The basic texts, dictionaries,
letters, strategies, risks, events,
publications and the interpretation
of ******' literature and translation,
especially 1, are permanently
deleted. Literary abstracts: literature,
literary stories, historical books,
***** and board of directors.

Theory of Iniforishinelli: this article
prints publications and forms for
the promotion of prostitution
and the programs used to publish
prohibited drugs. 29 other examples
of publications, cleaning standards,
articles, letters, good road network,
credentials, events, police
officers 1: descriptions
of key functions, especially
the best long-term artistic
values. Great epic literature,
literary texts, history books,
participation in the council,
concepts of medical
information programs.

This ***** edition
and the impact
on ****** purity.

Other samples:
Creative,
Common,
Brochures,
New brochure.

Dictionary of basic definitions,
letters, good methods,
accidents, incidents, police
interpretations. Basic writing,
particularly high and durable
artistic values. The best literature;

Summary of communication
articles, texts, recognition
of articles, letters and integrated
maps. This publication of Women
and Drug Trafficking (narcotics /
29 and observations of other texts,
creative writing of literary texts
and sources) Letters, good tactics,
identities, political definitions
1 Basically, The work is considered
the best for long periods of modern
texts, literature and nicotine.
Books, compositions Tables

BIBLIOGRAPHY
Drugs for women's articles,
emphasizing the difference
between the program and
the effectiveness of the use
of medicines 29 ******
and other units to create
the same samples, creative
writing articles for Publications.

New brochures and promotional
material ... literary dictionaries,
letters, tactics, accidents, events
and interpretations of police
publications. 1 Literary work
is particularly high or permanent.
The best summaries of literature:
writing, literary literature,
history books, summary table.

Theory of information:
this article deals
with published publications
****** and the proliferation
of prostitution for
the publication of criminals
of drug abuse programs.

29 Examples of other hygiene
criteria: Publication Prints articles,
letters, good roads, certifications,
events, literary definitions of the police
that have 1 basic writing,
particularly good long-term for the arts.
Great works written poetry,
written texts, historical books,
county councils. Information
theory: this publication reviews
the reviews of drug treatment
programs and the implications
for ****** hygiene.

Other samples of similar samples:
Creative Commons Publishing
New brochures. Translations
of definitions of basic logical
dictionaries, letters,
good methods, disasters,
phenomena, definitions
of police literature. Essentially
1 written work, especially
those considered superior
or of lasting artistic values.
Great literary work.

Summary: written works,
written bibliography, bibliographic
texts, complex boards of directors.
Bibliography examples: this article
is published literature on the *****
scope and efficacy of the substance
abuse treatment program for women.

29 Other examples of compliance
with education. Creative creation
of literary texts Publication
Brochures; New offers
Translations to basic logical
definitions of dictionaries, letters,
good methods, idiosyncrasies,
phenomena, definitions of literary
police. Essentially written work,
especially those considered better
or longer artistic values. Great
literary work. Written works,
written bibliography, bibliographic
texts, complex boards of directors.

Bibliographic examples:
this article evaluates
the published literature
on the ******' scope
and effectiveness
of programs to combat
substance abuse in women.

29 Other samples of equivalent literature;
Creative writing's Creation of literary text
Brochures of New promotional publications.

EFFECTS OF CHILD ABUSE ON PERFORMANCE OF PRIMARY SCHOOL IN KAPYEMIT WARD, TURBO CONSTITUENCY, UASIN-GISHU COUNTY.





BY
ERICK NYAKUNDI
KIS/03013/14




A RESEARCH PROJECTSUBMITED TO THE SCHOOL OF ARTS AND SOCIAL SCIENCES, DEPARTMENT OF SOCIOLOGY AND PSYCHOLOGY IN THE PARTIAL FULFILMENT FOR THE AWARD OF THE DEGREE OF BACHELOR OF SOCIOLOGY



MAY, 2014

DECLARATION

I, the undersigned, declare that this project is my original work and that it has not been presented in any other university or institution for academic credit.

Signature...............................................­..... Date...................................
ERICK NYAKUNDI
KIS/03013/14






SUPERVISOR
This project has been submitted for examination with my approval as university supervisor
DR. W. O. ABUYA
Signature..................................................­.. Date....................................




DEDICATION
I dedicate this work to my Dad, Mom, my sister Lydia and my lovely brother Dun who contributed in one way or another to make this project to be successful.


















ACKNOWLEDGEMENT
I would like to thank all individuals who contributed and sacrificed their time towards completion of this project.
To my supervisor, for the guidance and support in the development of this research project, His advice and criticism made this project what it is.
Thanks to colleagues and friends for their suggestions, advice and encouragement. To all of you may God bless you abundantly for your tireless effort.

TABLE OF CONTENTS
Contents Page
DECLARATION i
DEDICATION ii
ACKNOWLEDGEMENT iii
TABLE OF CONTENTS iv
LIST OF TABLES vii
LIST OF FIGURE viii
ABSTRACT ix
CHAPTER ONE 10
STUDY OVERVIEW AND STATEMENT OF THE PROBLEM 10
1.1 Background of the Study 10
1.2 Research Questions 13
1.3 Research Objectives 13
1.4 Justification of the Study 13
1.5 Significance of the Study 14
1.6 Scope of the Study 15
1.6.1Assumptions of the Study 16
CHAPTER TWO 17
LITERATURE REVIEW 17
2.1 Introduction 17
2.2 Common Forms of Child Abuse 17
2.2.1 Child ****** Abuse 17
2.2.2 Physiological or Emotional Abuse 17
2.2.3 Physical Abuse 18
2.2.4 Child Neglect or Abandonment 18
2.2.4.1 Physical Neglect 19
2.2.4.2 Educational Neglect 19
2.2.4.3 Medical Neglect 19
2.2.5 Child Fatalities 20
2.3 How Child Abuse Affects Academic Performance 20
2.3.1 Child Abuse and Academic Performance 20
2.3.2 Child Abuse and School Image 23
2.3.3 Child Abuse and Dropout Rate 25
2.4 Strategies that Schools can Employ to Curb Child Abuse 26
2.4.1 Role of Public Regulation 26
2.4.1.1 Nurturing and Attachment 27
2.4.1.2 Social Connections 27
2.5 Theoretical Framework 27
2.5.1 Learning Theory 28
2.5.1.1 Relationship with the Study 28
2.5.2 Family Dysfunction Theory 29
2.5.2.1 Relationship with the Study 29
CHAPTER THREE 30
RESEARCH DESIGN AND METHODOLOGY 30
3.0 Introduction 30
3.1 Site Description 30
3.2 Research Design 30
3.3.1 Target Population 30
3.3.2 Sample Size and Sampling Procedure 31
3.4 Description of Research Instruments 32
3.4.1 Research Instrument 32
3.4.1.1 Questionnaire 32
3.5 Data Collection Procedure 32
3.5.1 Validity and Reliability of Research Instruments 33
3.5.1.1 Reliability of Research Instruments 33
3.5.1.2 Validity 33
3.6 Data Analysis and Presentation 33
CHAPTER FOUR 35
DATA PRESENTATION AND ANALYSIS 35
4.0 Introduction 35
4.1 Background Information 35
4.1.1 Age of the Respondents 35
4.1.2 *** of the Respondents 35
4.1.3 Education Level of the Respondents 36
4.1.4 Marital Status 36
4.2 Specific Information 37
4.2.1 Effects of Child Abuse on Academic Performance 37
4.2.2 How Child Abuse Affects Dropout Rate of Students in School 38
4.2.3 Proposed Strategies that Schools can Employ to Curb Child Abuse 41
CHAPTER FIVE 43
SUMMARY, CONCLUSION AND RECOMMENDATIONS 43
5.0 Introduction 43
5.1 Summary of the findings 43
5.2 Discussion of the Findings 44
5.3 Conclusion 45
5.4 Recommendations 46
REFERENCES 47

LIST OF TABLES & FIGURES
Table 3.1 Target population 32
Table 3.1 Sample size 33
Table 4.1 Age of the Respondents 36
Table 4.2 *** of the Respondents 37
Table 4.3 Education Level of the Respondents 37
Table 4.4 Marital Status 38
Table 4.5 Effects of Child Abuse on Academic Performance 38
Table 4.6 How Child Abuse Affects Dropout Rate of Students in School 40
Figure 4.1 Views of the Pupils on Abuse 41
Table 4.7 Proposed Strategies that Schools can Employ to Curb Child Abuse 42





















ABSTRACT
Child abuse is the physical, ****** or emotional maltreatment or neglect of a child or children. The consequences of child maltreatment can be profound and may endure long after the abuse or neglect occurs. The purpose of the study was to investigate the effect of child abuse on school performance in Primary Schools in Kapyemit ward, Uasin-Gishu County. The objectives of the study were: To assess the impacts of child abuse on academic performance; to determine the effects of child abuse on schools image, to identify the impacts of child abuse on pupil drop out rate, to investigate the effects of child abuse on pupil transition rate. The study employed a survey study design. The study targeted 160 respondents which includes; 5 Head Teachers, 40 Teachers, 70 Pupils and 35 parents of which a sample size of 48 was obtained from using 30%. Purposive sampling technique was used in selecting the head teachers while simple random sampling technique will be used to select the teachers, Pupils and parents who formed the respondents of the study. Questionnaires and interview schedules were used as data collection instruments. Data was analyzed quantitatively and qualitatively and presented in form of tables, percentages and frequency. The study helped in the understanding of the effects of child abuse on the school performance, the realization of the roles parents and teachers play in the curbing of child abuse among pupils and raising awareness on the same.
 
CHAPTER ONE
STUDY OVERVIEW AND STATEMENT OF THE PROBLEM
1.1 Background of the Study
Child abuse is the physical, ****** or emotional maltreatment or neglect of a child or children. The consequences of child maltreatment can be profound and may endure long after the abuse or neglect occurs. The effects can appear in childhood, adolescence, or adulthood, and may affect various aspects of an individual's development (e.g., physical, cognitive, psychological, and behavioral). These effects range in consequence from minor physical injuries, low self-esteem, attention disorders, and poor peer relations to severe brain damage, extremely violent behavior, and death. In extreme cases, child abuse affects the performance of schools in the affected region (Daniel, 1978).
Performance refers to how students deal with their academic studies and how they cope with or accomplish different tasks given to them by their teachers. Performance is also the ability of a school to portray a good image which can influence the public (Decastro, 1978). There are several factors that influence the performance of a school at large, however, there is a critical factor that most researchers have avoided to discuss, and child abuse has been a crucial factor that has contributed to children’s dismal performance. Apart from children’s personal intelligence, child abuse is among then key factors contributing to poor performance of learners. Child abuse can lead to school dropping, emotional trauma or can even be fatal, hence destructing or even terminating the educational ambitions of a child. (Harris, 2005)
Worldwide, according to World Health Organization (WHO, 2000) approximately 40 million children are subjected to child abuse each year. According to Human Rights Watch (2001) about 30% of all severely disabled children relegated to special homes in the Ukraine died before they reached 18 years of age. UNICEF estimates that two million children died as a result of armed conflict during a recent 10-year period and that another six million were injured or disabled. In Canada, the U.S. and Mexico, over 6.5 million children annually are exposed to unwanted ****** materials over the internet; over 1.7 million of these report distress over exposure to these materials. In the United States, the Centers for Disease Control and Prevention (CDC) and the Department for Children and Families (DCF) define child maltreatment as any act or series of acts of commission or omission by a parent or other caregiver that results in harm, potential for harm, or threat of harm to a child. Child abuse can occur in a child's home, or in the organizations, schools or communities the child interacts with. Each year, approximately one million children around the world are introduced into commercial ****** exploitation despite this problem; these developed countries have put measures to curb the vice. Rehabilitation schools have been formed and introduction of counseling centers as well. Despite the prevalence of child abuse in this developed nations they narrowly affect the academic performance since there are organizations put in place to curb the situation e.g. child associations, guidance and counseling institutions, and school based counseling programs (Giles, 2001)
Concern for victims of child abuse in Africa expressed by the African network of the International Society for The Prevention of Child Abuse and Neglect (ISPCAN) which gave five main presentations of child abuse: child labor, street wandering, ****** abuse, child battering and abandonment (Elma, 1977). Child labor according to the international labor organization (ILO), about 10 million children less than 15years in Africa are in formal employment, working long hours with poor pay and are exposed to substantial health hazards. Wandering of children refers to children, usually unkempt and with delinquent propensities, living rough in town. The reasons for children taking to the street remain poorly understood particularly in relation to factors in the child rather than parental hostility and economic (Dubowitz, 2002)
****** abuse is another. For example, arranged under-age marriages are common in some parts of the continent and doubt was often expressed as to whether a young girl fully gave consent to being betrothed (Galdsone, 1965). Prevalence rates in Africa are very difficult to ascertain because of the fear of disclosure by victims and lack of proper documentation. Most of the girls by reasons of shame fear or surprisingly respect for their usually older perpetrators. Physical battering is also eminent. Physical abuse of children is widely claimed to berate in the third world; however, there are anecdotes from east Africa skeletal frame or localized body areas of all first attendees aged 0-12 years at this hospital during the four-year period 1 January 1987 to 31 December 1990 (Garbarino, 1975). Sixty-nine of these reports reveals evidence of multiple bone fractures wither without evidence of rib or skull fracture. Abandonment of children to roam around the streets in what we call street children is also eminent in Africa, though valid and adequate information on abandonment are difficult to obtain due mainly to failure of offending parents to show up out of guilt, shame, judicial repercussions or a combination of these. However, some euro-American missionaries identified inter alia breech birth. (Erickson, 2003)
Child protection measures in Kenya are currently not implemented effectively and fully (Galdstone, 1965). Compliance with such legislation would increase if the magnitude of the problem and better knowledge about the factors that put children at risk was available. Additionally, involving stakeholders, especially agencies charged with protection, as well as involving affected children, will highlight the issues and thereby promote adherence to protection policies. Kenyan children, child activists and children organizations are pinning their hopes on the implementation of the Children’s Act to improve the lot of the nation’s youth. The Act, which came into effect on 1 March 2002, puts in place full safeguards for the rights of the child. Its passage was a giant stride in harmonizing the national laws with international agreements which Kenya has signed such as the UN Conventions on the Rights of the Child (CRC, 2002)
There is hope that the new legislation will dramatically change the inattention, neglect and abuse towards child rights. The Act outlaws any form discrimination of children, and forbids Female Genital Mutilation (FGM), child prostitution, and child labor, among other forms of abuse. The Children’s Act has immensely improved the lives of many Kenyan children plagued with high illiteracy levels, frequent **** cases and child labor since it guarantees children the right to health and medical care, provision of which is the responsibility of the parents, the extended family and the government (Erickson, 2005).
Cases of child abuse in Uasin-Gishu region have been so eminent in the recent years ((Kenya Media Report, 2004). In the year 2010 and the year 2011, there was a program started to rehabilitate this behavior. This problem is clearly evident when you first arrive in Eldoret town, it is among the towns in the country with the highest number of abandoned children who keep on moving from one Centre to another seeking help from passersby. Parents have developed behaviors of abandoning their children and deliberately sending them to the town so that they can benefit from their borrowing. So to say this has led to child labor in this region. High profile cases of school dropouts have been recorded regarding the environs of this region. Young school children from different locations in Eldoret converge in town to persuade people to offer them financial assistance. Some attend school in numbered days and decide to spend some good number of days out of school.
The communities and societies around tend to assume this situation and term it as norm. A few who might seem concerned lack cooperation from the rest. This has adversely affected the performance of most of schools, hence leading to poor living standards of the people and a poisoned future of a young citizen. The problem has affected learners in regions like many areas in Uasin-Gishu County. It has really affected child development and affected their attendance and performance in school. Little intervention measures has been taken to advocate the holistic development of the children. It was to this reason that the researcher conducted the research in the named above region
1.2 Research Questions
The study was guided by the following questions;
1) What is the effect of child abuse on the academic performance of students in Kapyemit Ward?  
2) What are some of the proposed strategies that schools can employ to curb child abuse?
1.3 Research Objectives
The study was guided by the following research objectives;
1) To identify the effect of child abuse on the academic performance of students in Kapyemit Ward.
2) To identify proposed strategies that can be employed to help curb child abuse.
1.4 Justification of the Study
It is becoming increasingly difficult to separate child abuse prevention into separate categories. For instance, strategies on the societal level include increasing the “value” of children, increasing the economic self-sufficiency of families, discouraging corporal punishment and other forms of violence, making health care more accessible and affordable, expanding and improving coordination of social services, improving the identification and treatment of psychological problems and alcohol and drug abuse, providing more affordable child care and preventing the birth of unwanted children.
Very little analysis has been done to estimate the total cost of preventing child abuse and neglect or the long-term social costs of not preventing it. There is now a move to situate child abuse and neglect within the continuum of intervention which addresses multiple aspects of family behaviors. The efficacy of tackling portions of the problem of child abuse apart from broader societal needs is not known. And, perhaps prevention can only come in tandem with efforts to reduce poverty, improve health care and make children’s issues a national priority. However, despite these constraints, evaluations of prevention programs can be improved by coming to terms with definitions of key varia

Modern Charon
by Michael R. Burch

I, too, have stood―paralyzed at the helm
watching onrushing, inevitable disaster.
I too have felt sweat (or ecstatic tears) plaster
damp hair to my eyes, as a slug’s dense film
becomes mucous-insulate. Always, thereafter
living in darkness, bright things overwhelm.

Originally published by The Neovictorian/Cochlea. I wrote this poem in 2001 after the 911 terrorist attacks.



Davenport Tomorrow
by Michael R. Burch

Davenport tomorrow ...
all the trees stand stark-naked in the sun.

Now it is always summer
and the bees buzz in cesspools,
adapted to a new life.

There are no flowers,
but the weeds, being hardier,
have survived.

The small town has become
a city of millions;
there is no longer a sea,
only a huge sewer,
but the children don't mind.

They still study
rocks and stars,
but biology is a forgotten science ...
after all, what is life?

Davenport tomorrow ...
all the children murmur through vein-streaked gills
whispered wonders of long-ago.



Burn
by Michael R. Burch

for Trump

Sunbathe,
ozone baby,
till your parched skin cracks
in the white-hot flash
of radiation.

Incantation
from your pale parched lips
shall not avail;
you made this hell.
Now burn.



Bikini
by Michael R. Burch

Undersea, by the shale and the coral forming,
by the shell’s pale rose and the pearl’s bright eye,
through the sea’s green bed of lank seaweed worming
like tangled hair where cold currents rise ...
something lurks where the riptides sigh,
something old, and odd, and wise.

Something old when the world was forming
now lifts its beak, its snail-blind eye,
and, with tentacles like Medusa's squirming,
it feels the cloud blot out the skies' ...
then shudders, settles with a sigh,
understanding man’s demise.



This poem has over 800,000 Google results for the eleventh line. That's a lot of cutting and pasting!

First They Came for the Muslims
by Michael R. Burch

after Martin Niemoller

First they came for the Muslims
and I did not speak out
because I was not a Muslim.

Then they came for the homosexuals
and I did not speak out
because I was not a homosexual.

Then they came for the feminists
and I did not speak out
because I was not a feminist.

Now when will they come for me
because I was too busy and too apathetic
to defend my sisters and brothers?

Published in Amnesty International’s Words That Burn anthology, and by Borderless Journal (India), The Hindu (India), Matters India, New Age Bangladesh, Convivium Journal, PressReader (India) and Kracktivist (India)

It is indeed an honor to have one of my poems published by an outstanding organization like Amnesty International. A stated goal for the "Words That Burn" anthology is to teach students about human rights through poetry.



Warming Her Pearls
by Michael R. Burch

for Beth

Warming her pearls, her *******
gleam like constellations.
Her belly is a bit rotund ...
she might have stepped out of a Rubens.



Safe Harbor
by Michael R. Burch

for Kevin N. Roberts

The sea at night seems
an alembic of dreams—
the moans of the gulls,
the foghorns’ bawlings.

A century late
to be melancholy,
I watch the last shrimp boat as it steams
to safe harbor again.

In the twilight she gleams
with a festive light,
done with her trawlings,
ready to sleep . . .

Deep, deep, in delight
glide the creatures of night,
elusive and bright
as the poet’s dreams.

Published by The Lyric, Grassroots Poetry, Romantics Quarterly, Angle, Poetry Life & Times



Distances
by Michael R. Burch

Moonbeams on water—
the reflected light
of a halcyon star
now drowning in night ...
So your memories are.

Footprints on beaches
now flooding with water;
the small, broken ribcage
of some primitive slaughter ...
So near, yet so far.

Originally published by The Poetry Porch/Sonnet Scroll



Fascination with Light
by Michael R. Burch

Desire glides in on calico wings,
a breath of a moth
seeking a companionable light,

where it hovers, unsure,
sullen, shy or demure,
in the margins of night,

a soft blur.

With a frantic dry rattle
of alien wings,
it rises and thrums one long breathless staccato

and flutters and drifts on in dark aimless flight.

And yet it returns
to the flame, its delight,
as long as it burns.

Originally published by The HyperTexts



Kin
by Michael R. Burch

O pale, austere moon,
haughty beauty ...

what do we know of love,
or duty?



Water and Gold
by Michael R. Burch

You came to me as rain breaks on the desert
when every flower springs to life at once,
but joy's a wan illusion to the expert:
the Bedouin has learned how not to want.

You came to me as riches to a miser
when all is gold, or so his heart believes,
until he dies much thinner and much wiser,
his gleaming bones hauled off by chortling thieves.

You gave your heart too soon, too dear, too vastly;
I could not take it in; it was too much.
I pledged to meet your price, but promised rashly.
I died of thirst, of your bright Midas touch.

I dreamed you gave me water of your lips,
then sealed my tomb with golden hieroglyphs.

Published by The Lyric, Black Medina, The Eclectic Muse, Kritya (India), Shabestaneh (Iran), Anthology of Contemporary American Poetry, Captivating Poetry (Anthology), Strange Road, Freshet, Shot Glass Journal, Better Than Starbucks, Famous Poets and Poems, Sonnetto Poesia, Poetry Life & Times



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.



Leave Taking
by Michael R. Burch

Brilliant leaves abandon battered limbs
to waltz upon ecstatic winds
until they die.

But the barren and embittered trees,
lament the frolic of the leaves
and curse the bleak November sky ...

Now, as I watch the leaves' high flight
before the fading autumn light,
I think that, perhaps, at last I may

have learned what it means to say—
goodbye.

This poem started out as a stanza in a much longer poem, "Jessamyn's Song," that dates to around age 14 or 15.



Passionate One
by Michael R. Burch

for Beth

Love of my life,
light of my morning―
arise, brightly dawning,
for you are my sun.

Give me of heaven
both manna and leaven―
desirous Presence,
Passionate One.



Stay With Me Tonight
by Michael R. Burch

Stay with me tonight;
be gentle with me as the leaves are gentle
falling to the earth.
And whisper, O my love,
how that every bright thing, though scattered afar,
retains yet its worth.

