann Hesse
loose translation/interpretation by Michael R. Burch
Across the sky, the clouds sweep,
Across the fields, the wind blunders,
Across the fields, the lost child
Of my mother wanders.
Across the street, the leaves sweep,
Across the trees, the starlings cry;
Across the distant mountains,
My home must lie.
EXCERPTS FROM "THE SON OF THE BRAHMAN"
by Hermann Hesse
loose translation/interpretation by Michael R. Burch
In the house-shade,
by the sunlit riverbank beyond the bobbing boats,
in the Salwood forest’s deep shade,
and beneath the shade of the fig tree,
that’s where Siddhartha grew up.
Siddhartha, the handsomest son of the Brahman,
like a young falcon,
together with his friend Govinda, also the son of a Brahman,
like another young falcon.
Siddhartha!
The sun tanned his shoulders lightly by the riverbanks when he bathed,
as he performed the sacred ablutions,
the sacred offerings.
Shade poured into his black eyes
whenever he played in the mango grove,
whenever his mother sang to him,
whenever the sacred offerings were made,
whenever his father, the esteemed scholar, instructed him,
whenever the wise men advised him.
For a long time, Siddhartha had joined in the wise men’s palaver,
and had also practiced debate
and the arts of reflection and meditation
with his friend Govinda.
Siddhartha already knew how to speak the Om silently, the word of words,
to speak it silently within himself while inhaling,
to speak it silently without himself while exhaling,
always with his soul’s entire concentration,
his forehead haloed by the glow of his lucid spirit.
He already knew how to feel Atman in his being’s depths,
an indestructible unity with the universe.
Joy leapt in his father’s heart for his son,
so quick to learn, so eager for knowledge.
Siddhartha!
He saw Siddhartha growing up to become a great man:
a wise man and a priest,
a prince among the Brahmans.
Bliss leapt in his mother’s breast when she saw her son's regal carriage,
when she saw him sit down,
when she saw him rise.
Siddhartha!
So strong, so handsome,
so stately on those long, elegant legs,
and when bowing to his mother with perfect respect.
Siddhartha!
Love nestled and fluttered in the hearts of the Brahmans’ daughters when Siddhartha passed by with his luminous forehead, with the aspect of a king, with his lean hips.
But more than all the others Siddhartha was loved by Govinda, his friend, also the son of a Brahman.
Govinda loved Siddhartha’s alert eyes and kind voice,
loved his perfect carriage and the perfection of his movements,
indeed, loved everything Siddhartha said and did,
but what Govinda loved most was Siddhartha’s spirit:
his transcendent yet passionate thoughts,
his ardent will, his high calling. …
Govinda wanted to follow Siddhartha:
Siddhartha the beloved!
Siddhartha the splendid!
…
Thus Siddhartha was loved by all, a joy to all, a delight to all.
But alas, Siddhartha did not delight himself. … His heart lacked joy. …
For Siddhartha had begun to nurse discontent deep within himself.
Shock and Awe
by Michael R. Burch
With megatons of “wonder,”
we make our godhead clear:
Death. Destruction. Fear.
The world’s heart ripped asunder,
its dying pulse we hear:
Death. Destruction. Fear.
Strange Trinity! We ponder
this God we hold so dear:
Death. Destruction. Fear.
The vulture and the condor
proclaim: "The feast is near!"
Death. Destruction. Fear.
Soon He will plow us under;
the Anti-Christ is here:
Death. Destruction. Fear.
We love to hear Him thunder!
With Shock and Awe, appear!
Death. Destruction. Fear.
For God can never blunder;
we know He holds US dear:
Death. Destruction. Fear.
The State of the Art (?)
by Michael R. Burch
Has rhyme lost all its reason
and rhythm, renascence?
Are sonnets out of season
and poems but poor pretense?
Are poets lacking fire,
their words too trite and forced?
What happened to desire?
Has passion been coerced?
Must poetry fade slowly,
like Latin, to past tense?
Are the bards too high and holy,
or their readers merely dense?
Solicitation
by Michael R. Burch
He comes to me out of the shadows, acknowledging
my presence with a tip of his hat, always the gentleman,
and his eyes are on mine like a snake’s on a bird’s—
quizzical, mesmerizing.
He ***** his head as though something he heard intrigues him
(although I hear nothing) and he smiles, amusing himself at my expense;
his words are full of desire and loathing, and while I hear everything,
he says nothing I understand.
The moon shines—maniacal, queer—as he takes my hand whispering
"Our time has come" ... And so together we stroll creaking docks
where the sea sends sickening things
scurrying under rocks and boards.
Moonlight washes his ashen face as he stares unseeing into my eyes.
He sighs, and the sound crawls slithering down my spine;
my blood seems to pause at his touch as he caresses my face.
He unfastens my dress till the white lace shows, and my neck is bared.
His teeth are long, yellow and hard, his face bearded and haggard.
A wolf howls in the distance. There are no wolves in New York. I gasp.
My blood is a trickle his wet tongue embraces. My heart races madly.
He likes it like that.
Less Heroic Couplets: Baseball Explained
by Michael R. Burch
Baseball’s immeasurable spittin’
mixed with occasional hittin’.
Infatuate, or Sweet Centerless Sixteen
by Michael R. Burch
Inconsolable as “love” had left your heart,
you woke this morning eager to pursue
warm lips again, or something “really cool”
on which to press your lips and leave their mark.
As breath upon a windowpane at dawn
soon glows, a spreading halo full of sun,
your thought of love blinks wildly—on and on . . .
then fizzles at the center, and is gone.
The Wonder Boys
by Michael R. Burch
(for Leslie Mellichamp, the late editor of The Lyric,
who was a friend and mentor to many poets, and
a fine poet in his own right)
The stars were always there, too-bright cliches:
scintillant truths the jaded world outgrew
as baffled poets winged keyed kites—amazed,
in dream of shocks that suddenly came true . . .
but came almost as static—background noise,
a song out of the cosmos no one hears,
or cares to hear. The poets, starstruck boys,
lay tuned in to their kite strings, saucer-eared.
They thought to feel the lightning’s brilliant sparks
electrify their nerves, their brains; the smoke
of words poured from their overheated hearts.
The kite string, knotted, made a nifty rope . . .
You will not find them here; they blew away—
in tumbling flight beyond nights’ stars. They clung
by fingertips to satellites. They strayed
too far to remain mortal. Elfin, young,
their words are with us still. Devout and fey,
they wink at us whenever skies are gray.
Originally published by The Lyric
The Singer
by Michael R. Burch
for Leslie Mellichamp
The sun that swoons at dusk
and seems a vanished grace
breaks over distant shores
as a child’s uplifted face
takes up a song like yours.
We listen, and embrace
its warmth with dawning trust.
Dawn, to the Singer
by Michael R. Burch
for Leslie Mellichamp
“O singer, sing to me—
I know the world’s awry—
I know how piteously
the hungry children cry.”
We hear you even now—
your voice is with us yet.
Your song did not desert us,
nor can our hearts forget.
“But I bleed warm and near,
And come another dawn
The world will still be here
When home and hearth are gone.”
Although the world seems colder,
your words will warm it yet.
Lie untroubled, still its compass
and guiding instrument.
Geraldine in her pj's
by Michael R. Burch
for Geraldine A. V. Hughes
Geraldine in her pj's
checks her security relays,
sits down armed with a skillet,
mutters, "Intruder? I'll **** it!"
Then, as satellites wink high above,
she turns to her poets with love.
Advice to Young Poets
by Nicanor Parra Sandoval
loose translation/interpretation by Michael R. Burch
Youngsters,
write however you will
in your preferred style.
Too much blood flowed under the bridge
for me to believe
there’s just one acceptable path.
In poetry everything’s permitted.
Originally published by Setu
A poet births words,
brings them into the world like a midwife,
then wet-nurses them from infancy to adolescence.
— Michael R. Burch
The Century’s Wake
by Michael R. Burch
lines written at the close of the 20th century
Take me home. The party is over,
the century passed—no time for a lover.
And my heart grew heavy
as the fireworks hissed through the dark
over Central Park,
past high-towering spires to some backwoods levee,
hurtling banner-hung docks to the torchlit seas.
And my heart grew heavy;
I felt its disease—
its apathy,
wanting the bright, rhapsodic display
to last more than a single day.
If decay was its rite,
now it has learned to long
for something with more intensity,
more gaudy passion, more song—
like the huddled gay masses,
the wildly-cheering throng.
You ask me—
How can this be?
A little more flair,
or perhaps only a little more clarity.
I leave her tonight to the century’s wake;
she disappoints me.