Stay with me tonight;
be as a petal long-awaited blooming in my hand.
Lift your face to mine
and touch me with your lips
till I feel the warm benevolence of your breath’s
heady fragrance like wine.

That which we had
when pale and waning as the dying moon at dawn,
outshone the sun.
And so lead me back tonight
through bright waterfalls of light
to where we shine as one.

Originally published by The Lyric




Ophélie (“Ophelia”), an Excerpt
by Arthur Rimbaud
loose translation/interpretation by Michael R. Burch

On pitiless black waves unsinking stars abide
... while pale Ophelia, a lethargic lily, drifts by ...
Here, tangled in her veils, she floats on the tide ...
Far-off, in the woods, we hear the strident bugle’s cry.

For a thousand years, or more, sad Ophelia,
This albescent phantom, has rocked here, to and fro.
For a thousand years, or more, in her gentle folly,
Ophelia has rocked here when the night breezes blow.

For a thousand years, or more, sad Ophelia,
Has passed, an albescent phantom, down this long black river.
For a thousand years, or more, in her sweet madness
Ophelia has made this river shiver.



bachelorhoodwinked
by Michael R. Burch

u
are
charming
& disarming,
but mostly alarming
since all my resolve
dissolved!

u
are
chic
as a sheikh's
harem girl in the sheets
but my castle’s no longer my own
and my kingdom's been overthrown!



chrysalis
by Michael R. Burch

these are the days of doom
u seldom leave ur room
u live in perpetual gloom

yet also the days of hope
how to cope?
u pray and u *****

toward self illumination ...
becoming an angel
(pure love)

and yet You must love Your Self



Self Reflection
by Michael R. Burch

(for anyone struggling with self-image)

She has a comely form
and a smile that brightens her dorm ...
but she's grossly unthin
when seen from within;
soon a griefstricken campus will mourn.

Yet she'd never once criticize
a friend for the size of her thighs.
Do unto others—
sisters and brothers?
Yes, but also ourselves, likewise.



War is Obsolete
by Michael R. Burch

Trump’s war is on children and their mothers.
"An eye for an eye leaves the whole world blind." ― Gandhi

War is obsolete;
even the strange machinery of dread
weeps for the child in the street
who cannot lift her head
to reprimand the Man
who failed to countermand
her soft defeat.

But war is obsolete;
even the cold robotic drone
that flies far overhead
has sense enough to moan
and shudder at her plight
(only men bereft of Light
with hearts indurate stone
embrace war’s Siberian night.)

For war is obsolete;
man’s tribal “gods,” long dead,
have fled his awakening sight
while the true Sun, overhead,
has pity on her plight.
O sweet, precipitate Light!―
embrace her, reject the night
that leaves gentle fledglings dead.

For each brute ancestor lies
with his totems and his “gods”
in the slavehold of premature night
that awaited him in his tomb;
while Love, the ancestral womb,
still longs to give birth to the Light.
So which child shall we ****** tonight,
or which Ares condemn to the gloom?

Originally published by The Flea. While campaigning for president in 2016, Donald Trump said that, as commander-in-chief of the American military, he would order American soldiers to track down and ****** women and children as "retribution" for acts of terrorism. When aghast journalists asked Trump if he could possibly have meant what he said, he verified more than once that he did. Keywords/Tags: war, terrorism, retribution, violence, ******, children, Gandhi, Trump, drones



In My House
by Michael R. Burch

When you were in my house
you were not free―
in chains bound.

Manifest Destiny?

I was wrong;
my plantation burned to the ground.
I was wrong.
This is my song,
this is my plea:
I was wrong.

When you are in my house,
now, I am not free.
I feel the song
hurling itself back at me.
We were wrong.
This is my history.

I feel my tongue
stilting accordingly.

We were wrong;
brother, forgive me.

Published by Black Medina



Shock
by Michael R. Burch

It was early in the morning of the forming of my soul,
in the dawning of desire, with passion at first bloom,
with lightning splitting heaven to thunder's blasting roll
and a sense of welling fire and, perhaps, impending doom―
that I cried out through the tumult of the raging storm on high
for shelter from the chaos of the restless, driving rain ...
and the voice I heard replying from a rift of bleeding sky
was mine, I'm sure, and, furthermore, was certainly insane.

I may have been reading too many gothic ghost stories when I wrote this one! I think it shows a good touch with meter for a young poet, since I wrote it in my early teens.



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?

Originally published by The Eclectic Muse, then in The Best of the Eclectic Muse 1989-2003



Completing the Pattern
by Michael R. Burch

Walk with me now, among the transfixed dead
who kept life’s compact and who thus endure
harsh sentence here—among pink-petaled beds
and manicured green lawns. The sky’s azure,
pale blue once like their eyes, will gleam blood-red
at last when sunset staggers to the door
of each white mausoleum, to inquire—
What use, O things of erstwhile loveliness?



The Communion of Sighs
by Michael R. Burch

There was a moment
without the sound of trumpets or a shining light,
but with only silence and darkness and a cool mist
felt more than seen.
I was eighteen,
my heart pounding wildly within me like a fist.
Expectation hung like a cry in the night,
and your eyes shone like the corona of a comet.

There was an instant . . .
without words, but with a deeper communion,
as clothing first, then inhibitions fell;
liquidly our lips met
—feverish, wet—
forgotten, the tales of heaven and hell,
in the immediacy of our fumbling union . . .
when the rest of the world became distant.

Then the only light was the moon on the rise,
and the only sound, the communion of sighs.

Published by Grassroots Poetry and Poetry Webring



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.

Originally published by The Raintown Review when Harvey Stanbrough was the editor



White in the Shadows
by Michael R. Burch

White in the shadows
I see your face,
unbidden. Go, tell
Love it is commonplace;

tell Regret it is not so rare.

Our love is not here
though you smile,
full of sedulous grace.
Lost in darkness, I fear
the past is our resting place.

Published by Carnelian, The Chained Muse, Poetry Life & Times, A-Poem-A-Day and in a YouTube video by Aurora G. with the titles “Ghost,” “White Goddess” and “White in the Shadows”



The Octopi Jars
by Michael R. Burch

Long-vacant eyes
now lodged in clear glass,
a-swim with pale arms
as delicate as angels'...

you are beyond all hope
of salvage now...
and yet I would pause,
no fear!,
to once touch
your arcane beaks...

I, more alien than you
to this imprismed world,
notice, most of all,
the scratches on the inside surfaces
of your hermetic cells ...

and I remember documentaries
of albino Houdinis
slipping like wraiths
over the walls of shipboard aquariums,
slipping down decks'
brine-lubricated planks,
spilling jubilantly into the dark sea,
parachuting through clouds of pallid ammonia...

and I know now in life you were unlike me:
your imprisonment was never voluntary.



The Children of Gaza

Nine of my poems have been set to music by the composer Eduard de Boer and have been performed in Europe by the Palestinian soprano Dima Bawab. My poems that became “The Children of Gaza” were written from the perspective of Palestinian children and their mothers. On this page the poems come first, followed by the song lyrics, which have been adapted in places to fit the music …



Epitaph for a Child of Gaza
by Michael R. Burch

I lived as best I could, and then I died.
Be careful where you step: the grave is wide.



Frail Envelope of Flesh
by Michael R. Burch

for the mothers and children of Gaza

Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable ...

Frail crucible of dust,
brief flower come to this―
your tiny hand
in your mother’s hand
for a last bewildered kiss ...

Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her tears ...



For a Child of Gaza, with Butterflies
by Michael R. Burch

Where does the butterfly go
when lightning rails
when thunder howls
when hailstones scream
while winter scowls
and nights compound dark frosts with snow?

Where does the butterfly go?

Where does the rose hide its bloom
when night descends oblique and chill
beyond the capacity of moonlight to fill?
When the only relief's a banked fire's glow,
where does the butterfly go?

And where shall the spirit flee
when life is harsh, too harsh to face,
and hope is lost without a trace?
Oh, when the light of life runs low,
where does the butterfly go?



I Pray Tonight
by Michael R. Burch

for the children of Gaza and their mothers

I pray tonight
the starry Light
might
surround you.

I pray
by day
that, come what may,
no dark thing confound you.

I pray ere tomorrow
an end to your sorrow.
May angels' white chorales
sing, and astound you.



Something
by Michael R. Burch

for the mothers and children of Gaza

Something inescapable is lost―
lost like a pale vapor curling up into shafts of moonlight,
vanishing in a gust of wind toward an expanse of stars
immeasurable and void.

Something uncapturable is gone―
gone with the spent leaves and illuminations of autumn,
scattered into a haze with the faint rustle of parched grass
and remembrance.

Something unforgettable is past―
blown from a glimmer into nothingness, or less,
and finality has swept into a corner where it lies
in dust and cobwebs and silence.



Mother’s Smile
by Michael R. Burch

for the mothers of Gaza and their children

There never was a fonder smile
than mother’s smile, no softer touch
than mother’s touch. So sleep awhile
and know she loves you more than “much.”

So more than “much,” much more than “all.”
Though tender words, these do not speak
of love at all, nor how we fall
and mother’s there, nor how we reach
from nightmares in the ticking night
and she is there to hold us tight.

There never was a stronger back
than father’s back, that held our weight
and lifted us, when we were small,
and bore us till we reached the gate,

then held our hands that first bright mile
till we could run, and did, and flew.
But, oh, a mother’s tender smile
will leap and follow after you!



Such Tenderness
by Michael R. Burch

for the mothers of Gaza

There was, in your touch, such tenderness―as
only the dove on her mildest day has,
when she shelters downed fledglings beneath a warm wing
and coos to them softly, unable to sing.

What songs long forgotten occur to you now―
a babe at each breast? What terrible vow
ripped from your throat like the thunder that day
can never hold severing lightnings at bay?

Time taught you tenderness―time, oh, and love.
But love in the end is seldom enough ...
and time?―insufficient to life’s brief task.
I can only admire, unable to ask―

what is the source, whence comes the desire
of a woman to love as no God may require?



who, US?
by Michael R. Burch

jesus was born
a palestinian child
where there’s no Room
for the meek and the mild

... and in bethlehem still
to this day, lambs are born
to cries of “no Room!”
and Puritanical scorn ...

under Herod, Trump, Bibi
their fates are the same―
the slouching Beast mauls them
and WE have no shame:

“who’s to blame?”



My nightmare ...

I had a dream of Jesus!
Mama, his eyes were so kind!
But behind him I saw a billion Christians
hissing "You're nothing!," so blind.
―The Child Poets of Gaza (written by Michael R. Burch for the children of Gaza)



I, too, have a dream ...

I, too, have a dream ...
that one day Jews and Christians
will see me as I am:
a small child, lonely and afraid,
staring down the barrels of their big bazookas,
knowing I did nothing
to deserve their enmity.
―The Child Poets of Gaza (written by Michael R. Burch for the children of Gaza)



Suffer the Little Children
by Nakba

I saw the carnage . . . saw girls' dreaming heads
blown to red atoms, and their dreams with them . . .

saw babies liquefied in burning beds
as, horrified, I heard their murderers’ phlegm . . .

I saw my mother stitch my shroud’s black hem,
for in that moment I was one of them . . .

I saw our Father’s eyes grow hard and bleak
to see frail roses severed at the stem . . .

How could I fail to speak?
―Nakba is an alias of Michael R. Burch



Here We Shall Remain
by Tawfiq Zayyad
loose translation/interpretation by Michael R. Burch

Like twenty impossibilities
in Lydda, Ramla and Galilee ...
here we shall remain.

Like brick walls braced against your chests;
lodged in your throats
like shards of glass
or prickly cactus thorns;
clouding your eyes
like sandstorms.

Here we shall remain,
like brick walls obstructing your chests,
washing dishes in your boisterous bars,
serving drinks to our overlords,
scouring your kitchens' filthy floors
in order to ****** morsels for our children
from between your poisonous fangs.

Here we shall remain,
like brick walls deflating your chests
as we face our deprivation clad in rags,
singing our defiant songs,
chanting our rebellious poems,
then swarming out into your unjust streets
to fill dungeons with our dignity.

Like twenty impossibilities
in Lydda, Ramla and Galilee,
here we shall remain,
guarding the shade of the fig and olive trees,
fermenting rebellion in our children
like yeast in dough.

Here we wring the rocks to relieve our thirst;
here we stave off starvation with dust;
but here we remain and shall not depart;
here we spill our expensive blood
and do not hoard it.

For here we have both a past and a future;
here we remain, the Unconquerable;
so strike fast, penetrate deep,
O, my roots!



Labor Pains
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Tonight the wind wafts pollen through ruined fields and homes.
The earth shivers with love, with the agony of giving birth,
while the Invader spreads stories of submission and surrender.

O, Arab Aurora!

Tell the Usurper: childbirth’s a force beyond his ken
because a mother’s wracked body reveals a rent that inaugurates life,
a crack through which light dawns in an instant
as the blood’s rose blooms in the wound.



Hamza
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Hamza was one of my hometown’s ordinary men
who did manual labor for bread.

When I saw him recently,
the land still wore its mourning dress in the solemn windless silence
and I felt defeated.

But Hamza-the-unextraordinary said:
“Sister, our land’s throbbing heart never ceases to pound,
and it perseveres, enduring the unendurable, keeping the secrets of mounds and wombs.
This land sprouting cactus spikes and palms also births freedom-fighters.
Thus our land, my sister, is our mother!”

Days passed and Hamza was nowhere to be seen,
but I felt the land’s belly heaving in pain.
At sixty-five Hamza’s a heavy burden on her back.

“Burn down his house!”
some commandant screamed,
“and slap his son in a prison cell!”

As our town’s military ruler later explained
this was necessary for law and order,
that is, an act of love, for peace!

Armed soldiers surrounded Hamza’s house;
the coiled serpent completed its circle.

The bang at his door came with an ultimatum:
“Evacuate, **** it!'
So generous with their time, they said:
“You can have an hour, yes!”

Hamza threw open a window.
Face-to-face with the blazing sun, he yelled defiantly:
“Here in this house I and my children will live and die, for Palestine!”
Hamza's voice echoed over the hemorrhaging silence.

An hour later, with impeccable timing, Hanza’s house came crashing down
as its rooms were blown sky-high and its bricks and mortar burst,
till everything settled, burying a lifetime’s memories of labor, tears, and happier times.

Yesterday I saw Hamza
walking down one of our town’s streets ...
Hamza-the-unextraordinary man who remained as he always was:
unshakable in his determination.



Enough for Me
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Enough for me to lie in the earth,
to be buried in her,
to sink meltingly into her fecund soil, to vanish ...
only to spring forth like a flower
brightening the play of my countrymen's children.

Enough for me to remain
in my native soil's embrace,
to be as close as a handful of dirt,
a sprig of grass,
a wildflower.



Palestine
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

This land gives us
all that makes life worthwhile:
April's blushing advances,
the aroma of bread warming at dawn,
a woman haranguing men,
the poetry of Aeschylus,
love's trembling beginnings,
a boulder covered with moss,
mothers who dance to the flute's sighs,
and the invaders' fear of memories.

This land gives us
all that makes life worthwhile:
September's rustling end,
a woman leaving forty behind, still full of grace, still blossoming,
an hour of sunlight in prison,
clouds taking the shapes of unusual creatures,
the people's applause for those who mock their assassins,
and the tyrant's fear of songs.

This land gives us
all that makes life worthwhile:
Lady Earth, mother of all beginnings and endings!
In the past she was called Palestine
and tomorrow she will still be called Palestine.
My Lady, because you are my Lady, I deserve life!



Distant light
by Walid Khazindar
loose translation/interpretation by Michael R. Burch

Bitterly cold,
winter clings to the naked trees.
If only you would free
the bright sparrows
from the tips of your fingers
and release a smile—that shy, tentative smile—
from the imprisoned anguish I see.
Sing! Can we not sing
as if we were warm, hand-in-hand,
shielded by shade from a glaring sun?
Can you not always remain this way,
stoking the fire, more beautiful than necessary, and silent?
Darkness increases; we must remain vigilant
and this distant light is our only consolation—
this imperiled flame, which from the beginning
has been flickering,
in danger of going out.
Come to me, closer and closer.
I don't want to be able to tell my hand from yours.
And let's stay awake, lest the snow smother us.

Walid Khazindar was born in 1950 in Gaza City. He is considered one of the best Palestinian poets; his poetry has been said to be "characterized by metaphoric originality and a novel thematic approach unprecedented in Arabic poetry." He was awarded the first Palestine Prize for Poetry in 1997.



Excerpt from “Speech of the Red Indian”
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

Let's give the earth sufficient time to recite
the whole truth ...
The whole truth about us.
The whole truth about you.

In tombs you build
the dead lie sleeping.
Over bridges you *****
file the newly slain.

There are spirits who light up the night like fireflies.
There are spirits who come at dawn to sip tea with you,
as peaceful as the day your guns mowed them down.

O, you who are guests in our land,
please leave a few chairs empty
for your hosts to sit and ponder
the conditions for peace
in your treaty with the dead.



Existence
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

In my solitary life, I was a lost question;
in the encompassing darkness,
my answer lay concealed.

You were a bright new star
revealed by fate,
radiating light from the fathomless darkness.

The other stars rotated around you
—once, twice —
until I perceived
your unique radiance.

Then the bleak blackness broke
and in the twin tremors
of our entwined hands
I had found my missing answer.

Oh you! Oh you intimate, yet distant!
Don't you remember the coalescence
Of our spirits in the flames?
Of my universe with yours?
Of the two poets?
Despite our great distance,
Existence unites us.



Nothing Remains
by Fadwa Tuqan
loose translation/interpretation by Michael R. Burch

Tonight, we’re together,
but tomorrow you'll be hidden from me again,
thanks to life’s cruelty.

The seas will separate us ...
Oh!—Oh!—If I could only see you!
But I'll never know ...
where your steps led you,
which routes you took,
or to what unknown destinations
your feet were compelled.

You will depart and the thief of hearts,
the denier of beauty,
will rob us of all that's dear to us,
will steal our happiness,
leaving our hands empty.

Tomorrow at dawn you'll vanish like a phantom,
dissipating into a delicate mist
dissolving quickly in the summer sun.

Your scent—your scent!—contains the essence of life,
filling my heart
as the earth absorbs the lifegiving rain.

I will miss you like the fragrance of trees
when you leave tomorrow,
and nothing remains.

Just as everything beautiful and all that's dear to us
is lost—lost!—when nothing remains.



Identity Card
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

Record!
I am an Arab!
And my identity card is number fifty thousand.
I have eight children;
the ninth arrives this autumn.
Will you be furious?

Record!
I am an Arab!
Employed at the quarry,
I have eight children.
I provide them with bread,
clothes and books
from the bare rocks.
I do not supplicate charity at your gates,
nor do I demean myself at your chambers' doors.
Will you be furious?

Record!
I am an Arab!
I have a name without a title.
I am patient in a country
where people are easily enraged.
My roots
were established long before the onset of time,
before the unfolding of the flora and fauna,
before the pines and the olive trees,
before the first grass grew.
My father descended from plowmen,
not from the privileged classes.
My grandfather was a lowly farmer
neither well-bred, nor well-born!
Still, they taught me the pride of the sun
before teaching me how to read;
now my house is a watchman's hut
made of branches and cane.
Are you satisfied with my status?
I have a name, but no title!

Record!
I am an Arab!
You have stolen my ancestors' orchards
and the land I cultivated
along with my children.
You left us nothing
but these bare rocks.
Now will the State claim them
as it has been declared?

Therefore!
Record on the first page:
I do not hate people
nor do I encroach,
but if I become hungry
I will feast on the usurper's flesh!
Beware!
Beware my hunger
and my anger!

NOTE: Darwish was married twice, but had no children. In the poem above, he is apparently speaking for his people, not for himself personally.



Passport
by Mahmoud Darwish
loose translation/interpretation by Michael R. Burch

They left me unrecognizable in the shadows
that bled all colors from this passport.
To them, my wounds were novelties—
curious photos for tourists to collect.
They failed to recognize me. No, don't leave
the palm of my hand bereft of sun
when all the trees recognize me
and every song of the rain honors me.
Don't set a wan moon over me!

All the birds that flocked to my welcoming wave
as far as the distant airport gates,
all the wheatfields,
all the prisons,
all the albescent tombstones,
all the barbwired boundaries,
all the fluttering handkerchiefs,
all the eyes—
they all accompanied me.
But they were stricken from my passport
shredding my identity!

How was I stripped of my name and identity
on soil I tended with my own hands?
Today, Job's lamentations
re-filled the heavens:
Don't make an example of me, not again!
Prophets! Gentlemen!—
Don't require the trees to name themselves!
Don't ask the valleys who mothered them!
My forehead glistens with lancing light.
From my hand the riverwater springs.
My identity can be found in my people's hearts,
so invalidate this passport!



Autumn Conundrum
by Michael R. Burch

for the mothers and children of Gaza

It's not that every leaf must finally fall,
it's just that we can never catch them all.



Piercing the Shell

for the mothers and children of Gaza

If we strip away all the accouterments of war,
perhaps we'll discover what the heart is for.



gimME that ol’ time religion!
by michael r. burch

fiddle-dee-dum, fiddle-dee-dee,
jesus loves and understands ME!
safe in his grace, I’LL **** them to hell—
the strumpet, the harlot, the wild jezebel,
the alky, the druggie, all queers short and tall!
let them drink ashes and wormwood and gall,
’cause fiddle-dee-DUMB, fiddle-dee-WEEEEEEEEEee ...
jesus loves and understands
ME!



To the boy Elis
by Georg Trakl
translation by Michael R. Burch

Elis, when the blackbird cries from the black forest,
it announces your downfall.
Your lips sip the rock-spring's blue coolness.

Your brow sweats blood
recalling ancient myths
and dark interpretations of birds' flight.

Yet you enter the night with soft footfalls;
the ripe purple grapes hang suspended
as you wave your arms more beautifully in the blueness.

A thornbush crackles;
where now are your moonlike eyes?
How long, oh Elis, have you been dead?

A monk dips waxed fingers
into your body's hyacinth;
Our silence is a black abyss

from which sometimes a docile animal emerges
slowly lowering its heavy lids.
A black dew drips from your temples:

the lost gold of vanished stars.

TRANSLATOR'S NOTE: I believe that in the second stanza the blood on Elis's forehead may be a reference to the apprehensive ****** sweat of Jesus in the garden of Gethsemane. If my interpretation is correct, Elis hears the blackbird's cries, anticipates the danger represented by a harbinger of death, but elects to continue rather than turn back. From what I have been able to gather, the color blue had a special significance for Georg Trakl: it symbolized longing and perhaps a longing for death. The colors blue, purple and black may represent a progression toward death in the poem.



Habeas Corpus
by Michael R. Burch

from “Songs of the Antinatalist”

I have the results of your DNA analysis.
If you want to have children, this may induce paralysis.
I wish I had good news, but how can I lie?
Any offspring you have are guaranteed to die.
It wouldn’t be fair—I’m sure you’ll agree—
to sentence kids to death, so I’ll waive my fee.



Bittersight
by Michael R. Burch

for Abu al-Ala Al-Ma'arri, an ancient antinatalist poet

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”
as some “god” has defined.



In His Kingdom of Corpses
by Michael R. Burch

In His kingdom of corpses,
God has been heard to speak
in many enraged discourses,
high, high from some mountain peak
where He’s lectured man on compassion
while the sparrows around Him fell,
and babes, for His meager ration
of rain, died and went to hell,
unbaptized, for that’s His fashion.

In His kingdom of corpses,
God has been heard to vent
in many obscure discourses
on the need for man to repent,
to admit that he’s a sinner;
give up ***, and riches, and fame;
be disciplined at his dinner
though always he dies the same,
whether fatter or thinner.

In his kingdom of corpses,
God has been heard to speak
in many absurd discourses
of man’s Ego, precipitous Peak!,
while demanding praise and worship,
and the bending of every knee.
And though He sounds like the Devil,
all religious men now agree
He loves them indubitably.



Uyghur Poetry Translations

With my translations I am trying to build awareness of the plight of Uyghur poets and their people, who are being sent in large numbers to Chinese "reeducation" concentration camps.

Perhat Tursun (1969-????) is one of the foremost living Uyghur language poets, if he is still alive. 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." Apparently no one knows his present whereabouts or condition, if he has one. According to John Bolton, when Donald Trump learned of these "reeducation" concentration camps, he told Chinese President Xi Jinping it was "exactly the right thing to do." Trump’s excuse? "Well, we were in the middle of a major trade deal."

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?

TRANSLATOR NOTES: This is my interpretation (not necessarily correct) of the poem's frozen corpses left 300 years in the past. For the Uyghur people the Mongol period ended around 1760 when the Qing dynasty invaded their homeland, then called Dzungaria. Around a million people were slaughtered during the Qing takeover, and the Dzungaria territory was renamed Xinjiang. I imagine many Uyghurs fleeing the slaughters would have attempted to navigate treacherous mountain passes. Many of them may have died from starvation and/or exposure, while others may have been caught and murdered by their pursuers. If anyone has a better explanation, they are welcome to email me at mikerburch@gmail.com (there is an "r" between my first and last names).



The Fog and the Shadows
adapted from a novel by Perhat Tursun
loose translation/interpretation by Michael R. Burch

“I began to realize the fog was similar to the shadows.”

I began to realize that, just as the exact shape of darkness is a shadow,
even so the exact shape of fog is disappearance
and the exact shape of a human being is also disappearance.
At this moment it seemed my body was vanishing into the human form’s final state.

After I arrived here,
it was as if the danger of getting lost
and the desire to lose myself
were merging strangely inside me.

While everything in that distant, gargantuan city where I spent my five college years felt strange to me; and even though the skyscrapers, highways, ditches and canals were built according to a single standard and shape, so that it wasn’t easy to differentiate them, still I never had the feeling of being lost. Everyone there felt like one person and they were all folded into each other. It was as if their faces, voices and figures had been gathered together like a shaman’s jumbled-up hair.

Even the men and women seemed identical.
You could only tell them apart by stripping off their clothes and examining them.
The men’s faces were beardless like women’s and their skin was very delicate and unadorned.
I was always surprised that they could tell each other apart.
Later I realized it wasn’t just me: many others were also confused.

For instance, when we went to watch the campus’s only TV in a corridor of a building where the seniors stayed when they came to improve their knowledge. Those elderly Uyghurs always argued about whether someone who had done something unusual in an earlier episode was the same person they were seeing now. They would argue from the beginning of the show to the end. Other people, who couldn’t stand such endless nonsense, would leave the TV to us and stalk off.

Then, when the classes began, we couldn’t tell the teachers apart.
Gradually we became able to tell the men from the women
and eventually we able to recognize individuals.
But other people remained identical for us.

The most surprising thing for me was that the natives couldn’t differentiate us either.
For instance, two police came looking for someone who had broken windows during a fight at a restaurant and had then run away.
They ordered us line up, then asked the restaurant owner to identify the culprit.
He couldn’t tell us apart even though he inspected us very carefully.
He said we all looked so much alike that it was impossible to tell us apart.
Sighing heavily, he left.



The Encounter
by Abdurehim Otkur
loose translation/interpretation by Michael R. Burch

I asked her, why aren’t you afraid? She said her God.
I asked her, anything else? She said her People.
I asked her, anything more? She said her Soul.
I asked her if she was content? She said, I am Not.



The Distance
by Tahir Hamut
loose translation/interpretation by Michael R. Burch

We can’t exclude the cicadas’ serenades.
Behind the convex glass of the distant hospital building
the nurses watch our outlandish party
with their absurdly distorted faces.

Drinking watered-down liquor,
half-****, descanting through the open window,
we speak sneeringly of life, love, girls.
The cicadas’ serenades keep breaking in,
wrecking critical parts of our dissertations.

The others dream up excuses to ditch me
and I’m left here alone.

The cosmopolitan pyramid
of drained bottles
makes me feel
like I’m in a Turkish bath.

I lock the door:
Time to get back to work!

I feel like doing cartwheels.
I feel like self-annihilation.



Refuge of a Refugee
by Ablet Abdurishit Berqi aka Tarim
loose translation/interpretation by Michael R. Burch

I lack a passport,
so I can’t leave legally.
All that’s left is for me to smuggle myself to safety,
but I’m afraid I’ll be beaten black and blue at the border
and I can’t afford the trafficker.

I’m a smuggler of love,
though love has no national identity.
Poetry is my refuge,
where a refugee is most free.

The following excerpts, translated by Anne Henochowicz, come from an essay written by Tang Danhong about her final meeting with Dr. Ablet Abdurishit Berqi, aka Tarim. Tarim is a reference to the Tarim Basin and its Uyghur inhabitants...

I’m convinced that the poet Tarim Ablet Berqi the associate professor at the Xinjiang Education Institute, has been sent to a “concentration camp for educational transformation.” This scholar of Uyghur literature who conducted postdoctoral research at Israel’s top university, what kind of “educational transformation” is he being put through?

Chen Quanguo, the Communist Party secretary of Xinjiang, has said it’s “like the instruction at school, the order of the military, and the security of prison. We have to break their blood relations, their networks, and their roots.”

On a scorching summer day, Tarim came to Tel Aviv from Haifa. In a few days he would go back to Urumqi. I invited him to come say goodbye and once again prepared Sichuan cold noodles for him. He had already unfriended me on Facebook. He said he couldn’t eat, he was busy, and had to hurry back to Haifa. He didn’t even stay for twenty minutes. I can’t even remember, did he sit down? Did he have a glass of water? Yet this farewell shook me to my bones.

He said, “Maybe when I get off the plane, before I enter the airport, they’ll take me to a separate room and beat me up, and I’ll disappear.”

Looking at my shocked face, he then said, “And maybe nothing will happen …”

His expression was sincere. To be honest, the Tarim I saw rarely smiled. Still, layer upon layer blocked my powers of comprehension: he’s a poet, a writer, and a scholar. He’s an associate professor at the Xinjiang Education Institute. He can get a passport and come to Israel for advanced studies. When he goes back he’ll have an offer from Sichuan University to be a professor of literature … I asked, “Beat you up at the airport? Disappear? On what grounds?”

“That’s how Xinjiang is,” he said without any surprise in his voice. “When a Uyghur comes back from being abroad, that can happen.”…



This poem helps us understand the nomadic lifestyle of many Uyghurs, the hardships they endure, and the character it builds...

Iz (“Traces”)
by Abdurehim Otkur
loose translation/interpretation by Michael R. Burch

We were children when we set out on this journey;
Now our grandchildren ride horses.

We were just a few when we set out on this arduous journey;
Now we're a large caravan leaving traces in the desert.

We leave our traces scattered in desert dunes' valleys
Where many of our heroes lie buried in sandy graves.

But don't say they were abandoned: amid the cedars
their resting places are decorated by springtime flowers!

We left the tracks, the station... the crowds recede in the distance;
The wind blows, the sand swirls, but here our indelible trace remains.

The caravan continues, we and our horses become thin,
But our great-grand-children will one day rediscover those traces.



My Feelings
by Dolqun Yasin
loose translation/interpretation by Michael R. Burch

The light sinking through the ice and snow,
The hollyhock blossoms reddening the hills like blood,
The proud peaks revealing their ******* to the stars,
The morning-glories embroidering the earth’s greenery,
Are not light,
Not hollyhocks,
Not peaks,
Not morning-glories;
They are my feelings.

The tears washing the mothers’ wizened faces,
The flower-like smiles suddenly brightening the girls’ visages,
The hair turning white before age thirty,
The night which longs for light despite the sun’s laughter,
Are not tears,
Not smiles,
Not hair,
Not night;
They are my nomadic feelings.

Now turning all my sorrow to passion,
Bequeathing to my people all my griefs and joys,
Scattering my excitement like flowers festooning fields,
I harvest all these, then tenderly glean my poem.

Therefore the world is this poem of mine,
And my poem is the world itself.



To My Brother the Warrior
by Téyipjan Éliyow
loose translation/interpretation by Michael R. Burch

When I accompanied you,
the commissioners called me a child.
If only I had been a bit taller
I might have proved myself in battle!

The commission could not have known
my commitment, despite my youth.
If only they had overlooked my age and enlisted me,
I'd have given that enemy rabble hell!

Now, brother, I’m an adult.
Doubtless, I’ll join the service soon.
Soon enough, I’ll be by your side,
battling the enemy: I’ll never surrender!

Keywords/Tags: Uyghur, translation, Uighur, Xinjiang, elegy, Kafka, China, Chinese, reeducation, prison, concentration camp, desert, nomad, nomadic, race, racism, discrimination, Islam, Islamic, Muslim, mrbuyghur



Free Fall to Liftoff
by Michael R. Burch

for my father, Paul Ray Burch, Jr.

I see the longing for departure gleam
in his still-keen eye,
                                 and I understand his desire
to test this last wind, like those late autumn leaves
with nothing left to cling to ...



The One True Poem
by Michael R. Burch

Love was not meaningless ...
nor your embrace, nor your kiss.

And though every god proved a phantom,
still you were divine to your last dying atom ...

So that when you are gone
and, yea, not a word remains of this poem,

even so,
We were One.



The Poem of Poems
by Michael R. Burch

This is my Poem of Poems, for you.
Every word ineluctably true:
I love you.



Peace Prayer
by Michael R. Burch

Be calm.
Be still.
Be silent, content.

Be one with the buffalo cropping the grass to a safer height.

Seek the composure of the great depths, barely moved by exterior storms.

Lift your face to the dawning light; feel how it warms.

And be calm.
Be still.
Be silent, content.



Sometimes the Dead
by Michael R. Burch

Sometimes we catch them out of the corners of our eyes—
the pale dead.
After they have fled
the gourds of their bodies, like escaping fragrances they rise.

Once they have become a cloud’s mist, sometimes like the rain
they descend;
they appear, sometimes silver like laughter,
to gladden the hearts of men.

Sometimes like a pale gray fog, they drift
unencumbered, yet lumbrously,
as if over the sea
there was the lightest vapor even Atlas could not lift.

Sometimes they haunt our dreams like forgotten melodies
only half-remembered.
Though they lie dismembered
in black catacombs, sepulchers and dismal graves; although they have committed felonies,

yet they are us. Someday soon we will meet them in the graveyard dust
blood-engorged, but never sated
since Cain slew Abel.
But until we become them, let us steadfastly forget them, even as we know our children must ...



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.

Published by ByLine, Mandrake Poetry Review, Poetically Speaking, E Mobius Pi, Underground Poets, Little Brown Poetry, Little Brown Poetry, Triplopia, Poetic Ponderings, Poem Kingdom, PW Review, Neovictorian/Cochlea, Muse Apprentice Guild, Mindful of Poetry, Poetry on Demand, Poet’s Haven, Famous Poets and Poems, and Bewildering Stories



Finally to Burn
(the Fall and Resurrection of Icarus)
by Michael R. Burch

Athena takes me
sometimes by the hand

and we go levitating
through strange Dreamlands

where Apollo sleeps
in his dark forgetting

and Passion seems
like a wise bloodletting

and all I remember
,upon awaking,

is: to Love sometimes
is like forsaking

one’s Being―to glide
heroically beyond thought,

forsaking the here
for the There and the Not.



O, finally to Burn,
gravity beyond escaping!

To plummet is Bliss
when the blisters breaking

rain down red scabs
on the earth’s mudpuddle ...

Feathers and wax
and the watchers huddle ...

Flocculent sheep,
O, and innocent lambs!,

I will rock me to sleep
on the waves’ iambs.



To sleep's sweet relief
from Love’s exhausting Dream,

for the Night has Wings
gentler than moonbeams―

they will flit me to Life
like a huge-eyed Phoenix

fluttering off
to quarry the Sphinx.



Riddlemethis,
riddlemethat,

Rynosseross,
throw out the Welcome Mat.

Quixotic, I seek Love
amid the tarnished

rusted-out steel
when to live is varnish.

To Dream―that’s the thing!
Aye, that Genie I’ll rub,

soak by the candle,
aflame in the tub.



Riddlemethis,
riddlemethat,

Rynosseross,
throw out the Welcome Mat.

Somewhither, somewhither
aglitter and strange,

we must moult off all knowledge
or perish caged.



I am reconciled to Life
somewhere beyond thought―

I’ll Live the Elsewhere,
I’ll Dream of the Naught.

Methinks it no journey;
to tarry’s a waste,

so fatten the oxen;
make a nice baste.

I’m coming, Fool Tom,
we have Somewhere to Go,

though we injure noone,
ourselves wildaglow.

Published by The Lyric and The Ekphrastic Review



Chit Chat: In the Poetry Chat Room
by Michael R. Burch

WHY SHULD I LERN TO SPELL?
HELL,
NO ONE REEDS WHAT I SAY
ANYWAY!!! :(

Sing for the cool night,
whispers of constellations.
Sing for the supple grass,
the tall grass, gently whispering.
Sing of infinities, multitudes,
of all that lies beyond us now,
whispers begetting whispers.
And i am glad to also whisper . . .

I WUS HURT IN LUV I’M DYIN’
FER TH’ TEARS I BEEN A-CRYIN’!!!

i abide beyond serenities
and realms of grace,
above love’s misdirected earth,
i lift my face.
i am beyond finding now . . .

I WAS IN, LOVE, AND HE ******* ME!!!
THE ****!!! TOTALLY!!!

i loved her once, before, when i
was mortal too, and sometimes i
would listen and distinctly hear
her laughter from the juniper,
but did not go . . .

I JUST DON’T GET POETRY, SOMETIMES.
IT’S OKAY, I GUESS.
I REALLY DON’T READ THAT MUCH AT ALL,
I MUST CONFESS!!! ;-)

Travail, inherent to all flesh,
i do not know, nor how to feel.
Although i sing them nighttimes still:
the bitter woes, that do not heal . . .

POETRY IS BORING.
SEE, IT *****!!!, I’M SNORING!!! ZZZZZZZ!!!

The words like breath, i find them here,
among the fragrant juniper,
and conifers amid the snow,
old loves imagined long ago . . .

WHY DON’T YOU LIKE MY PERFICKT WORDS
YOU USELESS UN-AMERIC’N TURDS?!!!

What use is love, to me, or Thou?
O Words, my awe, to fly so smooth
above the anguished hearts of men
to heights unknown, Thy bare remove . . .



Each Color a Scar
by Michael R. Burch

What she left here,
upon my cheek,
is a tear.

She did not speak,
but her intention
was clear,

and I was meek,
far too meek, and, I fear,
too sincere.

What she can never take
from my heart
is its ache;

for now we, apart,
are like leaves
without weight,

scattered afar
by love, or by hate,
each color a scar.



Ultimate Sunset
by Michael R. Burch

for my father, Paul Ray Burch, Jr.

he now faces the Ultimate Sunset,
his body like the leaves that fray as they dry,
shedding their vital fluids (who knows why?)
till they’ve become even lighter than the covering sky,
ready to fly ...



Free Fall
by Michael R. Burch

for my father, Paul Ray Burch, Jr.

I see the longing for departure gleaming
in his still-keen eye,
and I understand his desire
to test this last wind, like those late autumn leaves
with nothing left to cling to ...



Sanctuary at Dawn
by Michael R. Burch

I have walked these thirteen miles
just to stand outside your door.
The rain has dogged my footsteps
for thirteen miles, for thirty years,
through the monsoon seasons . . .
and now my tears
have all been washed away.

Through thirteen miles of rain I slogged,
I stumbled and I climbed
rainslickened slopes
that led me home
to the hope that I might find
a life I lived before.

The door is wet; my cheeks are wet,
but not with rain or tears . . .
as I knock I sweat
and the raining seems
the rhythm of the years.

Now you stand outlined in the doorway
―a man as large as I left―
and with bated breath
I take a step
into the accusing light.

Your eyes are grayer
than I remembered;
your hair is grayer, too.
As the red rust runs
down the dripping drains,
our voices exclaim―

"My father!"
"My son!"

NOTE: “Sanctuary at Dawn” was written either in high school or during my first two years of college.



All Things Galore
by Michael R. Burch

for my grandfathers George Edwin Hurt Sr. and Paul Ray Burch Sr.

Grandfather,
now in your gray presence
you are

somehow more near

and remind me that,
once, upon a star,
you taught me

wish

that ululate soft phrase,
that hopeful phrase!

and everywhere above, each hopeful star

gleamed down

and seemed to speak of times before
when you clasped my small glad hand
in your wise paw

and taught me heaven, omen, meteor . . .



Attend Upon Them Still
by Michael R. Burch

for my grandparents George and Ena Hurt

With gentleness and fine and tender will,
attend upon them still;
thou art the grass.

Nor let men’s feet here muddy as they pass
thy subtle undulations, nor depress
for long the comforts of thy lovingness,

nor let the fuse
of time wink out amid the violets.
They have their use―

to wave, to grow, to gleam, to lighten their paths,
to shine sweet, transient glories at their feet.
Thou art the grass;

make them complete.



The Composition of Shadows
by Michael R. Burch

for poets who write late at night

We breathe and so we write; the night
hums softly its accompaniment.
Pale phosphors burn; the page we turn
leads onward, and we smile, content.

And what we mean we write to learn:
the vowels of love, the consonants’
strange golden weight, each plosive’s shape—
curved like the heart. Here, resonant,

sounds’ shadows mass beneath bright glass
like singing voles curled in a maze
of blank white space. We touch a face—
long-frozen words trapped in a glaze

that insulates our hearts. Nowhere
can love be found. Just shrieking air.

Published by The Lyric, Contemporary Rhyme, Candelabrum, Iambs & Trochees (Poem of the Week), Triplopia, Romantics Quarterly, Hidden Treasures (Selected Poem), ImageNation (United Kingdom), Yellow Bat Review, Poetry Life & Times, Vallance Review, Poetica Victorian



First Steps
by Michael R. Burch

for Caitlin Shea Murphy

To her a year is like infinity,
each day—an adventure never-ending.
She has no concept of time,
but already has begun the climb—
from childhood to womanhood recklessly ascending.

I would caution her, "No! Wait!
There will be time enough another day ...
time to learn the Truth
and to slowly shed your youth,
but for now, sweet child, go carefully on your way! ..."

But her time is not a time for cautious words,
nor a time for measured, careful understanding.
She is just certain
that, by grabbing the curtain,
in a moment she will finally be standing!

Little does she know that her first few steps
will hurtle her on her way
through childhood to adolescence,
and then, finally, pubescence . . .
while, just as swiftly, I’ll be going gray!



brrExit
by Michael R. Burch

what would u give
to simply not exist—
for a painless exit?
he asked himself, uncertain.

then from behind
the hospital room curtain
a patient screamed—
"my life!"



Vacuum
by Michael R. Burch

Over hushed quadrants
forever landlocked in snow,
time’s senseless winds blow ...

leaving odd relics of lives half-revealed,
if still mostly concealed ...
such are the things we are unable to know

that once intrigued us so.

Come then, let us quickly repent
of whatever truths we’d once determined to learn:
for whatever is left, we are unable to discern.

There’s nothing left of us; it’s time to go.



Spring
by Charles d'Orleans (c.1394-1465)
loose translation/modernization by Michael R. Burch

Young lovers,
greeting the spring
fling themselves downhill,
making cobblestones ring
with their wild leaps and arcs,
like ecstatic sparks
struck from coal.

What is their brazen goal?

They grab at whatever passes,
so we can only hazard guesses.
But they rear like prancing steeds
raked by brilliant spurs of need,
Young lovers.



Oft in My Thought
by Charles d'Orleans (c.1394-1465)
loose translation/modernization by Michael R. Burch

So often in my busy mind I sought,
Around the advent of the fledgling year,
For something pretty that I really ought
To give my lady dear;
But that sweet thought's been wrested from me, clear,
Since death, alas, has sealed her under clay
And robbed the world of all that's precious here―
God keep her soul, I can no better say.

For me to keep my manner and my thought
Acceptable, as suits my age's hour?
While proving that I never once forgot
Her worth? It tests my power!
I serve her now with masses and with prayer;
For it would be a shame for me to stray
Far from my faith, when my time's drawing near—
God keep her soul, I can no better say.

Now earthly profits fail, since all is lost
And the cost of everything became so dear;
Therefore, O Lord, who rules the higher host,
Take my good deeds, as many as there are,
And crown her, Lord, above in your bright sphere,
As heaven's truest maid! And may I say:
Most good, most fair, most likely to bring cheer—
God keep her soul, I can no better say.

When I praise her, or hear her praises raised,
I recall how recently she brought me pleasure;
Then my heart floods like an overflowing bay
And makes me wish to dress for my own bier—
God keep her soul, I can no better say.



Confession of a Stolen Kiss
by Charles d'Orleans (c.1394-1465)
loose translation/interpretation by Michael R. Burch

My ghostly father, I confess,
First to God and then to you,
That at a window (you know how)
I stole a kiss of great sweetness,
Which was done out of avidness—
But it is done, not undone, now.

My ghostly father, I confess,
First to God and then to you.

But I shall restore it, doubtless,
Again, if it may be that I know how;
And thus to God I make a vow,
And always I ask forgiveness.

My ghostly father, I confess,
First to God and then to you.

Translator note: By "ghostly father" I take Charles d'Orleans to be confessing to a priest. If so, it's ironic that the kiss was "stolen" at a window and the confession is being made at the window of a confession booth. But it also seems possible that Charles could be confessing to his human father, murdered in his youth and now a ghost. There is wicked humor in the poem, as Charles is apparently vowing to keep asking for forgiveness because he intends to keep stealing kisses at every opportunity!



Charles d'Orleans translations of Rondels/Roundels/Rondeaux

Note: While there is some confusion about the names and definitions of poetic forms such as the rondel, roundel, rondelle and rondeau, these are all rhyming poems with refrains.