The following translation is the speech of the Sibyl to Aeneas, after he has implored her to help him find his beloved father in the Afterlife, found in the sixth book of the Aeneid ...
The Descent into the Underworld
by Virgil
loose translation/interpretation by Michael R. Burch
The Sibyl began to speak:
“God-blooded Trojan, son of Anchises,
descending into the Underworld’s easy
since Death’s dark door stands eternally unbarred.
But to retrace one’s steps and return to the surface:
that’s the conundrum, that’s the catch!
Godsons have done it, the chosen few
whom welcoming Jupiter favored
and whose virtue merited heaven.
However, even the Blessed find headway’s hard:
immense woods barricade boggy bottomland
where the Cocytus glides with its dark coils.
But if you insist on ferrying the Styx twice
and twice traversing Tartarus,
if Love demands you indulge in such madness,
listen closely to how you must proceed...”
Uther’s Last Battle
by Michael R. Burch
Uther Pendragon was the father of the future King Arthur, but he had given his son to the wily Merlyn and knew nothing of his whereabouts. Did Uther meet his son just before his death, as one of the legends suggests?
When Uther, the High King,
unable to walk, borne upon a litter
went to fight Colgrim, the Saxon King,
his legs were weak, and his visage bitter.
“Where is Merlyn, the sage?
For today I truly feel my age.”
All day long the battle raged
and the dragon banner was sorely pressed,
but the courage of Uther never waned
till the sun hung low upon the west.
“Oh, where is Merlyn to speak my doom,
for truly I feel the chill of the tomb.”
Then, with the battle almost lost
and the king besieged on every side,
a prince appeared, clad all in white,
and threw himself against the tide.
“Oh, where is Merlyn, who stole my son?
For, truly, now my life is done.”
Then Merlyn came unto the king
as the Saxons fled before a sword
that flashed like lightning in the hand
of a prince that day become a lord.
“Oh, Merlyn, speak not, for I see
my son has truly come to me.
And today I need no prophecy
to see how bright his days will be.”
So Uther, then, the valiant king
met his son, and kissed him twice—
the one, the first, the one, the last—
and smiled, and then his time was past.
Originally published by Songs of Innocence
HAIKU
Unaware it protects
the hilltop paddies,
the scarecrow seems useless to itself.
—Eihei Dogen Kigen, loose translation/interpretation by Michael R. Burch
Fading memories
of summer holidays:
the closet’s last floral skirt...
—Michael R. Burch
Scandalous tides,
removing bikinis!
—Michael R. Burch
She bathes in silver
~~~~~afloat~~~~
on her reflections ...
—Michael R. Burch
Sulpicia Translations by Michael R. Burch
These are modern English translations by Michael R. Burch of seven Latin poems written by the ancient Roman female poet Sulpicia, who was apparently still a girl or very young woman when she wrote them.
I. At Last, Love!
by Sulpicia
loose translation/interpretation by Michael R. Burch
for Carolyn Clark, who put me up to it
It's come at last! Love!
The kind of love that, had it remained veiled,
would have shamed me more than baring my naked soul.
I appealed to Aphrodite in my poems
and she delivered my beloved to me,
placed him snugly, securely against my breast!
The Goddess has kept her promises:
now let my joy be told,
so that it cannot be said no woman enjoys her recompense!
I would not want to entrust my testimony
to tablets, even those signed and sealed!
Let no one read my avowals before my love!
Yet indiscretion has its charms,
while it's boring to conform one’s face to one’s reputation.
May I always be deemed worthy lover to a worthy love!
II. Dismal Journeys, Unwanted Arrivals
by Sulpicia
loose translation/interpretation by Michael R. Burch
for Carolyn Clark, who put me up to it
My much-hated birthday's arrived, to be spent mourning
in a wretched countryside, bereft of Cerinthus.
Alas, my lost city! Is it suitable for a girl: that rural villa
by the banks of a frigid river draining the fields of Arretium?
Peace now, Uncle Messalla, my over-zealous chaperone!
Arrivals of relatives aren't always welcome, you know.
Kidnapped, abducted, snatched away from my beloved city,
I’d mope there, prisoner to my mind and emotions,
this hostage coercion prevents from making her own decisions!
III. The Thankfully Abandoned Journey
by Sulpicia
loose translation/interpretation by Michael R. Burch
for Carolyn Clark, who put me up to it
Did you hear the threat of that wretched trip’s been abandoned?