Rondel: Your Smiling Mouth
by Charles d'Orleans (c.1394-1465)
loose translation/interpretation by Michael R. Burch

Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms' twin chains,
Your hands so smooth, each finger straight and plain,
Your little feet—please, what more can I say?

It is my fetish when you're far away
To muse on these and thus to soothe my pain—
Your smiling mouth and laughing eyes, bright gray,
Your ample ******* and slender arms' twin chains.

So would I beg you, if I only may,
To see such sights as I before have seen,
Because my fetish pleases me. Obscene?

I'll be obsessed until my dying day
By your sweet smiling mouth and eyes, bright gray,
Your ample ******* and slender arms' twin chains!



The season has cast its coat aside
by Charles d'Orleans (c.1394-1465)
loose translation/interpretation by Michael R. Burch

The season has cast its coat aside
of wind and cold and rain,
to dress in embroidered light again:
bright sunlight, fit for a bride!

There isn't a bird or beast astride
that fails to sing this sweet refrain:
"The season has cast its coat aside! "

Now rivers, fountains, springs and tides
dressed in their summer best
with silver beads impressed
in a fine display now glide:
the season has cast its coat aside!



The year lays down his mantle cold
by Charles d'Orleans (c.1394-1465)
loose translation/interpretation by Michael R. Burch

The year lays down his mantle cold
of wind, chill rain and bitter air,
and now goes clad in clothes of gold
of smiling suns and seasons fair,
while birds and beasts of wood and fold
now with each cry and song declare:
"The year lays down his mantle cold! "
All brooks, springs, rivers, seaward rolled,
now pleasant summer livery wear
with silver beads embroidered where
the world puts off its raiment old.
The year lays down his mantle cold.



Winter has cast his cloak away
by Charles d'Orleans (c.1394-1465)
loose translation/interpretation by Michael R. Burch

Winter has cast his cloak away
of wind and cold and chilling rain
to dress in embroidered light again:
the light of day—bright, festive, gay!
Each bird and beast, without delay,
in its own tongue, sings this refrain:
"Winter has cast his cloak away! "
Brooks, fountains, rivers, streams at play,
wear, with their summer livery,
bright beads of silver jewelry.
All the Earth has a new and fresh display:
Winter has cast his cloak away!

Note: This rondeau was set to music by Debussy in his "Trois chansons de France."



Caedmon's Hymn (circa 658-680 AD)
loose translation/interpretation by Michael R. Burch

Humbly now we honour heaven-kingdom's Guardian,
the Measurer's might and his mind-plans,
the goals of the Glory-Father. First he, the Everlasting Lord,
established earth's fearful foundations.
Then he, the First Scop, hoisted heaven as a roof
for the sons of men: Holy Creator,
mankind's great Maker! Then he, the Ever-Living Lord,
afterwards made men middle-earth: Master Almighty!



Les Bijoux (The Jewels)
by Charles Baudelaire
loose translation/interpretation by Michael R. Burch

My lover **** and knowing my heart's whims
Wore nothing more than a few bright-flashing gems;
Her art was saving men despite their sins—
She ruled like harem girls crowned with diadems!

She danced for me with a gay but mocking air,
My world of stone and metal sparking bright;
I discovered in her the rapture of everything fair—
Nay, an excess of joy where the spirit and flesh unite!

Naked she lay and offered herself to me,
Parting her legs and smiling receptively,
As gentle and yet profound as the rising sea—
Till her surging tide encountered my cliff, abruptly.

A tigress tamed, her eyes met mine, intent ...
Intent on lust, content to purr and please!
Her breath, both languid and lascivious, lent
An odd charm to her metamorphoses.

Her limbs, her *****, her abdomen, her thighs,
Oiled alabaster, sinuous as a swan,
Writhed pale before my calm clairvoyant eyes;
Like clustered grapes her ******* and belly shone.

Skilled in more spells than evil imps can muster,
To break the peace which had possessed my heart,
She flashed her crystal rocks’ hypnotic luster
Till my quietude was shattered, blown apart.

Her waist awrithe, her ******* enormously
Out-******, and yet ... and yet, somehow, still coy ...
As if stout haunches of Antiope
Had been grafted to a boy ...

The room grew dark, the lamp had flickered out.
Mute firelight, alone, lit each glowing stud;
Each time the fire sighed, as if in doubt,
It steeped her pale, rouged flesh in pools of blood.



Duellem (The Duel)
by Charles Baudelaire
loose translation/interpretation by Michael R. Burch

Two combatants charged! Their fearsome swords
brightened the air with fiery sparks and blood.
Their clashing blades clinked odd serenades,
reminding us: youth's inspired by overloud love.

But now their blades lie broken, like our hearts!
Still, our savage teeth and talon-like fingernails
can do more damage than the deadliest sword
when lovers lash about with such natural flails.

In a deep ravine haunted by lynxes and panthers,
our heroes roll around in a cozy embrace,
leaving their blood to redden the colorless branches.
This abyss is pure hell; our friends occupy the place.

Come, let us roll here too, cruel Amazon;
let our hatred’s ardor never be over and done!



Le Balcon (The Balcony)
by Charles Baudelaire
loose translation/interpretation by Michael R. Burch

Paramour of memory, ultimate mistress,
source of all pleasure, my only desire;
how can I forget your ecstatic caresses,
the warmth of your ******* by the roaring fire,
paramour of memory, ultimate mistress?

Each night illumined by the burning coals
we lay together where the rose-fragrance clings―
how soft your *******, how tender your soul!
Ah, and we said imperishable things,
each night illumined by the burning coals.

How beautiful the sunsets these sultry days,
deep space so profound, beyond life’s brief floods ...
then, when I kissed you, my queen, in a daze,
I thought I breathed the bouquet of your blood
as beautiful as sunsets these sultry days.

Night thickens around us like a wall;
in the deepening darkness our irises meet.
I drink your breath, ah! poisonous yet sweet!,
as with fraternal hands I massage your feet
while night thickens around us like a wall.

I have mastered the sweet but difficult art
of happiness here, with my head in your lap,
finding pure joy in your body, your heart;
because you’re the queen of my present and past
I have mastered love’s sweet but difficult art.

O vows! O perfumes! O infinite kisses!
Can these be reborn from a gulf we can’t sound
as suns reappear, as if heaven misses
their light when they sink into seas dark, profound?
O vows! O perfumes! O infinite kisses!



Il pleure dans mon coeur (“It rains in my heart”)
by Paul Verlaine
loose translation/interpretation by Michael R. Burch

It rains in my heart
As it rains on the town;
Heavy languor and dark
Drenches my heart.

Oh, the sweet-sounding rain
Cleansing pavements and roofs!
For my listless heart's pain
The pure song of the rain!

Still it rains without reason
In my overcast heart.
Can it be there's no treason?
That this grief's without reason?

As my heart floods with pain,
Lacking hatred, or love,
I've no way to explain
Such bewildering pain!



Spleen
by Paul Verlaine
loose translation/interpretation by Michael R. Burch

The roses were so very red;
The ivy, impossibly black.
Dear, with a mere a turn of your head,
My despair’s flooded back!

The sky was too gentle, too blue;
The sea, far too windswept and green.
Yet I always imagined―or knew―
I’d again feel your spleen.

Now I'm tired of the glossy waxed holly,
Of the shimmering boxwood too,
Of the meadowland’s endless folly,
When all things, alas, lead to you!



In the Whispering Night
by Michael R. Burch

for George King

In the whispering night, when the stars bend low
till the hills ignite to a shining flame,
when a shower of meteors streaks the sky
while the lilies sigh in their beds, for shame,
we must steal our souls, as they once were stolen,
and gather our vigor, and all our intent.
We must heave our bodies to some famished ocean
and laugh as they vanish, and never repent.
We must dance in the darkness as stars dance before us,
soar, Soar! through the night on a butterfly's breeze ...
blown high, upward-yearning, twin spirits returning
to the heights of awareness from which we were seized.



Dispensing Keys
by Hafiz aka Hafez
loose translation/interpretation by Michael R. Burch

The imbecile
constructs cages
for everyone he knows,
while the sage
(who has to duck his head
whenever the moon glows)
keeps dispensing keys
all night long
to the beautiful, rowdy,
prison gang.



Infectious!
by Hafiz aka Hafez
loose translation/interpretation by Michael R. Burch

I became infected with happiness tonight
as I wandered idly, singing in the starlight.
Now I'm wonderfully contagious ...
so kiss me!



The Tally
by Hafiz aka Hafez
loose translation/interpretation by Michael R. Burch

Lovers
don't reveal
all
their Secrets;
under the covers
they
may
count each other's Moles
(that reside
and hide
in the shy regions
by forbidden holes),
then keep the final tally
strictly
from Aunt Sally!

This is admittedly a VERY loose translation of the original Hafiz poem!



Mirror
by Kajal Ahmad, a Kurdish poet
loose translation/interpretation by Michael R. Burch

My era's obscuring mirror
shattered
because it magnified the small
and made the great seem insignificant.
Dictators and monsters filled its contours.
Now when I breathe
its jagged shards pierce my heart
and instead of sweat
I exude glass.



The Lonely Earth
by Kajal Ahmad
loose translation/interpretation by Michael R. Burch

The pale celestial bodies
never bid her “Good morning!”
nor do the creative stars
kiss her.
Earth, where so many tender persuasions and roses lie interred,
might expire for the lack of a glance, or an odor.
She’s a lonely dusty orb,
so very lonely!, as she observes the moon's patchwork attire
knowing the sun's an imposter
who sears with rays he has stolen for himself
and who looks down on the moon and earth like lodgers.



Kurds are Birds
by Kajal Ahmad
loose translation/interpretation by Michael R. Burch

Per the latest scientific classification, Kurds
now belong to a species of bird!
This is why,
traveling across the torn, fraying pages of history,
they are nomads recognized by their caravans.
Yes, Kurds are birds! And,
even worse, when
there’s nowhere left to nest, no refuge from their pain,
they turn to the illusion of traveling again
between the warm and arctic sectors of their homeland.
So I don’t think it strange Kurds can fly but not land.
They wander from region to region
never realizing their dreams
of settling,
of forming a colony, of nesting.
No, they never settle down long enough
to visit Rumi and inquire about his health,
or to bow down deeply in the gust-
stirred dust,
like Nali.



Birdsong
by Rumi
loose translation by Michael R. Burch

Birdsong relieves
my deepest griefs:
now I'm just as ecstatic as they,
but with nothing to say!
Please universe,
rehearse
your poetry
through me!



After the Deluge
by Michael R. Burch

She was kinder than light
to an up-reaching flower
and sweeter than rain
to the bees in their bower
where anemones blush
at the affections they shower,
and love’s shocking power.

She shocked me to life,
but soon left me to wither.
I was listless without her,
nor could I be with her.
I fell under the spell
of her absence’s power.
in that calamitous hour.

Like blithe showers that fled
repealing spring’s sweetness;
like suns’ warming rays sped
away, with such fleetness ...
she has taken my heart—
alas, our completeness!
I now wilt in pale beams
of her occult remembrance.



grave request
by michael r. burch

come to ur doom
in Tombstone;

the stars stark and chill
over Boot Hill

care nothing for ur desire;

still,

imagine they wish u no ill,
that u burn with the same antique fire;

for there’s nothing to life but the thrill
of living until u expire;

so come, spend ur last hardearned bill
on Tombstone.



Defenses
by Michael R. Burch

Beyond the silhouettes of trees
stark, naked and defenseless
there stand long rows of sentinels:
these pert white picket fences.

Now whom they guard and how they guard,
the good Lord only knows;
but savages would have to laugh
observing the tidy rows.



Pool's Prince Charming
by Michael R. Burch

(this is my tribute poem, written on the behalf of his fellow pool sharks, for the legendary Saint Louie Louie Roberts)

Louie, Louie, Prince of Pool,
making all the ladies drool ...
Take the “nuts”? I'd be a fool!
Louie, Louie, Prince of Pool.

Louie, Louie, pretty as Elvis,
owner of (ahem) a similar pelvis ...
Compared to you, the books will shelve us.
Louie, Louie, pretty as Elvis.

Louie, Louie, fearless gambler,
ladies' man and constant rambler,
but such a sweet, loquacious ambler!
Louie, Louie, fearless gambler.

Louie, Louie, angelic, chthonic,
pool's charming hero, but tragic, Byronic,
winning the Open drinking gin and tonic?
Louie, Louie, angelic, chthonic.



The Aery Faery Princess
by Michael R. Burch

for Keira

There once was a princess lighter than fluff
made of such gossamer stuff—
the down of a thistle, butterflies’ wings,
the faintest high note the hummingbird sings,
moonbeams on garlands, strands of bright hair ...
I think she’s just you when you’re floating on air!



pretty pickle
by Michael R. Burch

u’d blaspheme if u could
because ur God’s no good,
but of course u cant:
ur just a lowly ant
(or so u were told by a Hierophant).



and then i was made whole
by Michael R. Burch

... and then i was made whole,
but not a thing entire,
glued to a perch
in a gilded church,
strung through with a silver wire ...

singing a little of this and of that,
warbling higher and higher:
a thing wholly dead
till I lifted my head
and spat at the Lord and his choir.



Album
by Michael R. Burch

I caress them—trapped in brittle cellophane—
and I see how young they were, and how unwise;
and I remember their first flight—an old prop plane,
their blissful arc through alien blue skies ...

And I touch them here through leaves which—tattered, frayed—
are also wings, but wings that never flew:
like insects’ wings—pinned, held. Here, time delayed,
their features never changed, remaining two ...

And Grief, which lurked unseen beyond the lens
or in shadows where It crept on feral claws
as It scratched Its way into their hearts, depends
on sorrows such as theirs, and works Its jaws ...

and slavers for Its meat—those young, unwise,
who naively dare to dream, yet fail to see
how, lumbering sunward, Hope, ungainly, flies,
clutching to Her ruffled breast what must not be.



Because You Came to Me
by Michael R. Burch

Because you came to me with sweet compassion
and kissed my furrowed brow and smoothed my hair,
I do not love you after any fashion,
but wildly, in despair.

Because you came to me in my black torment
and kissed me fiercely, blazing like the sun
upon parched desert dunes, till in dawn’s foment
they melt, I am undone.

Because I am undone, you have remade me
as suns bring life, as brilliant rains endow
the earth below with leaves, where you now shade me
and bower me, somehow.



Beckoning
by Michael R. Burch

Yesterday the wind whispered my name
while the blazing locks
of her rampant mane
lay heavy on mine.

And yesterday
I saw the way
the wind caressed tall pines
in forests laced by glinting streams
and thick with tangled vines.

And though she reached
for me in her sleep,
the touch I felt was Time's.

I believe I wrote the first version of this poem around age 18, wasn't happy with it, put it aside, then revised it six years later.



Besieged
by Michael R. Burch

Life—the disintegration of the flesh
before the fitful elevation of the soul
upon improbable wings?

Life—is this all we know,
the travail one bright season brings? ...

Now the fruit hangs,
impendent, pregnant with death,
as the hurricane builds and flings
its white columns and banners of snow

and the rout begins.



****** or Heroine?
by Michael R. Burch

(for mothers battling addiction)

serve the Addiction;
worship the Beast;
feed the foul Pythons
your flesh, their fair feast ...

or rise up, resist
the huge many-headed hydra;
for the sake of your Loved Ones
decapitate medusa.



Loose Knit
by Michael R. Burch

She blesses the needle,
fetches fine red stitches,
criss-crossing, embroidering dreams
in the delicate fabric.

And if her hand jerks and twitches in puppet-like fits,
she tells herself
reality is not as threadbare as it seems ...
that a little more darning may gather loose seams.

She weaves an unraveling tapestry
of fatigue and remorse and pain; ...
only the nervously pecking needle
****** her to motion, again and again.



I Have Labored Sore
anonymous medieval lyric (circa the fifteenth century)
loose translation/interpretation by Michael R. Burch

I have labored sore / and suffered death,
so now I rest / and catch my breath.
But I shall come / and call right soon
heaven and earth / and hell to doom.
Then all shall know / both devil and man
just who I was / and what I am.

NOTE: This poem has a pronounced caesura (pause) in the middle of each line: a hallmark of Old English poetry. While this poem is closer to Middle English, it preserves the older tradition. I have represented the caesura with a slash.



A Lyke-Wake Dirge
anonymous medieval lyric (circa the sixteenth century)
loose translation/interpretation by Michael R. Burch

The Lie-Awake Dirge is "the night watch kept over a corpse."

This one night, this one night,
every night and all;
fire and sleet and candlelight,
and Christ receive thy soul.

When from this earthly life you pass
every night and all,
to confront your past you must come at last,
and Christ receive thy soul.

If you ever donated socks and shoes,
every night and all,
sit right down and put pull yours on,
and Christ receive thy soul.

But if you never helped your brother,
every night and all,
walk barefoot through the flames of hell,
and Christ receive thy soul.

If ever you shared your food and drink,
every night and all,
the fire will never make you shrink,
and Christ receive thy soul.

But if you never helped your brother,
every night and all,
walk starving through the black abyss,
and Christ receive thy soul.

This one night, this one night,
every night and all;
fire and sleet and candlelight,
and Christ receive thy soul.



This World's Joy
(anonymous Middle English lyric, circa early 14th century AD)
loose translation/interpretation by Michael R. Burch

Winter awakens all my care
as leafless trees grow bare.
For now my sighs are fraught
whenever it enters my thought:
regarding this world's joy,
how everything comes to naught.



How Long the Night
(anonymous Middle English lyric, circa early 13th century AD)
loose translation/interpretation by Michael R. Burch

It is pleasant, indeed, while the summer lasts
with the mild pheasants' song...
but now I feel the northern wind's blast:
its severe weather strong.
Alas! Alas! This night seems so long!
And I, because of my momentous wrong
now grieve, mourn and fast.



Adam Lay Ybounden
(anonymous Medieval English lyric, circa early 15th century AD)
loose translation/interpretation by Michael R. Burch

Adam lay bound, bound in a bond;
Four thousand winters, he thought, were not too long.
And all was for an apple, an apple that he took,
As clerics now find written in their book.
But had the apple not been taken, or had it never been,
We'd never have had our Lady, heaven's queen and matron.
So blesséd be the time the apple was taken thus;
Therefore we sing, "God is gracious! "

The poem has also been rendered as "Adam lay i-bounden" and "Adam lay i-bowndyn."



Excerpt from "Ubi Sunt Qui Ante Nos Fuerunt? "
anonymous Middle English poem, circa 1275
loose translation/interpretation by Michael R. Burch

Where are the men who came before us,
who led hounds and hawks to the hunt,
who commanded fields and woods?
Where are the elegant ladies in their boudoirs
who braided gold through their hair
and had such fair complexions?

Once eating and drinking made their hearts glad;
they enjoyed their games;
men bowed before them;
they bore themselves loftily...
But then, in an eye's twinkling,
their hearts were forlorn.

Where are their laughter and their songs,
the trains of their dresses,
the arrogance of their entrances and exits,
their hawks and their hounds?
All their joy is departed;
their "well" has come to "oh, well"
and to many dark days...



Westron Wynde
(anonymous Middle English lyric, found in a partbook circa 1530 AD, but perhaps written much earlier)
loose translation/interpretation by Michael R. Burch

Western wind, when will you blow,
bringing the drizzling rain?
Christ, that my love were in my arms,
and I in my bed again!

NOTE: The original poem has "the smalle rayne down can rayne" which suggests a drizzle or mist, either of which would suggest a dismal day.



Pity Mary
(anonymous Middle English lyric, circa early 13th century AD)
loose translation/interpretation by Michael R. Burch

Now the sun passes under the wood:
I rue, Mary, thy face: fair, good.
Now the sun passes under the tree:
I rue, Mary, thy son and thee.

In the poem above, note how "wood" and "tree" invoke the cross while "sun" and "son" seem to invoke each other. Sun-day is also Son-day, to Christians. The anonymous poet who wrote the poem above may have been been punning the words "sun" and "son." The poem is also known as "Now Goeth Sun Under Wood" and "Now Go'th Sun Under Wood."



Fowles in the Frith
(anonymous Middle English lyric, circa 13th-14th century AD)
loose translation/interpretation by Michael R. Burch

The fowls in the forest,
the fishes in the flood
and I must go mad:
such sorrow I've had
for beasts of bone and blood!

Sounds like an early animal rights activist! The use of "and" is intriguing... is the poet saying that his walks in the wood drive him mad because he is also a "beast of bone and blood, " facing a similar fate?



I am of Ireland
(anonymous Medieval Irish lyric, circa 13th-14th century AD)
loose translation/interpretation by Michael R. Burch

I am of Ireland,
and of the holy realm of Ireland.
Gentlefolk, I pray thee:
for the sake of saintly charity,
come dance with me
in Ireland!



If I am Syrian, what of it?
Stranger, we all dwell in one world, not its portals.
The same original Chaos gave birth to all mortals.
—Meleager, loose translation/interpretation by Michael R. Burch

Love, how can I call on you:
does Desire dwell with the dead?
Cupid, that bold boy, never bowed his head
to wail.
—Meleager, loose translation/interpretation by Michael R. Burch

Cupid, I swear,
your quiver holds only empty air:
for all your winged arrows, set free,
are now lodged in me.
—Meleager, loose translation/interpretation by Michael R. Burch

Cupid, if you incinerate my soul, touché!
For she too has wings and can fly away!
—Meleager, loose translation/interpretation by Michael R. Burch

Cupid, the cuddly baby
safe in his mother's lap,
chucking the dice one day,
gambled my heart away.
—Meleager, loose translation/interpretation by Michael R. Burch

I lie defeated. Set your foot on my neck. Checkmate.
I recognize you by your weight;
yes, and by the gods, you’re a load to bear.
I am also well aware
of your fiery darts.
But if you seek to ignite human hearts,
******* with your tinders;
mine’s already in cinders.
—Meleager, loose translation/interpretation by Michael R. Burch

When I see Theron everything’s revealed.
When he’s gone all’s concealed.
—Meleager, loose translation/interpretation by Michael R. Burch

When I see Theron everything’s defined;
When he’s gone I’m blind.
—Meleager, loose translation/interpretation by Michael R. Burch

When I see Theron my eyes bug out;
When he’s gone even sight is in doubt.
—Meleager, loose translation/interpretation by Michael R. Burch

Mother-Earth, to all men dear,
Aesigenes was never a burden to you,
so please rest lightly on him here.
—Meleager, loose translation/interpretation by Michael R. Burch

Meleager dedicates this lamp to you, dear Cypris, as a plaything,
since it has been initiated into the mysteries of your nocturnal ceremonies.
—Meleager, loose translation/interpretation by Michael R. Burch

I know you lied, because these ringlets
still dripping scented essences
betray your wantonness.
These also betray you—
your eyes sagging with the lack of sleep,
stray tendrils of your unchaste hair escaping its garlands,
your limbs uncoordinated by the wine.
Away, trollop, they summon you—
the reveling lyre and the clattering castanets rattled by lewd fingers!
—Meleager, loose translation/interpretation by Michael R. Burch

Moon and Stars,
lighting the way for lovers,
and Night,
and you, my mournful Mandolin, my ***** companion ...
when will we see her, the little wanton one, lying awake and moaning to her lamp?
Or does she embrace some other companion?
Then let me hang conciliatory garlands on her door,
wilted by my tears,
and let me inscribe thereupon these words:
"For you, Cypris,
the one to whom you revealed the mysteries of your revels,
Meleager,
offers these spoiled tokens of his love."
—Meleager, loose translation/interpretation by Michael R. Burch

Silence!
They must have carried her off!
Who could be so barbaric,
to act with such violence,
to wage war against Love himself?
Quick, prepare the torches!
But wait!
A footfall, Heliodora's!
Get back in my *****, heart!
—Meleager, loose translation/interpretation by Michael R. Burch

Tears, the last gifts of my love,
I send drenching down to you, Heliodora.
Here on your puddling tomb I pour them out—
soul-wrenching tears
in memory of affliction and affection.
Piteously, so piteously Meleager mourns you,
you still so precious, so dear to him in death,
paying vain tributes to Acheron.
Alas! Alas! Where is my beautiful one,
my heart's desire?
Death has taken her from me, has robbed me of her,
and the lustrous blossom lies trampled in dust.
But Earth-Mother, nurturer of us all ...
Mother, I beseech you, hold her gently to your *****,
the one we all bewail.
—Meleager, loose translation/interpretation by Michael R. Burch



You ask me why I've sent you no new verses?
There might be reverses.
―Martial, loose translation/interpretation by Michael R. Burch

You ask me to recite my poems to you?
I know how you'll "recite" them, if I do.
―Martial, loose translation/interpretation by Michael R. Burch

NOTE: The irascible Martial is suggesting that if he shares his poems, they will be plagiarized.

You ask me why I choose to live elsewhere?
You're not there.
―Martial, loose translation/interpretation by Michael R. Burch

You ask me why I love the fresh country air?
You're not befouling it there.
―Martial, loose translation/interpretation by Michael R. Burch

You never wrote a poem,
yet criticize mine?
Stop abusing me or write something fine
of your own!
―Martial, loose translation by Michael R. Burch

He starts everything but finishes nothing;
thus I suspect there's no end to his stuffing.
―Martial, loose translation by Michael R. Burch

NOTE: Martial concluded his epigram with a variation of the f-word; please substitute it if you prefer it.

You alone own prime land, dandy!
Gold, money, the finest porcelain―you alone!
The best wines of the most famous vintages―you alone!
Discrimination and wit―you alone!
You have it all―who can deny that you alone are set for life?
But everyone has had your wife―she is never alone!
―Martial, loose translation by Michael R. Burch

You dine in great magnificence
while offering guests a pittance.
Sextus, did you invite
friends to dinner tonight
to impress us with your enormous appetite?
―Martial, loose translation/interpretation by Michael R. Burch

To you, my departed parents, dear mother and father,
I commend my little lost angel, Erotion, love’s daughter.
She fell a mere six days short of outliving her sixth frigid winter.
Protect her now, I pray, should the chilling dark shades appear;
muzzle hell’s three-headed hound, less her heart be dismayed!
Lead her to romp in some sunny Elysian glade,
her devoted patrons. Watch her play childish games
as she excitedly babbles and lisps my name.
Let no hard turf smother her softening bones; and do
rest lightly upon her, earth, she was surely no burden to you!
―Martial, loose translation/interpretation by Michael R. Burch



Alien Nation
by Michael R. Burch

for 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.



Burn, Ovid
by Michael R. Burch

“Burn Ovid”—Austin Clarke

Sunday School,
Faith Free Will Baptist, 1973:
I sat imaging watery folds
of pale silk encircling her waist.
Explicit *** was the day’s “hot” topic
(how breathlessly I imagined hers)
as she taught us the perils of lust
fraught with inhibition.

I found her unaccountably beautiful,
rolling implausible nouns off the edge of her tongue:
adultery, fornication, *******, ******.
Acts made suddenly plausible by the faint blush
of her unrouged cheeks,
by her pale lips
accented only by a slight quiver,
a trepidation.

What did those lustrous folds foretell
of our uncommon desire?
Why did she cross and uncross her legs
lovely and long in their taupe sheaths?
Why did her ******* rise pointedly,
as if indicating a direction?

“Come unto me,
(unto me),”
together, we sang,

cheek to breast,
lips on lips,
devout, afire,

my hands
up her skirt,
her pants at her knees:

all night long,
all night long,
in the heavenly choir.

This poem is set at Faith Christian Academy, which I attended for a year during the ninth grade, in 1972-1973. While the poem definitely had its genesis there, I believe I revised it more than once and didn't finish it till 2001, nearly 28 years later, according to my notes on the poem. Another poem, "*** 101," was also written about my experiences at FCA that year.



*** 101
by Michael R. Burch

That day the late spring heat
steamed through the windows of a Crayola-yellow schoolbus
crawling its way up the backwards slopes
of Nowheresville, North Carolina ...

Where we sat exhausted
from the day’s skulldrudgery
and the unexpected waves of muggy,
summer-like humidity ...

Giggly first graders sat two abreast
behind senior high students
sprouting their first sparse beards,
their implausible bosoms, their stranger affections ...

The most unlikely coupling—

Lambert, 18, the only college prospect
on the varsity basketball team,
the proverbial talldarkhandsome
swashbuckling cocksman, grinning ...

Beside him, Wanda, 13,
bespectacled, in her primproper attire
and pigtails, staring up at him,
fawneyed, disbelieving ...

And as the bus filled with the improbable musk of her,
as she twitched impaled on his finger
like a dead frog jarred to life by electrodes,
I knew ...

that love is a forlorn enterprise,
that I would never understand it.

This companion poem to "Burn, Ovid" is also set at Faith Christian Academy, in 1972-1973.



honeybee
by michael r. burch

love was a little treble thing—
prone to sing
and (sometimes) to sting



honeydew
by michael r. burch

i sampled honeysuckle
and it made my taste buds buckle!



Kissin’ ’n’ buzzin’
by Michael R. Burch

Kissin’ ’n’ buzzin’
the bees rise
in a dizzy circle of two.
Oh, when I’m with you,
I feel like kissin’ ’n’ buzzin’ too.



Huntress
Michael R. Burch

Lynx-eyed cat-like and cruel you creep
across a crevice dropping deep
into a dark and doomed domain
Your claws are sheathed. You smile, insane
Rain falls upon your path and pain
pours down. Your paws are pierced. You pause
and heed the oft-lamented laws
which bid you not begin again
till night returns. You wail like wind,
the sighing of a soul for sin,
and give up hunting for a heart.
Till sunset falls again, depart,
though hate and hunger urge you—"On!"
Heed, hearts, your hope—the break of dawn.



Ibykos Fragment 286 (III)
loose translation by Michael R. Burch

Come spring, the grand
apple trees stand
watered by a gushing river
where the maidens’ uncut flowers shiver
and the blossoming grape vine swells
in the gathering shadows.

Unfortunately
for me
Eros never rests
but like a Thracian tempest
ablaze with lightning
emanates from Aphrodite;

the results are frightening—
black,
bleak,
astonishing,
violently jolting me from my soles
to my soul.

Originally published by The Chained Muse



Ince St. Child
by Michael R. Burch

When she was a child
in a dark forest of fear,
imagination cast its strange light
into secret places,
scattering traces
of illumination so bright,
years later, she could still find them there,
their light undefiled.

When she was young,
the shafted light of her dreams
shone on her uplifted face
as she prayed ...
though she strayed
into a night fallen like woven lace
shrouding the forest of screams,
her faith led her home.

Now she is old
and the light that was flame
is a slow-dying ember ...
what she felt then
she would explain;
she would if she could only remember
that forest of shame,
faith beaten like gold.

This was an unusual poem, and it took me some time to figure out who the old woman was. She was a victim of childhood ******, hence the title I eventually came up with.



Lullaby
by Michael R. Burch

for Jeremy

Cherubic laugh; sly, impish grin;
Angelic face; wild chimp within.

It does not matter; sleep awhile
As soft mirth tickles forth a smile.

Gray moths will hum a lullaby
Of feathery wings, then you and I

Will wake together, by and by.

Life’s not long; those days are best
Spent snuggled to a loving breast.

The earth will wait; a sun-filled sky
Will bronze lean muscle, by and by.

Soon you will sing, and I will sigh,
But sleep here, now, for you and I

Know nothing but this lullaby.



Kin
by Michael R. Burch

O pale, austere moon,
haughty beauty ...

what do we know of love,
or duty?



Kindred
by Michael R. Burch

Rise, pale disastrous moon!
What is love, but a heightened effect
of time, light and distance?

Did you burn once,
before you became
so remote, so detached,

so coldly, inhumanly lustrous,
before you were able to assume
the very pallor of love itself?

What is the dawn now, to you or to me?

We are as one,
out of favor with the sun.

We would exhume
the white corpse of love
for a last dance,

and yet we will not.
We will let her be,
let her abide,

for she is nothing now,
to you
or to me.



Reflections
by Michael R. Burch

I am her mirror.
I say she is kind,
lovely, breathtaking.
She screams that I’m blind.

I show her her beauty,
her brilliance and compassion.
She refuses to believe me,
for that’s the latest fashion.

She storms and she rages;
she dissolves into tears
while envious Angels
are, by God, her only Peers.



Excerpts from “Travels with Einstein”
by Michael R. Burch

for Trump

I went to Berlin to learn wisdom
from Adolph. The wild spittle flew
as he screamed at me, with great conviction:
“Please despise me! I look like a Jew!”

So I flew off to ’Nam to learn wisdom
from tall Yankees who cursed “yellow” foes.
“If we lose this small square,” they informed me,
earth’s nations will fall, dominoes!”

I then sat at Christ’s feet to learn wisdom,
but his Book, from its genesis to close,
said: “Men can enslave their own brothers!”
(I soon noticed he lacked any clothes.)

So I traveled to bright Tel Aviv
where great scholars with lofty IQs
informed me that (since I’m an Arab)
I’m unfit to lick dirt from their shoes.

At last, done with learning, I stumbled
to a well where the waters seemed sweet:
the mirage of American “justice.”
There I wept a real sea, in defeat.

Originally published by Café Dissensus



Remembrance
by Michael R. Burch

Remembrance like a river rises;
the rain of recollection falls;
frail memories, like vines, entangled,
cling to Time's collapsing walls.

The past is like a distant mist,
the future like a far-off haze,
the present half-distinct an hour
before it blurs with unseen days.



Resurrecting Passion
by Michael R. Burch

Last night, while dawn was far away
and rain streaked gray, tumescent skies,
as thunder boomed and lightning railed,
I conjured words, where passion failed ...

But, oh, that you were mine tonight,
sprawled in this bed, held in these arms,
your ******* pale baubles in my hands,
our bodies bent to old demands ...

Such passions we might resurrect,
if only time and distance waned
and brought us back together; now
I pray that this might be, somehow.

But time has left us twisted, torn,
and we are more apart than miles.
How have you come to be so far—
as distant as an unseen star?

So that, while dawn is far away,
my thoughts might not return to you,
I feed your portrait to the flames,
but as they feast, I burn for you.

Published in Songs of Innocence and The Chained Muse.



Currents
by Michael R. Burch

How can I write and not be true
to the rhythm that wells within?
How can the ocean not be blue,
not buck with the clapboard slap of tide,
the clockwork shock of wave on rock,
the motion creation stirs within?

Originally published by The Lyric



Righteous
by Michael R. Burch

Come to me tonight
in the twilight, O, and the full moon rising,
spectral and ancient, will mutter a prayer.

Gather your hair
and pin it up, knowing
that I will release it a moment anon.

We are not one,
nor is there a scripture
to sanctify nights you might spend in my arms,

but the swarms
of bright stars revolving above us
revel tonight, the most ardent of lovers.

Published by Writer’s Gazette, Tucumcari Literary Review and The Chained Muse



R.I.P.
by Michael R. Burch

When I am lain to rest
and my soul is no longer intact,
but dissolving, like a sunset
diminishing to the west ...

and when at last
before His throne my past
is put to test
and the demons and the Beast

await to feast
on any morsel downward cast,
while the vapors of impermanence
cling, smelling of damask ...

then let me go, and do not weep
if I am left to sleep,
to sleep and never dream, or dream, perhaps,
only a little longer and more deep.

Originally published by Romantics Quarterly



The Shape of Mourning
by Michael R. Burch

The shape of mourning
is an oiled creel
shining with unuse,

the bolt of cold steel
on a locker
shielding memory,

the monthly penance
of flowers,
the annual wake,

the face in the photograph
no longer dissolving under scrutiny,
becoming a keepsake,

the useless mower
lying forgotten
in weeds,

rings and crosses and
all the paraphernalia
the soul no longer needs.



Tillage
by Michael R. Burch

What stirs within me
is no great welling
straining to flood forth,
but an emptiness
waiting to be filled.

I am not an orchard
ready to be harvested,
but a field
rough and barren
waiting to be tilled.



For All That I Remembered
by Michael R. Burch

For all that I remembered, I forgot
her name, her face, the reason that we loved ...
and yet I hold her close within my thought.
I feel the burnished weight of auburn hair
that fell across her face, the apricot
clean scent of her shampoo, the way she glowed
so palely in the moonlight, angel-wan.

The memory of her gathers like a flood
and bears me to that night, that only night,
when she and I were one, and if I could ...
I'd reach to her this time and, smiling, brush
the hair out of her eyes, and hold intact
each feature, each impression. Love is such
a threadbare sort of magic, it is gone
before we recognize it. I would crush
my lips to hers to hold their memory,
if not more tightly, less elusively.

Originally published by The Raintown Review



Hearthside
by Michael R. Burch

“When you are old and grey and full of sleep...” ― W. B. Yeats

For all that we professed of love, we knew
this night would come, that we would bend alone
to tend wan fires’ dimming bars―the moan
of wind cruel as the Trumpet, gelid dew
an eerie presence on encrusted logs
we hoard like jewels, embrittled so ourselves.

The books that line these close, familiar shelves
loom down like dreary chaperones. Wild dogs,
too old for mates, cringe furtive in the park,
as, toothless now, I frame this parchment kiss.

I do not know the words for easy bliss
and so my shriveled fingers clutch this stark,
long-unenamored pen and will it: Move.
I loved you more than words, so let words prove.

This sonnet is written from the perspective of the great Irish poet William Butler Yeats in his loose translation or interpretation of the Pierre de Ronsard sonnet “When You Are Old.” The aging Yeats thinks of his Muse and the love of his life, the fiery Irish revolutionary Maude Gonne. As he seeks to warm himself by a fire conjured from ice-encrusted logs, he imagines her doing the same. Although Yeats had insisted that he wasn’t happy without Gonne, she said otherwise: “Oh yes, you are, because you make beautiful poetry out of what you call your unhappiness and are happy in that. Marriage would be such a dull affair. Poets should never marry. The world should thank me for not marrying you!”



I Know The Truth
by Marina Tsvetaeva
loose translation by Michael R. Burch

I know the truth―abandon lesser truths!

There's no need for anyone living to struggle!
See? Evening falls, night quickly descends!
So why the useless disputes―generals, poets, lovers?

The wind is calming now; the earth is bathed in dew;
the stars' infernos will soon freeze in the heavens.
And soon we'll sleep together, under the earth,
we who never gave each other a moment's rest above it.



I Know The Truth (Alternate Ending)
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

I know the truth―abandon lesser truths!

There's no need for anyone living to struggle!
See? Evening falls, night quickly descends!
So why the useless disputes―generals, poets, lovers?

The wind caresses the grasses; the earth gleams, damp with dew;
the stars' infernos will soon freeze in the heavens.
And soon we'll lie together under the earth,
we who were never united above it.



Poems about Moscow
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

5
Above the city Saint Peter once remanded to hell
now rolls the delirious thunder of the bells.

As the thundering high tide eventually reverses,
so, too, the woman who once bore your curses.

To you, O Great Peter, and you, O Great Tsar, I kneel!
And yet the bells above me continually peal.

And while they keep ringing out of the pure blue sky,
Moscow's eminence is something I can't deny ...

though sixteen hundred churches, nearby and afar,
all gaily laugh at the hubris of the Tsars.

8
Moscow, what a vast
uncouth hostel of a home!
In Russia all are homeless
so all to you must come.

A knife stuck in each boot-top,
each back with its shameful brand,
we heard you from far away.
You called us: here we stand.

Because you branded us criminals
for every known kind of ill,
we seek the all-compassionate Saint,
the haloed one who heals.

And there behind that narrow door
where the uncouth rabble pour,
we seek the red-gold radiant heart
of Iver, who loved the poor.

Now, as "Halleluiah" floods
bright fields that blaze to the west,
O sacred Russian soil,
I kneel here to kiss your breast!



Insomnia
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

2
In my enormous city it is night
as from my house I step beyond the light;
some people think I'm daughter, mistress, wife ...
but I am like the blackest thought of night.

July's wind sweeps a way for me to stray
toward soft music faintly blowing, somewhere.
The wind may blow until bright dawn, new day,
but will my heart in its rib-cage really care?

Black poplars brushing windows filled with light ...
strange leaves in hand ... faint music from distant towers ...
retracing my steps, there's nobody lagging behind ...
This shadow called me? There's nobody here to find.

The lights are like golden beads on invisible threads ...
the taste of dark night in my mouth is a bitter leaf ...
O, free me from shackles of being myself by day!
Friends, please understand: I'm only a dreamlike belief.



Poems for Akhmatova
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

4
You outshine everything, even the sun
at its zenith. The stars are yours!
If only I could sweep like the wind
through some unbarred door,
gratefully, to where you are ...

to hesitantly stammer, suddenly shy,
lowering my eyes before you, my lovely mistress,
petulant, chastened, overcome by tears,
as a child sobs to receive forgiveness ...



This gypsy passion of parting!
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

This gypsy passion of parting!
We meet, and are ready for flight!
I rest my dazed head in my hands,
and think, staring into the night ...

that no one, perusing our letters,
will ever understand the real depth
of just how sacrilegious we were,
which is to say we had faith,

in ourselves.



The Appointment
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

I will be late for the appointed meeting.
When I arrive, my hair will be gray,
because I abused spring.
And your expectations were much too high!

I shall feel the effects of the bitter mercury for years.
(Ophelia tasted, but didn't spit out, the rue.)
I will trudge across mountains and deserts,
trampling souls and hands without flinching,

living on, as the earth continues
with blood in every thicket and creek.
But always Ophelia's pallid face will peer out
from between the grasses bordering each stream.

She took a swig of passion, only to fill her mouth
with silt. Like a shaft of light on metal,
I set my sights on you, highly. Much too high
in the sky, where I have appointed my dust its burial.



Rails
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

The railway bed's steel-blue parallel tracks
are ruled out, neatly as musical staves.

Over them, people are transported
like possessed Pushkin creatures
whose song has been silenced.
See them: arriving, departing?

And yet they still linger,
the note of their pain remaining ...
always rising higher than love, as the poles freeze
to the embankment, like Lot's wife transformed to salt, forever.

Despair has arranged my fate
as someone arranges a wedding;
then, like a voiceless Sappho
I must weep like a pain-wracked seamstress

with the mute lament of a marsh heron!
Then the departing train
will hoot above the sleepers
as its wheels slice them to ribbons.

In my eye the colors blur
to a glowing but meaningless red.
All young women, at times,
are tempted by such a bed!



Every Poem is a Child of Love
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

Every poem is a child of love,
A destitute ******* chick
A fledgling blown down from the heights above―
Left of its nest? Not a stick.
Each heart has its gulf and its bridge.
Each heart has its blessings and griefs.
Who is the father? A liege?
Maybe a liege, or a thief.



Villanelle: Hangovers
by Michael R. Burch

We forget that, before we were born,
our parents had “lives” of their own,
ran drunk in the streets, or half-******.

Yes, our parents had lives of their own
until we were born; then, undone,
they were buying their parents gravestones

and finding gray hairs of their own
(because we were born lacking some
of their curious habits, but soon

would certainly get them). Half-******,
we watched them dig graves of their own.
Their lives would be over too soon

for their curious habits to bloom
in us (though our children were born
nine months from that night on the town

when, punch-drunk in the streets or half-******,
we first proved we had lives of our own).



Happily Never After (the Second Curse of the ***** Toad)
by Michael R. Burch

He did not think of love of Her at all
frog-plangent nights, as moons engoldened roads
through crumbling stonewalled provinces, where toads
(nee princes) ruled in chinks and grew so small
at last to be invisible. He smiled
(the fables erred so curiously), and thought
bemusedly of being reconciled
to human flesh, because his heart was not
incapable of love, but, being cursed
a second time, could only love a toad’s . . .
and listened as inflated frogs rehearsed
cheekbulging tales of anguish from green moats . . .
and thought of her soft croak, her skin fine-warted,
his anemic flesh, and how true love was thwarted.



Haunted
by Michael R. Burch

Now I am here
and thoughts of my past mistakes are my brethren.
I am withering
and the sweetness of your memory is like a tear.

Go, if you will,
for the ache in my heart is its hollowness
and the flaw in my soul is its shallowness;
there is nothing to fill.

Take what you can;
I have nothing left.
And when you are gone, I will be bereft,
the husk of a man.

Or stay here awhile.
My heart cannot bear the night, or these dreams.
Your face is a ghost, though paler, it seems
when you smile.

Published by Romantics Quarterly



Have I been too long at the fair?
by Michael R. Burch

Have I been too long at the fair?
The summer has faded,
the leaves have turned brown;
the Ferris wheel teeters ...
not up, yet not down.
Have I been too long at the fair?

This is one of my earliest poems, written around age 15 when we were living with my grandfather in his house on Chilton Street, within walking distance of the Nashville fairgrounds. I remember walking to the fairgrounds, stopping at a Dairy Queen along the way, and swimming at a public pool. But I believe the Ferris wheel only operated during the state fair. So my “educated guess” is that this poem was written during the 1973 state fair, or shortly thereafter. I remember watching people hanging suspended in mid-air, waiting for carnies to deposit them safely on terra firma again.



Her Preference
by Michael R. Burch

Not for her the pale incandescence of dreams,
the warm glow of imagination,
the hushed whispers of possibility,
or frail, blossoming hope.

No, she prefers the anguish and screams
of bitter condemnation,
the hissing of hostility,
damnation's rope.



hey pete
by Michael R. Burch

for Pete Rose

hey pete,
it's baseball season
and the sun ascends the sky,
encouraging a schoolboy's dreams
of winter whizzing by;
go out, go out and catch it,
put it in a jar,
set it on a shelf
and then you'll be a Superstar.

When I was a boy, Pete Rose was my favorite baseball player; this poem is not a slam at him, but rather an ironic jab at the term "superstar."