Now my spirits soar and I can be in Rome for my birthday!
Let’s all celebrate this unexpected good fortune!
IV. Thanks for Everything, and Nothing
by Sulpicia
loose translation/interpretation by Michael R. Burch
for Carolyn Clark, who put me up to it
Thanks for revealing your true colors,
thus keeping me from making further fool of myself!
I do hope you enjoy your wool-basket *****,
since any female-filled toga is much dearer to you
than Sulpicia, daughter of Servius!
On the brighter side, my guardians are much happier,
having feared I might foolishly bed a nobody!
V. Reproach for Indifference
by Sulpicia
loose translation/interpretation by Michael R. Burch
for Carolyn Clark, who put me up to it
Have you no kind thoughts for your girl, Cerinthus,
now that fever wilts my wasting body?
If not, why would I want to conquer this disease,
knowing you no longer desired my existence?
After all, what’s the point of living
when you can ignore my distress with such indifference?
VI. Her Apology for Errant Desire
by Sulpicia
loose translation/interpretation by Michael R. Burch
for Carolyn Clark, who put me up to it
Let me admit my errant passion to you, my love,
since in these last few days
I've exceeded all my foolish youth's former follies!
And no folly have I ever regretted more
than leaving you alone last night,
desiring only to disguise my desire for you!
Sulpicia on the First of March
by Sulpicia
loose translation/interpretation by Michael R. Burch
“One might venture that Sulpicia was not over-modest.” – MRB
Sulpicia's adorned herself for you, O mighty Mars, on your Kalends:
come admire her yourself, if you have the sense to observe!
Venus will forgive your ogling, but you, O my violent one,
beware lest your armaments fall shamefully to the floor!
Cunning Love lights twin torches from her eyes,
with which he’ll soon inflame the gods themselves!
Wherever she goes, whatever she does,
Elegance and Grace follow dutifully in attendance!
If she unleashes her hair, trailing torrents become her train:
if she braids her mane, her braids are to be revered!
If she dons a Tyrian gown, she inflames!
She inflames, if she wears virginal white!
As stylish Vertumnus wears her thousand outfits
on eternal Olympus, even so she models hers gracefully!
She alone among the girls is worthy
of Tyre’s soft wool dipped twice in costly dyes!
May she always possess whatever rich Arabian farmers
reap from their fragrant plains’ perfumed fields,
and whatever flashing gems dark India gathers
from the scarlet shores of distant Dawn’s seas.
Sing the praises of this girl, Muses, on these festive Kalends,
and you, proud Phoebus, strum your tortoiseshell lyre!
She'll carry out these sacred rites for many years to come,
for no girl was ever worthier of your chorus!
We may not be able to find the true God through logic, but we can certainly find false gods through illogic. — Michael R. Burch
Rag Doll
by Michael R. Burch, circa age 17
On an angry sea a rag doll is tossed
back and forth between cruel waves
that have marred her easy beauty
and ripped away her clothes.
And her arms, once smoothly tanned,
are gashed and torn and peeling
as she dances to the waters’
rockings and reelings.
She’s a rag doll now,
a toy of the sea,
and never before
has she been so free,
or so uneasy.
She’s slammed by the hammering waves,
the flesh shorn away from her bones,
and her silent lips must long to scream,
and her corpse must long to find its home.
For she’s a rag doll now,
at the mercy of all
the sea’s relentless power,
cruelly being ravaged
with every passing hour.
Her eyes are gone; her lips are swollen
shut to the pounding waves
whose waters reached out to fill her mouth
with puddles of agony.
Her limbs are limp; her skull is crushed;
her hair hangs like seaweed
in trailing tendrils draped across
a never-ending sea.
For she’s a rag doll now,
a worn-out toy
with which the waves will play
ten thousand thoughtless games
until her bed is made.
Keywords/Tags: Sulpicia, Latin, Latin Poems, English Translations, Rome, Roman, Cerinthus, Albius Tibullus, Uncle Valerius Messalla Corvinus, birthday, villa, poem, poetry, winter, spring, snow, frost, rose, sun, eyes, sight, seeing, understanding, wisdom, Ars Poetica, Messiah, disciple
"The Making of a Poet" is the account of how I came to be a poet, despite destroying all my poems at age 15, as recounted in my poem "Heir on Fire."