Nevermore!
by Michael R. Burch

Nevermore! O, nevermore
shall the haunts of the sea―
the swollen tide pools
and the dark, deserted shore―
mark her passing again.

And the salivating sea
shall never kiss her lips
nor caress her ******* and hips
as she dreamt it did before,
once, lost within the uproar.

The waves will never **** her,
nor take her at their leisure;
the sea gulls shall not have her,
nor could she give them pleasure ...
She sleeps forevermore.

She sleeps forevermore,
a ****** save to me
and her other lover,
who lurks now, safely covered
by the restless, surging sea.

And, yes, they sleep together,
but never in that way!
For the sea has stripped and shorn
the one I once adored,
and washed her flesh away.

He does not stroke her honey hair,
for she is bald, bald to the bone!
And how it fills my heart with glee
to hear them sometimes cursing me
out of the depths of the demon sea ...

their skeletal love―impossibility!

This is one of my Poe-like creations, written around age 19. I think the poem has an interesting ending, since the male skeleton is missing an important "member."



Mehmet Akif Ersoy: Modern English Translations of Turkish Poems

Mehmet Âkif Ersoy (1873-1936) was a Turkish poet, author, writer, academic, member of parliament, and the composer of the Turkish National Anthem.



Snapshot
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Earth’s least trace of life cannot be erased;
even when you lie underground, it encompasses you.
So, those of you who anticipate the shadows,
how long will the darkness remember you?



Zulmü Alkislayamam
"I Can’t Applaud Tyranny"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

I can't condone cruelty; I will never applaud the oppressor;
Yet I can't renounce the past for the sake of deluded newcomers.
When someone curses my ancestors, I want to strangle them,
Even if you don’t.
But while I harbor my elders,
I refuse to praise their injustices.
Above all, I will never glorify evil, by calling injustice “justice.”
From the day of my birth, I've loved freedom;
The golden tulip never deceived me.
If I am nonviolent, does that make me a docile sheep?
The blade may slice, but my neck resists!
When I see someone else's wound, I suffer a great hardship;
To end it, I'll be whipped, I'll be beaten.
I can't say, “Never mind, just forget it!” I'll mind,
I'll crush, I'll be crushed, I'll uphold justice.
I'm the foe of the oppressor, the friend of the oppressed.
What the hell do you mean, with your backwardness?



Çanakkale Sehitlerine
"For the Çanakkale Martyrs"
by Mehmet Akif Ersoy
loose English translation/interpretation by Michael R. Burch

Was there ever anything like the Bosphorus war?―
The earth’s mightiest armies pressing Marmara,
Forcing entry between her mountain passes
To a triangle of land besieged by countless vessels.
Oh, what dishonorable assemblages!
Who are these Europeans, come as rapists?
Who, these braying hyenas, released from their reeking cages?
Why do the Old World, the New World, and all the nations of men
now storm her beaches? Is it Armageddon? Truly, the whole world rages!
Seven nations marching in unison!
Australia goose-stepping with Canada!
Different faces, languages, skin tones!
Everything so different, but the mindless bludgeons!
Some warriors Hindu, some African, some nameless, unknown!
This disgraceful invasion, baser than the Black Death!
Ah, the 20th century, so noble in its own estimation,
But all its favored ones nothing but a parade of worthless wretches!
For months now Turkish soldiers have been vomited up
Like stomachs’ retched contents regarded with shame.
If the masks had not been torn away, the faces would still be admired,
But the ***** called civilization is far from blameless.
Now the ****** demand the destruction of the doomed
And thus bring destruction down on their own heads.
Lightning severs horizons!
Earthquakes regurgitate the bodies of the dead!
Bombs’ thunderbolts explode brains,
rupture the ******* of brave soldiers.
Underground tunnels writhe like hell
Full of the bodies of burn victims.
The sky rains down death, the earth swallows the living.
A terrible blizzard heaves men violently into the air.
Heads, eyes, torsos, legs, arms, chins, fingers, hands, feet...
Body parts rain down everywhere.
Coward hands encased in armor callously scatter
Floods of thunderbolts, torrents of fire.
Men’s chests gape open,
Beneath the high, circling vulture-like packs of the air.
Cannonballs fly as frequently as bullets
Yet the heroic army laughs at the hail.
Who needs steel fortresses? Who fears the enemy?
How can the shield of faith not prevail?
What power can make religious men bow down to their oppressors
When their stronghold is established by God?
The mountains and the rocks are the bodies of martyrs!...
For the sake of a crescent, oh God, many suns set, undone!
Dear soldier, who fell for the sake of this land,
How great you are, your blood saves the Muslims!
Only the lions of Bedr rival your glory!
Who then can dig the grave wide enough to hold you. and your story?
If we try to consign you to history, you will not fit!
No book can contain the eras you shook!
Only eternities can encompass you!...
Oh martyr, son of the martyr, do not ask me about the grave:
The prophet awaits you now, his arms flung wide open, to save!



W. S. Rendra translations

Willibrordus Surendra Broto Rendra (1935-2009), better known as W. S. Rendra or simply Rendra, was an Indonesian dramatist and poet. He said, “I learned meditation and the disciplines of the traditional Javanese poet from my mother, who was a palace dancer. The idea of the Javanese poet is to be a guardian of the spirit of the nation.” The press gave him the nickname Burung Merak (“The Peacock”) for his flamboyant poetry readings and stage performances.

SONNET
by W. S. Rendra
loose translation/interpretation by Michael R. Burch

Best wishes for an impending deflowering.

Yes, I understand: you will never be mine.
I am resigned to my undeserved fate.
I contemplate
irrational numbers―complex & undefined.

And yet I wish love might ... ameliorate ...
such negative numbers, dark and unsigned.
But at least I can’t be held responsible
for disappointing you. No cause to elate.
Still, I am resigned to my undeserved fate.
The gods have spoken. I can relate.

How can this be, when all it makes no sense?
I was born too soon―such was my fate.
You must choose another, not half of who I AM.
Be happy with him when you consummate.

THE WORLD'S FIRST FACE
by W. S. Rendra
loose translation/interpretation by Michael R. Burch

Illuminated by the pale moonlight
the groom carries his bride
up the hill―
both of them naked,
both consisting of nothing but themselves.

As in all beginnings
the world is naked,
empty, free of deception,
dark with unspoken explanations―
a silence that extends
to the limits of time.

Then comes light,
life, the animals and man.

As in all beginnings
everything is naked,
empty, open.

They're both young,
yet both have already come a long way,
passing through the illusions of brilliant dawns,
of skies illuminated by hope,
of rivers intimating contentment.

They have experienced the sun's warmth,
drenched in each other's sweat.

Here, standing by barren reefs,
they watch evening fall
bringing strange dreams
to a bed arrayed with resplendent coral necklaces.

They lift their heads to view
trillions of stars arrayed in the sky.
The universe is their inheritance:
stars upon stars upon stars,
more than could ever be extinguished.

Illuminated by the pale moonlight
the groom carries his bride
up the hill―
both of them naked,
to recreate the world's first face.

Keywords/Tags: Rendra, Indonesian, Javanese, translation, love, fate, god, gods, goddess, groom, bride, world, time, life, sun, hill, hills, moon, moonlight, stars, life, animals?, international, travel, voyage, wedding, relationship, mrbtran



Shadows
by Michael R. Burch

Alone again as evening falls,
I join gaunt shadows and we crawl
up and down my room's dark walls.

Up and down and up and down,
against starlight―strange, mirthless clowns―
we merge, emerge, submerge . . . then drown.

We drown in shadows starker still,
shadows of the somber hills,
shadows of sad selves we spill,

tumbling, to the ground below.
There, caked in grimy, clinging snow,
we flutter feebly, moaning low

for days dreamed once an age ago
when we weren't shadows, but were men . . .
when we were men, or almost so.



Recursion
by Michael R. Burch

In a dream I saw boys lying
under banners gaily flying
and I heard their mothers sighing
from some dark distant shore.

For I saw their sons essaying
into fields—gleeful, braying—
their bright armaments displaying;
such manly oaths they swore!

From their playfields, boys returning
full of honor’s white-hot burning
and desire’s restless yearning
sired new kids for the corps.

In a dream I saw boys dying
under banners gaily lying
and I heard their mothers crying
from some dark distant shore.



THE RUIN
an Old English/Anglo-Saxon poem
loose translation/interpretation by Michael R. Burch

well-hewn was this wall-stone, till Wyrdes wrecked it
and the Colossus sagged inward ...

broad battlements broken;
the Builders' work battered;

the high ramparts toppled;
tall towers collapsed;

the great roof-beams shattered;
gates groaning, agape ...

mortar mottled and marred by scarring ****-frosts ...
the Giants’ dauntless strongholds decaying with age ...

shattered, the shieldwalls,
the turrets in tatters ...

where now are those mighty Masons, those Wielders and Wrights,
those Samson-like Stonesmiths?

the grasp of the earth, the firm grip of the ground
holds fast those fearless Fathers
men might have forgotten
except that this slow-rotting siege-wall still stands
after countless generations!

for always this edifice, grey-lichened, blood-stained,
stands facing fierce storms with their wild-whipping winds
because those master Builders bound its wall-base together
so cunningly with iron!

it outlasted mighty kings and their claims!

how high rose those regal rooftops!
how kingly their castle-keeps!
how homely their homesteads!
how boisterous their bath-houses and their merry mead-halls!
how heavenward flew their high-flung pinnacles!
how tremendous the tumult of those famous War-Wagers ...
till mighty Fate overturned it all, and with it, them.

then the wide walls fell;
then the bulwarks were broken;
then the dark days of disease descended ...

as death swept the battlements of brave Brawlers;
as their palaces became waste places;
as ruin rained down on their grand Acropolis;
as their great cities and castles collapsed
while those who might have rebuilt them lay gelded in the ground:
those marvelous Men, those mighty master Builders!

therefore these once-decorous courts court decay;
therefore these once-lofty gates gape open;
therefore these roofs' curved arches lie stripped of their shingles;
therefore these streets have sunk into ruin and corroded rubble ...

when in times past light-hearted Titans flushed with wine
strode strutting in gleaming armor, adorned with splendid ladies’ favors,
through this brilliant city of the audacious famous Builders
to compete for bright treasure: gold, silver, amber, gemstones.

here the cobblestoned courts clattered;
here the streams gushed forth their abundant waters;
here the baths steamed, hot at their fiery hearts;
here this wondrous wall embraced it all, with its broad *****.

... that was spacious ...



Victor Hugo "Love Stronger Than Time"
loose translation/interpretation by Michael Burch

Since I first set my lips to your full cup,
Since my pallid face first nested in your hands,
Since I sensed your soul and every bloom lit up—
Till those rare perfumes were lost to deepening sands;

Since I was once allowed those pleasures deep—
To hear your heart speak mysteries, divine;
Since I have seen you smile, have watched you weep,
Your lips pressed to my lips, your eyes on mine;

Since I have sensed above my thoughts the gleam
Of a ray, a single ray, of your bright star
(If sometimes veiled), and felt light falling stream,
Like one rose petal plucked from high, afar;

I now can say to time's swift-changing hours:
Pass, pass upon your way, for you grow old;
Flee to the dark abyss with your drear flowers,
but one unmarred within my heart I hold.

Your flapping wings may jar but cannot spill
The cup fulfilled of love, from which I drink;
My heart has fires your frosts can never chill,
My soul more love to fly than you can sink.



We Came Together
by Michael R. Burch

We came together – people of two lands
so unalike, at first, we hardly knew
how to be friends. We went to war, and drew
lines in the sand. And yet the sky was blue
for everyone, and big enough to share.

We came together, and our friendships grew.
We had to learn to share the selfsame air,
to find the path to harmony,
to find some common ground and let peace bloom.

We came together and we gave hope room
to blossom in our hearts. We learned to be
together in our common destiny.

We come together – people of many lands
so unalike, at first, and now we know
how to be friends.




Lines for My Ascension
by Michael R. Burch

I.
If I should die,
there will come a Doom,
and the sky will darken
to the deepest Gloom.

But if my body
should not be found,
never think of me
in the cold ground.

II.
If I should die,
let no mortal say,
“Here was a man,
with feet of clay,

or a timid sparrow
God’s hand let fall.”
But watch the sky darken
to an eerie pall

and know that my Spirit,
unvanquished, broods,
and cares naught for graves,
prayers, coffins, or roods.

And if my body
should not be found,
never think of me
in the cold ground.

III.
If I should die,
let no man adore
his incompetent Maker:
Zeus, Jehovah, or Thor.

Think of Me as One
who never died―
the unvanquished Immortal
with the unriven side.

And if my body
should not be found,
never think of me
in the cold ground.

IV.
And if I should “die,”
though the clouds grow dark
as fierce lightnings rend
this bleak asteroid, stark ...

If you look above,
you will see a bright Sign―
the sun with the moon
in its arms, Divine.

So divine, if you can,
my bright meaning, and know―
my Spirit is mine.
I will go where I go.

And if my body
should not be found,
never think of me
in the cold ground.



The Quickening
by Michael R. Burch

for Beth

I never meant to love you
when I held you in my arms
promising you sagely
wise, noncommittal charms.

And I never meant to need you
when I touched your tender lips
with kisses that intrigued my own—
such kisses I had never known,
nor a heartbeat in my fingertips!



ITALIAN POETRY TRANSLATIONS

These are my modern English translations of the Roman, Latin and Italian poets Anonymous, Marcus Aurelius, Catullus, ***** Cavalcanti, Cicero, Dante Alighieri, Veronica Franco, ***** Guinizelli, Hadrian, Primo Levi, Martial, Michelangelo, Seneca, Seneca the Younger and Leonardo da Vinci. I also have translations of Latin poems by the English poets Aldhelm, Thomas Campion and Saint Godric of Finchale.

Wall, I'm astonished that you haven't collapsed,
since you're holding up verses so prolapsed!
—Ancient Roman graffiti, loose translation/interpretation by Michael R. Burch

My objective is not to side with the majority, but to avoid the ranks of the insane.—Marcus Aurelius, loose translation/interpretation by Michael R. Burch

Little sparks ignite great Infernos.—Dante, loose translation/interpretation Michael R. Burch



MARTIAL

I must admit I'm partial
to Martial.
—Michael R. Burch

You ask me why I've sent you no new verses?
There might be reverses.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me to recite my poems to you?
I know how you'll 'recite' them, if I do.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me why I choose to live elsewhere?
You're not there.
—Martial, loose translation/interpretation by Michael R. Burch

You ask me why I love fresh country air?
You're not befouling it there.
—Martial, loose translation/interpretation by Michael R. Burch

You never wrote a poem,
yet criticize mine?
Stop abusing me or write something fine
of your own!
—Martial, loose translation/interpretation by Michael R. Burch

He starts everything but finishes nothing;
thus I suspect there's no end to his *******.
—Martial, loose translation/interpretation by Michael R. Burch

You dine in great magnificence
while offering guests a pittance.
Sextus, did you invite
friends to dinner tonight
to impress us with your enormous appetite?
—Martial, loose translation/interpretation by Michael R. Burch

You alone own prime land, dandy!
Gold, money, the finest porcelain—you alone!
The best wines of the most famous vintages—you alone!
Discrimination, taste and wit—you alone!
You have it all—who can deny that you alone are set for life?
But everyone has had your wife—
she is never alone!
—Martial, loose translation/interpretation by Michael R. Burch

To you, my departed parents, dear mother and father,
I commend my little lost angel, Erotion, love's daughter,
who died six days short of completing her sixth frigid winter.
Protect her now, I pray, should the chilling dark shades appear;
muzzle hell's three-headed hound, less her heart be dismayed!
Lead her to romp in some sunny Elysian glade,
her devoted patrons. Watch her play childish games
as she excitedly babbles and lisps my name.
Let no hard turf smother her softening bones; and do
rest lightly upon her, earth, she was surely no burden to you!
—Martial, loose translation/interpretation by Michael R. Burch

To you, my departed parents, with much emotion,
I commend my little lost darling, my much-kissed Erotion,
who died six days short of completing her sixth bitter winter.
Protect her, I pray, from hell's hound and its dark shades a-flitter;
and please don't let fiends leave her maiden heart dismayed!
But lead her to romp in some sunny Elysian glade
with her cherished friends, excitedly lisping my name.
Let no hard turf smother her softening bones; and do
rest lightly upon her, earth, she was such a slight burden to you!
—Martial, loose translation/interpretation by Michael R. Burch



CATULLUS

Catullus LXXXV: 'Odi et Amo'
loose translation/interpretation by Michael R. Burch

1.
I hate. I love.
You ask, 'Why not refrain?'
I wish I could explain.
I can't, but feel the pain.

2.
I hate. I love.
Why? Heavens above!
I wish I could explain.
I can't, but feel the pain.

3.
I hate. I love.
How can that be, turtledove?
I wish I could explain.
I can't, but feel the pain.



Catullus CVI: 'That Boy'
loose translation/interpretation by Michael R. Burch

See that young boy, by the auctioneer?
He's so pretty he sells himself, I fear!



Catullus LI: 'That Man'
This is Catullus's translation of a poem by Sappho of ******
loose translation/interpretation by Michael R. Burch

I'd call that man the equal of the gods,
or,
could it be forgiven
in heaven,
their superior,
because to him space is given
to bask in your divine presence,
to gaze upon you, smile, and listen
to your ambrosial laughter
which leaves men senseless
here and hereafter.

Meanwhile, in my misery,
I'm left speechless.

Lesbia, there's nothing left of me
but a voiceless tongue grown thick in my mouth
and a thin flame running south...

My limbs tingle, my ears ring, my eyes water
till they swim in darkness.

Call it leisure, Catullus, or call it idleness,
whatever it is that incapacitates you.
By any other name it's the nemesis
fallen kings, empires and cities rue.



Catullus 1 ('cui dono lepidum novum libellum')        
loose translation/interpretation by Michael R. Burch

To whom do I dedicate this novel book
polished drily with a pumice stone?
To you, Cornelius, for you would look
content, as if my scribblings took
the cake, when in truth you alone
unfolded Italian history in three scrolls,
as learned as Jupiter in your labors.
Therefore, this little book is yours,
whatever it is, which, O patron Maiden,
I pray will last more than my lifetime!



Catullus XLIX: 'A Toast to Cicero'
loose translation/interpretation by Michael R. Burch

Cicero, please confess:
You're drunk on your success!
All men of good taste attest
That you're the very best—
At making speeches, first class!
While I'm the dregs of the glass.



Catullus CI: 'His Brother's Burial'
loose translation/interpretation by Michael R. Burch

1.
Through many lands and over many seas
I have journeyed, brother, to these wretched rites,
to this final acclamation of the dead...
and to speak — however ineffectually — to your voiceless ashes
now that Fate has wrested you away from me.
Alas, my dear brother, wrenched from my arms so cruelly,
accept these last offerings, these small tributes
blessed by our fathers' traditions, these small gifts for the dead.
Please accept, by custom, these tokens drenched with a brother's tears,
and, for all eternity, brother, 'Hail and Farewell.'

2.
Through many lands and over many seas
I have journeyed, brother, to these wretched rites,
to this final acclamation of the dead...
and to speak — however ineffectually — to your voiceless ashes
now that Fate has wrested you away from me.
Alas, my dear brother, wrenched from my arms so cruelly,
accept these small tributes, these last gifts,
offered in the time-honored manner of our fathers,
these final votives. Please accept, by custom,
these tokens drenched with a brother's tears,
and, for all eternity, brother, 'Hail and Farewell.'

[Here 'offered in the time-honored manner of our fathers' is from another translation by an unknown translator.]

[What do the gods know, with their superior airs,
wiser than a mother's tears
for her lost child?
If they had hearts, surely they would be beguiled,
repeal the sentence of death!
Since they have none,
or only hearts of stone,
believers, save your breath.
—Michael R. Burch, after Catullus]



Catullus LXV aka Carmina 65
loose translation/interpretation by Michael R. Burch

Hortalus, I’m exhausted by relentless grief,
and have thus abandoned the learned virgins;
nor can my mind, so consumed by malaise,
partake of the Muses' mete fruit;
for lately the Lethaean flood laves my brother's
death-pale foot with its dark waves,
where, beyond mortal sight, ghostly Ilium
disgorges souls beneath the Rhoetean shore.

Never again will I hear you speak,
O my brother, more loved than life,
never see you again, unless I behold you hereafter.
But surely I'll always love you,
always sing griefstricken dirges for your demise,
such as Procne sings under the dense branches’ shadows,
lamenting the lot of slain Itys.

Yet even amidst such unfathomable sorrows, O Hortalus,
I nevertheless send you these, my recastings of Callimachus,
lest you conclude your entrusted words slipped my mind,
winging off on wayward winds, as a suitor’s forgotten apple
hidden in the folds of her dress escapes a ******'s chaste lap;
for when she starts at her mother's arrival, it pops out,
then downward it rolls, headlong to the ground,
as a guilty blush flushes her downcast face.




Catullus IIA: 'Lesbia's Sparrow'
loose translation/interpretation by Michael R. Burch

Sparrow, my sweetheart's pet,
with whom she plays cradled to her breast,
or in her lap,
giving you her fingertip to peck,
provoking you to nip its nib...
Whenever she's flushed with pleasure
my gorgeous darling plays such dear little games:
to relieve her longings, I suspect,
until her ardour abates.
Oh, if only I could play with you as gaily,
and alleviate my own longings!



Catullus V: 'Let us live, Lesbia, let us love'
loose translation/interpretation by Michael R. Burch

Let us live, Lesbia, let us love,
and let the judgments of ancient moralists
count less than a farthing to us!

Suns may set then rise again,
but when our brief light sets,
we will sleep through perpetual night.

Give me a thousand kisses, a hundred more,
another thousand, then a second hundred,
yet another thousand, then a third hundred...

Then, once we've tallied the many thousands,
let's jumble the ledger, so that even we
(and certainly no malicious, evil-eyed enemy)        
will ever know there were so many kisses!



Catullus VII: 'How Many Kisses'
loose translation/interpretation by Michael R. Burch

You ask, Lesbia, how many kisses
are enough, or more than enough, to satisfy me?

As many as the Libyan sands
swirling in incense-bearing Cyrene
between the torrid oracle of Jove
and the sacred tomb of Battiades.

Or as many as the stars observing amorous men
making love furtively on a moonless night.

As many of your kisses are enough,
and more than enough, for mad Catullus,
as long as there are too many to be counted by inquisitors
and by malicious-tongued bewitchers.



Catullus VIII: 'Advice to Himself'
loose translation/interpretation by Michael R. Burch

Snap out of it Catullus, stop this foolishness!
It's time to cut losses!
What is dead is gone, accept it.
Once brilliant suns shone on you both,
when you trotted about wherever she led,
and loved her as never another before.
That was a time of such happiness,
when your desire intersected her will.
But now she doesn't want you any more.
Be resolute, weak as you are, stop chasing mirages!
What you need is not love, but a clean break.
Goodbye girl, now Catullus stands firm.
Never again Lesbia! Catullus is clear:
He won't miss you. Won't crave you. Catullus is cold.
Now it's you who will grieve, when nobody calls.
It's you who will weep that you're ruined.
Who'll submit to you now? Admire your beauty?
Whom will you love? Whose girl will you be?
Who will you kiss? Whose lips will you bite?
But you, Catullus, you must break with the past, hold fast.



Catullus LX: 'Lioness'
loose translation/interpretation by Michael R. Burch

Did an African mountain lioness
or a howling Scylla beget you from the nether region of her *****,
my harsh goddess? Are you so pitiless you would hold in contempt
this supplicant voicing his inconsolable despair?
Are you really that cruel-hearted?

Catullus LXX: 'Marriage Vows'
loose translation/interpretation by Michael R. Burch

My sweetheart says she'd marry no one else but me,
not even Jupiter, if he were to ask her!
But what a girl says to her eager lover
ought to be written on the wind or in running water.



CICERO

The famous Roman orator Cicero employed 'tail rhyme' in this pun:

O Fortunatam natam me consule Romam.
O fortunate natal Rome, to be hatched by me!
—Cicero, loose translation/interpretation by Michael R. Burch



MICHELANGELO

Michelangelo Buonarroti (1475-1564) is considered by many experts to be the greatest artist and sculptor of all time. He was also a great poet.

Michelangelo Epigram Translations
loose translations/interpretations by Michael R. Burch

I saw the angel in the marble and freed him.
I hewed away the coarse walls imprisoning the lovely apparition.
Each stone contains a statue; it is the sculptor's task to release it.
The danger is not aiming too high and missing, but aiming too low and hitting the mark.
Our greatness is only bounded by our horizons.
Be at peace, for God did not create us to abandon us.
God grant that I always desire more than my capabilities.
My soul's staircase to heaven is earth's loveliness.
I live and love by God's peculiar light.
Trifles create perfection, yet perfection is no trifle.
Genius is infinitely patient, and infinitely painstaking.
I have never found salvation in nature; rather I love cities.
He who follows will never surpass.
Beauty is what lies beneath superfluities.
I criticize via creation, not by fault-finding.
If you knew how hard I worked, you wouldn't call it 'genius.'



SONNET: RAVISHED
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

Ravished, by all our eyes find fine and fair,
yet starved for virtues pure hearts might confess,
my soul can find no Jacobean stair
that leads to heaven, save earth's loveliness.
The stars above emit such rapturous light
our longing hearts ascend on beams of Love
and seek, indeed, Love at its utmost height.
But where on earth does Love suffice to move
a gentle heart, or ever leave it wise,
save for beauty itself and the starlight in her eyes?



SONNET: TO LUIGI DEL RICCIO, AFTER THE DEATH OF CECCHINO BRACCI
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

A pena prima.

I had barely seen the beauty of his eyes
Which unto yours were life itself, and light,
When he closed them fast in death's eternal night
To reopen them on God, in Paradise.

In my tardiness, I wept, too late made wise,
Yet the fault not mine: for death's disgusting ploy
Had robbed me of that deep, unfathomable joy
Which in your loving memory never dies.

Therefore, Luigi, since the task is mine
To make our unique friend smile on, in stone,
Forever brightening what dark earth would dim,
And because the Beloved causes love to shine,

And since the artist cannot work alone,
I must carve you, to tell the world of him!



BEAUTY AND THE ARTIST
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

Al cor di zolfo.

A heart aflame; alas, the flesh not so;
Bones brittle wood; the soul without a guide
To curb the will's inferno; the crude pride
Of restless passions' pulsing surge and flow;

A witless mind that - halt, lame, weak - must go
Blind through entrapments scattered far and wide; ...
Why wonder then, when one small spark applied
To such an assemblage, renders it aglow?

Add beauteous Art, which, Heaven-Promethean,
Must exceed nature - so divine a power
Belongs to those who strive with every nerve.
Created for such Art, from childhood given
As prey for her Infernos to devour,
I blame the Mistress I was born to serve.



SONNET XVI: LOVE AND ART
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

Sì come nella penna.

Just as with pen and ink,
there is a high, a low, and an in-between style;
and, as marble yields its images pure and vile
to excite the fancies artificers might think;
even so, my lord, lodged deep within your heart
are mingled pride and mild humility;
but I draw only what I truly see
when I trust my eyes and otherwise stand apart.
Whoever sows the seeds of tears and sighs
(bright dews that fall from heaven, crystal-clear)        
in various pools collects antiquities
and so must reap old griefs through misty eyes;
while the one who dwells on beauty, so painful here,
finds ephemeral hopes and certain miseries.



SONNET XXXI: LOVE'S LORDSHIP, TO TOMMASO DE' CAVALIERI
by Michelangelo Buonarroti (1475-1564)        
loose translation/interpretation by Michael R. Burch

A che più debb' io.

Am I to confess my heart's desire
with copious tears and windy words of grief,
when a merciless heaven offers no relief
to souls consumed by fire?

Why should my aching heart aspire
to life, when all must die? Beyond belief
would be a death delectable and brief,
since in my compound woes all joys expire!

Therefore, because I cannot dodge the blow,
I rather seek whoever rules my breast,
to glide between her gladness and my woe.
If only chains and bonds can make me blessed,
no marvel if alone and bare I go
to face the foe: her captive slave oppressed.



LEONARDO DA VINCI

Once we have flown, we will forever walk the earth with our eyes turned heavenward, for there we were and will always long to return.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

The great achievers rarely relaxed and let things happen to them. They set out and kick-started whatever happened.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Nothing enables authority like silence.—Leonardo da Vinci, translation by Michael R. Burch

The greatest deceptions spring from men's own opinions.—Leonardo da Vinci, translation by Michael R. Burch

There are three classes of people: Those who see by themselves. Those who see only when they are shown. Those who refuse to see.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Blinding ignorance misleads us. Myopic mortals, open your eyes! —Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

It is easier to oppose evil from the beginning than at the end.—Leonardo da Vinci, translation by Michael R. Burch

Small minds continue to shrink, but those whose hearts are firm and whose consciences endorse their conduct, will persevere until death.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

I am impressed with the urgency of doing. Knowledge is not enough; we must apply ourselves. Wanting and being willing are insufficient; we must act.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Time is sufficient for anyone who uses it wisely.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Where the spirit does not aid and abet the hand there is no art.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Necessity is the mistress of mother nature's inventions.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Nature has no effect without cause, no invention without necessity.—Leonardo da Vinci, loose translation/interpretation by Michael R. Burch

Did Leonardo da Vinci anticipate Darwin with his comments about Nature and necessity being the mistress of her inventions? Yes, and his studies of comparative anatomy, including the intestines, led da Vinci to say explicitly that 'apes, monkeys and the like' are not merely related to humans but are 'almost of the same species.' He was, indeed, a man ahead of his time, by at least 350 years.



Excerpts from 'Paragone of Poetry and Painting' and Other Writings
by Leonardo da Vinci, circa 1500
loose translation/interpretation by Michael R. Burch

Sculpture requires light, received from above,
while a painting contains its own light and shade.

Painting is the more beautiful, the more imaginative, the more copious,
while sculpture is merely the more durable.

Painting encompasses infinite possibilities
which sculpture cannot command.
But you, O Painter, unless you can make your figures move,
are like an orator who can't bring his words to life!

While as soon as the Poet abandons nature, he ceases to resemble the Painter;
for if the Poet abandons the natural figure for flowery and flattering speech,
he becomes an orator and is thus neither Poet nor Painter.

Painting is poetry seen but not heard,
while poetry is painting heard but not seen.

And if the Poet calls painting dumb poetry,
the Painter may call poetry blind painting.

Yet poor is the pupil who fails to surpass his master!
Shun those studies in which the work dies with the worker.

Because I find no subject especially useful or pleasing
and because those who preceded me appropriated every useful theme,
I will be like the beggar who comes late to the fair,
who must content himself with other buyers' rejects.

Thus, I will load my humble cart full of despised and rejected merchandise,
the refuse of so many other buyers,
and I will go about distributing it, not in the great cities,
but in the poorer towns,
selling at discounts whatever the wares I offer may be worth.

And what can I do when a woman plucks my heart?
Alas, how she plays me, and yet I must persist!



The Point
by Leonardo da Vinci
loose translation/interpretation by Michael R. Burch

Here forms, colors, the character of the entire universe, contract to a point,
and that point is miraculous, marvelous …
O marvelous, O miraculous, O stupendous Necessity!
By your elegant laws you compel every effect to be the direct result of its cause,
by the shortest path possible.
Such are your miracles!



VERONICA FRANCO

Veronica Franco (1546-1591) was a Venetian courtesan who wrote literary-quality poetry and prose.

A Courtesan's Love Lyric (I)      
by Veronica Franco
loose translation/interpretation by Michael R. Burch

My rewards will be commensurate with your gifts
if only you give me the one that lifts
me laughing...
And though it costs you nothing,
still it is of immense value to me.
Your reward will be
not just to fly
but to soar, so high
that your joys vastly exceed your desires.
And my beauty, to which your heart aspires
and which you never tire of praising,
I will employ for the raising
of your spirits. Then, lying sweetly at your side,
I will shower you with all the delights of a bride,
which I have more expertly learned.
Then you who so fervently burned
will at last rest, fully content,
fallen even more deeply in love, spent
at my comfortable *****.
When I am in bed with a man I blossom,
becoming completely free
with the man who loves and enjoys me.

Here is a second version of the same poem...

I Resolved to Make a Virtue of My Desire (II)      
by Veronica Franco
loose translation/interpretation by Michael R. Burch

My rewards will match your gifts
If you give me the one that lifts
Me, laughing. If it comes free,
Still, it is of immense value to me.
Your reward will be—not just to fly,
But to soar—so incredibly high
That your joys eclipse your desires
(As my beauty, to which your heart aspires
And which you never tire of praising,
I employ for your spirit's raising) .
Afterwards, lying docile at your side,
I will grant you all the delights of a bride,
Which I have more expertly learned.
Then you, who so fervently burned,
Will at last rest, fully content,
Fallen even more deeply in love, spent
At my comfortable *****.
When I am in bed with a man I blossom,
Becoming completely free
With the man who freely enjoys me.



Capitolo 24
by Veronica Franco
loose translation/interpretation by Michael R. Burch

(written by Franco to a man who had insulted a woman)        

Please try to see with sensible eyes
how grotesque it is for you
to insult and abuse women!
Our unfortunate *** is always subject
to such unjust treatment, because we
are dominated, denied true freedom!
And certainly we are not at fault
because, while not as robust as men,
we have equal hearts, minds and intellects.
Nor does virtue originate in power,
but in the vigor of the heart, mind and soul:
the sources of understanding;
and I am certain that in these regards
women lack nothing,
but, rather, have demonstrated
superiority to men.
If you think us 'inferior' to yourself,
perhaps it's because, being wise,
we outdo you in modesty.
And if you want to know the truth,
the wisest person is the most patient;
she squares herself with reason and with virtue;
while the madman thunders insolence.
The stone the wise man withdraws from the well
was flung there by a fool...



When I bed a man
who—I sense—truly loves and enjoys me,
I become so sweet and so delicious
that the pleasure I bring him surpasses all delight,
till the tight
knot of love,
however slight
it may have seemed before,
is raveled to the core.
—Veronica Franco, loose translation/interpretation by Michael R. Burch



We danced a youthful jig through that fair city—
Venice, our paradise, so pompous and pretty.
We lived for love, for primal lust and beauty;
to please ourselves became our only duty.
Floating there in a fog between heaven and earth,
We grew drunk on excesses and wild mirth.
We thought ourselves immortal poets then,
Our glory endorsed by God's illustrious pen.
But paradise, we learned, is fraught with error,
and sooner or later love succumbs to terror.
—Veronica Franco, loose translation/interpretation by Michael R. Burch



I wish it were not a sin to have liked it so.
Women have not yet realized the cowardice that resides,
for if they should decide to do so,
they would be able to fight you until death;
and to prove that I speak the truth,
amongst so many women,
I will be the first to act,
setting an example for them to follow.
—Veronica Franco, loose translation/interpretation by Michael R. Burch



ANONYMOUS

The poem below is based on my teenage misinterpretation of a Latin prayer...

Elegy for a little girl, lost
by Michael R. Burch

for my mother, Christine Ena Burch, who was always a little girl at heart

... qui laetificat juventutem meam...
She was the joy of my youth,
and now she is gone.
... requiescat in pace...
May she rest in peace.
... amen...

Amen

I was touched by this Latin prayer, which I discovered in a novel I read as a teenager. I later decided to incorporate it into a poem, which I started in high school and revised as an adult. From what I now understand, 'ad deum qui laetificat juventutem meam' means 'to the God who gives joy to my youth, ' but I am sticking with my original interpretation: a lament for a little girl at her funeral. The phrase can be traced back to Saint Jerome's translation of Psalm 42 in the Latin Vulgate Bible (circa 385 AD) . I can't remember exactly when I read the novel or wrote the poem, but I believe it was around my junior year of high school, age 17 or thereabouts. This was my first translation. I revised the poem slightly in 2001 after realizing I had 'misremembered' one of the words in the Latin prayer.



The Latin hymn 'Dies Irae' employs end rhyme:

Dies irae, dies illa
Solvet saeclum in favilla
***** David *** Sybilla

The day of wrath, that day
which will leave the world ash-gray,
was foretold by David and the Sybil fey.
—attributed to Thomas of Celano, St. Gregory the Great, St. Bernard of Clairvaux, and St. Bonaventure; loose translation by Michael R. Burch



HADRIAN

Hadrian's Elegy
loose translation/interpretation by Michael R. Burch

1.
Little soul,
little *****,
little vagabond ...
where are we fluttering off to,
so bedraggled, pale and woebegone,
who used to be so full of mirth?
Where are we going—from bad to worse?
Who’ll laugh last? Was the joke on us?

2.
My delicate soul,
now aimlessly fluttering... drifting... unwhole,
former consort of my failing corpse...
Where are we going—from bad to worse?
From jail to hearse?
Where do we wander now—fraught, pale and frail?
To hell?
To some place devoid of jests, mirth, happiness?
Is the joke on us?



THOMAS CAMPION

NOVELTIES
by Thomas Campion
loose translation/interpretation by Michael R. Burch

Booksellers laud authors for novel editions
as p-mps praise their wh-res for exotic positions.



PRIMO LEVI

These are my translations of poems by the Italian Jewish Holocaust survivor Primo Levi.

Shema
by Primo Levi
loose translation/interpretation by Michael R. Burch

You who live secure
in your comfortable houses,
who return each evening to find
warm food,
welcoming faces...
consider whether this is a man:
who toils in the mud,
who knows no peace,
who fights for crusts of bread,
who dies at another man's whim,
at his 'yes' or his 'no.'
Consider whether this is a woman:
bereft of hair,
of a recognizable name
because she lacks the strength to remember,
her eyes as void
and her womb as frigid
as a frog's in winter.
Consider that such horrors have been:
I commend these words to you.
Engrave them in your hearts
when you lounge in your house,
when you walk outside,
when you go to bed,
when you rise.
Repeat them to your children,
or may your house crumble
and disease render you helpless
so that even your offspring avert their faces from you.



Buna
by Primo Levi
loose translation/interpretation by Michael R. Burch

Wasted feet, cursed earth,
the interminable gray morning
as Buna smokes corpses through industrious chimneys.
A day like every other day awaits us.
The terrible whistle shrilly announces dawn:
'You, O pale multitudes with your sad, lifeless faces,
welcome the monotonous horror of the mud...
another day of suffering has begun.'
Weary companion, I see you by heart.
I empathize with your dead eyes, my disconsolate friend.
In your breast you carry cold, hunger, nothingness.
Life has broken what's left of the courage within you.
Colorless one, you once were a strong man,
A courageous woman once walked at your side.
But now you, my empty companion, are bereft of a name,
my forsaken friend who can no longer weep,
so poor you can no longer grieve,
so tired you no longer can shiver with fear.
O, spent once-strong man,
if we were to meet again
in some other world, sweet beneath the sun,
with what kind faces would we recognize each other?

Note: Buna was the largest Auschwitz sub-camp.



ALDHELM

'The Leiden Riddle' is an Old English translation of Aldhelm's Latin riddle 'Lorica' or 'Corselet.'

The Leiden Riddle
anonymous Old English riddle poem, circa 700
loose translation/interpretation by Michael R. Burch

The dank earth birthed me from her icy womb.
I know I was not fashioned from woolen fleeces;
nor was I skillfully spun from skeins;
I have neither warp nor weft;
no thread thrums through me in the thrashing loom;
nor do whirring shuttles rattle me;
nor does the weaver's rod assail me;
nor did silkworms spin me like skillfull fates
into curious golden embroidery.
And yet heroes still call me an excellent coat.
Nor do I fear the dread arrows' flights,
however eagerly they leap from their quivers.

Solution: a coat of mail.



SAINT GODRIC OF FINCHALE

The song below is said in the 'Life of Saint Godric' to have come to Godric when he had a vision of his sister Burhcwen, like him a solitary at Finchale, being received into heaven. She was singing a song of thanksgiving, in Latin, and Godric renders her song in English bracketed by a Kyrie eleison.

Led By Christ and Mary
by Saint Godric of Finchale (1065-1170)        
loose translation/interpretation by Michael R. Burch

By Christ and Saint Mary I was so graciously led
that the earth never felt my bare foot's tread!



DANTE

Translations of Dante Epigrams and Quotes by Michael R. Burch

Little sparks may ignite great Infernos.—Dante, loose translation/interpretation by Michael R. Burch

In Beatrice I beheld the outer boundaries of blessedness.—Dante, loose translation/interpretation by Michael R. Burch

She made my veins and even the pulses within them tremble.—Dante, loose translation/interpretation by Michael R. Burch

Her sweetness left me intoxicated.—Dante, loose translation/interpretation by Michael R. Burch

Love commands me by determining my desires.—Dante, loose translation/interpretation by Michael R. Burch

Follow your own path and let the bystanders gossip.—Dante, loose translation/interpretation by Michael R. Burch

The devil is not as dark as depicted.—Dante, loose translation/interpretation by Michael R. Burch

There is no greater sorrow than to recall how we delighted in our own wretchedness.—Dante, loose translation/interpretation by Michael R. Burch

As he, who with heaving lungs escaped the suffocating sea, turns to regard its perilous waters.—Dante, loose translation/interpretation by Michael R. Burch

O human race, born to soar heavenward, why do you nosedive in the mildest breeze? —Dante, loose translation/interpretation by Michael R. Burch

O human race, born to soar heavenward, why do you quail at the least breath of wind? —Dante, loose translation/interpretation by Michael R. Burch

Midway through my life's journey
I awoke to find myself lost in a trackless wood,
for I had strayed far from the straight path.
—Dante, loose translation/interpretation by Michael R. Burch



INSCRIPTION ON THE GATE OF HELL

Before me nothing existed, to fear.
Eternal I am, and eternal I endure.
Abandon all hope, ye who enter here.
—Dante, loose translation/interpretation by Michael R. Burch



Excerpts from LA VITA NUOVA
by Dante Alighieri

Ecce deus fortior me, qui veniens dominabitur mihi.
Here is a Deity, stronger than myself, who comes to dominate me.
—Dante, loose translation/interpretation by Michael R. Burch

Apparuit iam beatitudo vestra.
Your blessedness has now been manifested unto you.
—Dante, loose translation/interpretation by Michael R. Burch

Heu miser! quia frequenter impeditus ero deinceps.
Alas, how often I will be restricted now!
—Dante, loose translation/interpretation by Michael R. Burch

Fili mi, tempus est ut prætermittantur simulata nostra.
My son, it is time to cease counterfeiting.
—Dante, loose translation/interpretation by Michael R. Burch

Ego tanquam centrum circuli, cui simili modo se habent circumferentiæ partes: tu autem non sic.
Love said: 'I am as the center of a harmonious circle; everything is equally near me. No so with you.'
—Dante, loose translation/interpretation by Michael R. Burch



Translations of Dante Cantos by Michael R. Burch

Paradiso, Canto III: 1-33, The Revelation of Love and Truth
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

That sun, which had inflamed my breast with love,
Had now revealed to me—as visions move—
The gentle and confounding face of Truth.
Thus I, by her sweet grace and love reproved,
Corrected, and to true confession moved,
Raised my bowed head and found myself behooved
To speak, as true admonishment required,
And thus to bless the One I so desired,
When I was awed to silence! This transpired:
As the outlines of men's faces may amass
In mirrors of transparent, polished glass,
Or in shallow waters through which light beams pass
(Even so our eyes may easily be fooled
By pearls, or our own images, thus pooled) :
I saw a host of faces, pale and lewd,
All poised to speak; but when I glanced around
There suddenly was no one to be found.
A pool, with no Narcissus to astound?
But then I turned my eyes to my sweet Guide.
With holy eyes aglow and smiling wide,
She said, 'They are not here because they lied.'



Excerpt from 'Paradiso'
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

O ****** Mother, daughter of your Son,
Humble, and yet held high, above creation,
You are the apex of all Wisdom known!
You are the Pinnacle of human nature,
Your nobility instilled by its Creator
who was not shamed to be born with your features.
Love was engendered in your perfect womb
Where warmth and holy peace were given room
For heaven's Perfect Rose, once sown, to bloom.
Now unto us you are a Torch held high:
Our noonday Sun—the Light of Charity,
Our Wellspring of all Hope, a living Sea.
Madonna, so pure, high and all-availing,
The man who desires Grace of you, though failing,
Despite his grounded state, is given wing!
Your mercy does not fail us, Ever-Blessed!
Indeed, the one who asks may find his wish
Unneeded: you predicted his request!
You are our Mercy; you are our Compassion;
you are Magnificence; in you creation
becomes the sum of Goodness and Salvation.



Translations of Dante Sonnets by Michael R. Burch

Sonnet: 'A Vision of Love' or 'Love's Faithful Ones' from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

To every gentle heart true Love may move,
And unto whom my words must now be brought
For wise interpretation's tender thought—
I greet you in our Lord's name, which is Love.
Through night's last watch, as winking stars, above,
Kept their high vigil over men, distraught,
Love came to me, with such dark terrors fraught
As mortals may not casually speak of.
Love seemed a being of pure Joy and held
My heart, pulsating. On his other arm,
My lady, wrapped in thinnest gossamers, slept.
He, having roused her from her sleep, then made
My heart her feast—devoured, with alarm.
Love then departed; as he left, he wept.



Sonnet: 'Love's Thoroughfare' from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

'O voi che par la via'

All those who travel Love's worn tracks,
Pause here awhile, and ask
Has there ever been a grief like mine?
Pause here, from that mad race,
And with patience hear my case:
Is it not a piteous marvel and a sign?
Love, not because I played a part,
But only due to his great heart,
Afforded me a provenance so sweet
That often others, as I went,
Asked what such unfair gladness meant:
They whispered things behind me in the street.
But now that easy gait is gone
Along with all Love proffered me;
And so in time I've come to be
So poor I dread to think thereon.
And thus I have become as one
Who hides his shame of his poverty,
Pretending richness outwardly,
While deep within I moan.



Sonnet: 'Cry for Pity' from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

These thoughts lie shattered in my memory:
When through the past I see your lovely face.
When you are near me, thus, Love fills all Space,
And often whispers, 'Is death better? Fly! '
My face reflects my heart's contentious tide,
Which, ebbing, seeks some shallow resting place;
Till, in the blushing shame of such disgrace,
The very earth seems to be shrieking, 'Die! '
'Twould be a grievous sin, if one should not
Relay some comfort to my harried mind,
If only with some simple pitying thought
For this great anguish which fierce scorn has wrought
Through the faltering sight of eyes grown nearly blind,
Which search for death now, as a blessed thing.



Sonnet: 'Ladies of Modest Countenance' from LA VITA NUOVA
by Dante Alighieri
loose translation/interpretation by Michael R. Burch

You who wear a modest countenance
With eyelids weighted by such heaviness,
How is it, that among you every face
Is haunted by the same pale troubled glance?
Have you seen in my lady's face, perchance,
the grief that Love provokes despite her grace?
Confirm this thing is so, then in her place,
Complete your grave and sorrowful advance.
And if indeed you match her heartfelt sighs
And mourn, as she does, for her heart's relief,
Then tell Love how it fares with her, to him.
Love knows how you have wept, seen in your eyes,
And is so grieved by gazing on your grief,
His courage falters and his sight grows dim.



Translations of Poems by Other Italian Poets

Sonnet IV: ‘S'io prego questa donna che Pietate'
by ***** Cavalcante
loose translation/interpretation by Michael R. Burch

If I should ask this lady, in her grace,
not to make her heart my enemy,
she'd call me foolish, venturing: 'No man
was ever possessed of such strange vanity! '
Why such harsh judgements, written on a face
where once I'd thought to find humility,
true gentleness, calm wisdom, courtesy?
My soul despairs, unwilling to embrace
the sighs and griefs that flood my drowning heart,
the rains of tears that well my watering eyes,
the miseries to which my soul's condemned...
For through my mind there flows, as rivers part,
the image of a lady, full of thought,
through heartlessness became a thoughtless friend.



***** Guinizelli, also known as ***** di Guinizzello di Magnano, was born in Bologna. He became an esteemed Italian love poet and is considered to be the father of the 'dolce stil nuovo' or 'sweet new style.' Dante called him 'il saggio' or 'the sage.'

Sonetto
by ***** Guinizelli
loose translation/interpretation by Michael R. Burch

In truth I sing her honor and her praise:
My lady, with whom flowers can't compare!
Like Diana, she unveils her beauty's rays,
Then makes the dawn unfold here, bright and fair!
She's like the wind and like the leaves they swell:
All hues, all colors, flushed and pale, beside...
Argent and gold and rare stones' brilliant spell;
Even Love, itself, in her, seems glorified.
She moves in ways so tender and so sweet,
Pride fails and falls and flounders at her feet.
The impure heart cannot withstand such light!
Ungentle men must wither, at her sight.
And still this greater virtue I aver:
No man thinks ill once he's been touched by her.



This is a poem of mine that has been translated into Italian by Comasia Aquaro.

Her Grace Flows Freely
by Michael R. Burch

July 7,2007

Her love is always chaste, and pure.
This I vow. This I aver.
If she shows me her grace, I will honor her.
This I vow. This I aver.
Her grace flows freely, like her hair.
This I vow. This I aver.
For her generousness, I would worship her.
This I vow. This I aver.
I will not **** her for what I bear
This I vow. This I aver.
like a most precious incense-desire for her,
This I vow. This I aver.
nor call her '*****' where I seek to repair.
This I vow. This I aver.
I will not wink, nor smirk, nor stare
This I vow. This I aver.
like a foolish child at the foot of a stair
This I vow. This I aver.
where I long to go, should another be there.
This I vow. This I aver.
I'll rejoice in her freedom, and always dare
This I vow. This I aver.
the chance that she'll flee me-my starling rare.
This I vow. This I aver.
And then, if she stays, without stays, I swear
This I vow. This I aver.
that I will joy in her grace beyond compare.
This I vow. This I aver.

Her Grace Flows Freely
by Michael R. Burch
Italian translation by Comasia Aquaro

La sua grazia vola libera

7 luglio 2007

Il suo amore è sempre casto, e puro.
Lo giuro. Lo prometto.
Se mi mostra la sua grazia, le farò onore.
Lo giuro. Lo prometto.
La sua grazia vola libera, come i suoi capelli.
Lo giuro. Lo prometto.
Per la sua generosità, la venererò.
Lo giuro. Lo prometto.
Non la maledirò per ciò che soffro
Lo giuro. Lo prometto.
come il più prezioso desiderio d'incenso per lei,
Lo giuro. Lo prometto.
non chiamarla 'sgualdrina' laddove io cerco di aggiustare.
Lo giuro. Lo prometto.
Io non strizzerò l'occhio, non riderò soddisfatto, non fisserò lo sguardo
Lo giuro. Lo prometto.
Come un bambino sciocco ai piedi di una scala
Lo giuro. Lo prometto.
Laddove io desidero andare, ci sarebbe forse un altro.
Lo giuro. Lo prometto.
Mi rallegrerò nella sua libertà, e sempre sfiderò
Lo giuro. Lo prometto.
la sorte che lei mi sfuggirà—il mio raro storno
Lo giuro. Lo prometto.
E dopo, se lei resta, senza stare, io lo garantisco
Lo giuro. Lo prometto.
Gioirò nella sua grazia al di là del confrontare.
Lo giuro. Lo prometto.*



A risqué Latin epigram:

C-nt, while you weep and seep neediness all night,
-ss has claimed what would bring you delight.
—Musa Lapidaria, #100A, loose translation/interpretation by Michael R. Burch



References to Dante in other Translations by Michael R. Burch

THE MUSE
by Anna Akhmatova
loose translation/interpretation by Michael R. Burch

My being hangs by a thread tonight
as I await a Muse no human pen can command.
The desires of my heart — youth, liberty, glory —
now depend on the Maid with the flute in her hand.
Look! Now she arrives; she flings back her veil;
I meet her grave eyes — calm, implacable, pitiless.
'Temptress, confess!
Are you the one who gave Dante hell? '
She answers, 'Yes.'



I have also translated this tribute poem written by Marina Tsvetaeva for Anna Akhmatova:

Excerpt from 'Poems for Akhmatova'
by Marina Tsvetaeva
loose translation/interpretation by Michael R. Burch

You outshine everything, even the sun
  at its zenith. The stars are yours!
If only I could sweep like the wind
  through some unbarred door,
gratefully, to where you are...
  to hesitantly stammer, suddenly shy,
lowering my eyes before you, my lovely mistress,
  petulant, chastened, overcome by tears,
as a child sobs to receive forgiveness...



Dante-Related Poems and Dante Criticism by Michael R. Burch

Of Seabound Saints and Promised Lands
by Michael R. Burch

Judas sat on a wretched rock,
his head still sore from Satan's gnawing.
Saint Brendan's curragh caught his eye,
wildly geeing and hawing.
'I'm on parole from Hell today!'
Pale Judas cried from his lonely perch.
'You've fasted forty days, good Saint!
Let this rock by my church,
my baptismal, these icy waves.
O, plead for me now with the One who saves!'

Saint Brendan, full of mercy, stood
at the lurching prow of his flimsy bark,
and mightily prayed for the mangy man
whose flesh flashed pale and stark
in the golden dawn, beneath a sun
that seemed to halo his tonsured dome.
Then Saint Brendan sailed for the Promised Land
and Saint Judas headed Home.

O, behoove yourself, if ever you can,
of the fervent prayer of a righteous man!

In Dante's 'Inferno' Satan gnaws on Judas Iscariot's head. A curragh is a boat fashioned from wood and ox hides. Saint Brendan of Ireland is the patron saint of sailors and whales. According to legend, he sailed in search of the Promised Land and discovered America centuries before Columbus.



Dante's was a defensive reflex
against religion's hex.
—Michael R. Burch



Dante, you Dunce!
by Michael R. Burch

The earth is hell, Dante, you Dunce!
Which you should have perceived—since you lived here once.
God is no Beatrice, gentle and clever.
Judas and Satan were wise to dissever
from false 'messiahs' who cannot save.
Why flit like a bat through Plato's cave
believing such shadowy illusions are real?
There is no 'hell' but to live and feel!



How Dante Forgot Christ
by Michael R. Burch

Dante ****** the brightest and the fairest
for having loved—pale Helen, wild Achilles—
agreed with his Accuser in the spell
of hellish visions and eternal torments.
His only savior, Beatrice, was Love.
His only savior, Beatrice, was Love,
the fulcrum of his body's, heart's and mind's
sole triumph, and their altogether conquest.
She led him to those heights where Love, enshrined,
blazed like a star beyond religion's hells.
Once freed from Yahweh, in the arms of Love,
like Blake and Milton, Dante forgot Christ.
The Christian gospel is strangely lacking in Milton's and Dante's epics. Milton gave the 'atonement' one embarrassed enjambed line. Dante ****** the Earth's star-crossed lovers to his grotesque hell, while doing exactly what they did: pursing at all costs his vision of love, Beatrice. Blake made more sense to me, since he called the biblical god Nobodaddy and denied any need to be 'saved' by third parties.



Dante's Antes
by Michael R. Burch

There's something glorious about man,
who lives because he can,
who dies because he must,
and in between's a bust.
No god can reign him in:
he's quite intent on sin
and likes it rather, really.
He likes *** touchy-feely.
He likes to eat too much.
He has the Midas touch
and paves hell's ways with gold.
The things he's bought and sold!
He's sold his soul to Mammon
and also plays backgammon
and poker, with such antes
as still befuddle Dantes.
I wonder—can hell hold him?
His chances seem quite dim
because he's rather puny
and also loopy-******.
And yet like Evel Knievel
he dances with the Devil
and seems so **** courageous,
good-natured and outrageous
some God might show him mercy
and call religion heresy.



RE: Paradiso, Canto III
by Michael R. Burch

for the most 'Christian' of poets

What did Dante do,
to earn Beatrice's grace
(grace cannot be earned!)        
but cast disgrace
on the whole human race,
on his peers and his betters,
as a man who wears cheap rayon suits
might disparage men who wear sweaters?
How conventionally 'Christian' — Poet! — to ****
your fellow man
for being merely human,
then, like a contented clam,
to grandly claim
near-infinite 'grace'
as if your salvation was God's only aim!
What a scam!
And what of the lovely Piccarda,
whom you placed in the lowest sphere of heaven
for neglecting her vows —
She was forced!
Were you chaste?



Intimations V
by Michael R. Burch

We had not meditated upon sound
so much as drowned
in the inhuman ocean
when we imagined it broken
open
like a conch shell
whorled like the spiraling hell
of Dante's 'Inferno.'
Trapped between Nature
and God,
what is man
but an inquisitive,
acquisitive
sod?
And what is Nature
but odd,
or God
but a Clod,
and both of them horribly flawed?



Endgame
by Michael R. Burch

The honey has lost all its sweetness,
the hive—its completeness.
Now ambient dust, the drones lie dead.
The workers weep, their King long fled
(who always had been ****, invisible,
his 'kingdom' atomic, divisible,
and pathetically risible) .
The queen has flown,
long Dis-enthroned,
who would have gladly given all she owned
for a promised white stone.
O, Love has fled, has fled, has fled...
Religion is dead, is dead, is dead.

The drones are those who drone on about the love of God in a world full of suffering and death: dead prophets, dead pontiffs, dead preachers. Spewers of dead words and false promises. The queen is disenthroned, as in Dis-enthroned. In Dante's Inferno, the lower regions of hell are enclosed within the walls of Dis, a city surrounded by the Stygian marshes. The river Styx symbolizes death and the journey from life to the afterlife. But in Norse mythology, Dis was a goddess, the sun, and the consort of Heimdal, himself a god of light. DIS is also the stock ticker designation for Disney, creator of the Magic Kingdom. The 'promised white stone' appears in Revelation, which turns Jesus and the Angels into serial killers.



The Final Revelation of a Departed God's Divine Plan
by Michael R. Burch

Here I am, talking to myself again...
******* at God and bored with humanity.
These insectile mortals keep testing my sanity!
Still, I remember when...
planting odd notions, dark inklings of vanity,
in their peapod heads might elicit an inanity
worth a chuckle or two.
Philosophers, poets... how they all made me laugh!
The things they dreamed up! Sly Odysseus's raft;
Plato's 'Republic'; Dante's strange crew;
Shakespeare's Othello, mad Hamlet, Macbeth;
Cervantes' Quixote; fat, funny Falstaff! ;
Blake's shimmering visions. Those days, though, are through...
for, puling and tedious, their 'poets' now seem
content to write, but not to dream,
and they fill the world with their pale derision
of things they completely fail to understand.
Now, since God has long fled, I am here, in command,
reading this crap. Earth is Hell. We're all ******.



Brief Encounters: Other Roman, Italian and Greek Epigrams

No wind is favorable to the man who lacks direction.—Seneca the Younger, translation by Michael R. Burch

Little sparks ignite great Infernos.—Dante, translation by Michael R. Burch

The danger is not aiming too high and missing, but aiming too low and hitting the mark.—Michelangelo, translation by Michael R. Burch

He who follows will never surpass.—Michelangelo, translation by Michael R. Burch

Nothing enables authority like silence.—Leonardo da Vinci, translation by Michael R. Burch

My objective is not to side with the majority, but to avoid the ranks of the insane.—Marcus Aurelius, translation by Michael R. Burch

Time is sufficient for anyone who uses it wisely.—Leonardo da Vinci, translation by Michael R. Burch

Blinding ignorance misleads us. Myopic mortals, open your eyes! —Leonardo da Vinci, translation by Michael R. Burch

It is easier to oppose evil from the beginning than at the end.—Leonardo da Vinci, translation by Michael R. Burch

Fools call wisdom foolishness.—Euripides, translation by Michael R. Burch

One true friend is worth ten thousand kin.—Euripides, translation by Michael R. Burch

Not to speak one's mind is slavery.—Euripides, translation by Michael R. Burch

I would rather die standing than kneel, a slave.—Euripides, translation by Michael R. Burch

Fresh tears are wasted on old griefs.—Euripides, translation by Michael R. Burch

Improve yourself by other men's writings, attaining less painfully what they gained through great difficulty.—Socrates, translation by Michael R. Burch

Just as I select a ship when it's time to travel, or a house when it's time to change residences, even so I will choose when it's time to depart from life.―Seneca, speaking about the right to euthanasia in the first century AD, translation by Michael R. Burch

Booksellers laud authors for novel editions
as p-mps praise their wh-res for exotic positions.
—Thomas Campion, Latin epigram, loose translation/interpretation by Michael R. Burch

#POEMS #POETRY #LATIN #ROMAN #ITALIAN #TRANSLATION #MRB-POEMS #MRB-POETRY #MRBPOEMS #MRBPOETRY #MRBLATIN #MRBROMAN #MRBITALIAN #MRBTRANSLATION


Ah! Sunflower
by Michael R. Burch

after William Blake

O little yellow flower
like a star...
how beautiful,
how wonderful
we are!



Published as the collection "Modern Charon"

Keywords/Tags: Charon, Styx, death, ferry, boat, ship, captain, steering, helm, wheel, rudder, shipwreck, disaster, night, darkness, 911, 9-11, mrbch

What makes you feel the most beautiful?
  ->doing whatever the fu€k I want
edit 1: I usually thought this way, but now I would say when I’m worshipping or praying
edit 2: I would add it is when I am completely vulnerable. It is a different kind of beauty. One that is emotionally strong
(usually a person will say when they look a certain way which is sad to an extent because it reflects the way in which they associate beauty immediately with an external reflection; however, most people think this way)

2. Who do you love the most in your life?

3. Who has shown you and made you feel the most loved?
—> I had a 11 year old ask me this once

4. What would you do during the summers as a kid?
—> it can reflect the socioeconomic background one comes from

5. Do you think you’re an aesthetically  beautiful person?
—> this is quite interesting, bc if a good looking person says yes, then they’re proud and stuck up; if they say no, then they’re obnoxiously oblivious and seeking attention; if a not so good looking person says yes, then they are praised for their confidence; if they say no, then they are pitied and encouraged, the best answer is to give an answer back: do you believe that everyone should feel aesthetically beautiful?

6. Do you have any siblings? If so, how many brothers and sisters, and are you the oldest or youngest?
—> learning about birthing order can be huge! Oldest tend to be protective, responsible, mature at a very young age, selfless, and carry more of a silent burden and stress, introduction to adulthood is rather quick. Middle child is often overlooked and will seek a sense of family/community elsewhere with friend groups and such; they feel like their thoughts/existence goes unseen by the ones that are supposed to care the most youngest tend to seek the approval of others especially of those older than them, outgoing, irresponsible, and babied. They can have a harder time managing task without it being done for them by others.

7. When we fall asleep, where do you think we go?

8. What is a thought that has kept you up at night?

9. What was the most humbling moment you’ve had in your life?

10. What is a piece of advice that you still hold today that transcends time?

11. What’s a favorite quote of yours?
-> the unexamined life is a life not worth living; don’t take yourself too seriously; come back home to yourself and choose to show up authentically; growth is a dance not a light switch; Harriet Tubman- I freed a thousand slaves. I could have freed  a thousand more of only they knew they were slaves.

12. Who has impacted your life the most? How and why?

13. What is an overlooked or under appreciated strength that you have?
—> honesty, forgiveness

14. How do you give love? How do you receive it?
—> 5 love languages: words of affirmations, physical touch, acts of service, quality time, gifts

15. How do you communicate when in repairs after a rupture has occurred?
—> discuss as soon as possible, take a five minute break, wait a few days, words, touch, gifts, silence, etc. so you never repair after a disagreement?

16. Do you enjoy the late hours of the night or the early hours of the morning?

17. What’s your favorite type of weather?

18. Do you prefer exploring and staying in the gray, or the black and white?

19. Of you could study anything what would it be?

20. What are ways that you work on your emotional intelligence and character?

21. What type of communicator are you?
—> words, touch, actions, silent, loud, stoic, expressive, curt, bombastic, blunt, passive, etc.

22. Would you say you have a better face or body?

23. What is a moment where you felt a supernatural appreciation for the earth due to the view you saw?

24. How do you handle seasons? The ends and beginnings of them?
-> journal, reflect, avoid, acknowledge, cry, run backwards, move forwards, etc.

25. What book had a huge effect on you? What was it about the book?
-> all the bright places, Fahrenheit 451, the curse of the good girl, it ends with us, great gatsby, the voice of archer, etc.

26. What is the worst thing you can take from another person?
-> their time

27. What’s the greatest act of love (that you can do for another) ?
-> to die for another since the greatest fear is death

28. What is something that brings you peace that not many people do or notice?

29. What is the worst form of loneliness?
-> when you are uncomfortable with yourself

30. When do you feel the most vulnerable?
-> sleeping, expressing emotions, sick, crying, etc.

31. How do you handle seasons? The end and beginning of them?

32. Liquid or bar soap?

33. Have you ever closed your eyes, plugged your ears, and listen to the noise that comes when you let the water from a shower head pour over your skull

34. What is the most beautiful sound you have ever heard?

35. Do you think your parents are soulmates, or do you question their love for each other?  

36. What are important qualities to have in any relationship (platonic, romantic, etc.)?
-> trust, love, loyalty, respect, empathy, compassion, boundaries, autonomy, differences, effective communication, etc.

37. What are qualities that you look for in a romantic partner?
-> thoughtfulness, observant, confidence, wisdom, romantic, humorous, self-driven, self-discipline, humility, grace, etc.

38. How do you know that your (insert name/ relationship) loves you?

39. Would you rather be hated or alone?
-> interesting philosophical question in regards to being hated would mean that there is a recognition of your existence as opposed to being alone

40. How did you learn to ride the bike? Ice Scate? Snowboard?

41. When was the last time you felt rejected? By who? For what?

42. When was the last time you cried?

43. What has a kid said to you that has made you stop and reflect?

44. Which is a worse fear: the fear of dying or the fear of not being worthy of love
-> Jordan Peterson claims that the greatest fear that humans have is not death because then how would we explain suicide...the fear of death is a subcategory for the greatest fear which he believes to be the complexity issue (people **** themselves not because they want to die but because their life has become too complex for them to handle emotionally and/or physically)

45. What is the most destructive thing a person can do to themselves?
-> to deny themselves; to place the responsibilities of loving and accepting themselves onto others such as lovers or family members; to believe they are not worthy to be loved

46. What is something you want to experience/feel in a relationship
-> unconditional love; lol I have a while poke dedicated to experiences

47. Tell me about a dream that you have had multiple times

48. What do you like most about yourself?
-> my mind/thinking process; understanding, and open to conversation

49. Would you be friends with yourself

50. What is the worst thing you have done or said to another person? How old were you?

51. Why do you choose to wake up and participate in society?

52. What makes a woman or man their gender? Their body/attitude/characteristics?

53. Would you let your child date someone that has the character of you?

54. What makes you special? Since the beliefs you hold and the personality traits that you have aren’t exclusive to you?
-> it’s the combination and ratio that makes us unique

55. when was the last time anyone ever told you how important you are?

56. what are things you do when you need to feel nurtures?
->hot bath, foot rub, curling up in a comfy chair with a comforter and a good book, or making a *** of soup or a nourishing hot drink

57. what are ways that you neglect your physical and emotional well-being?

58. where in your life are you not protecting what is precious in you?

59. what adjectives describe your relationship with your mother? do you like the closeness or is it uncomfortable in some ways and hard to fully accept?

60. What do you do when you cry? do you try to stop it, cover your eyes, in the dark, into a pillow, silent, loud, sooth your body?

61. What was something that someone said to you that made you feel seen for the first time in a long time? what is something that touched you heart?
-> you are do brave, you have a courageous heart, you are a natural teacher and psychologist, you lean towards healing, you do not realize how much you impact other people's lives

62. what is a go to song that you could listen to at any moment in your life?

63. What do you do when you feel lonely?

64. What is something that puts a smile on your face?

65. What smell brings you joy?

66. would you rather get caught or catch your parents?

67. what is one of the biggest lies you have told yourself?
-> you are unworthy of love

68. what is a memory that reminds you of the beauty in life?

69. what is your favorite word to pronounce?
-> tantalizing, satiate, revere

70. what stereotype do you think people put you in when they see you?
-> pretty, (not super smart) blonde

71. what are things about you would shock other people?
-> first generation. youngest of five, 4.0 student, write poetry, love to read, not active on social media, don't like taking pictures, never been kissed, played the violin and cello, struggled with insecurity

72. tell me the accomplishments that you might be hesitant to share bluntly in fear that it comes off as being a show off?
-4.0 since sixth grade to nursing school in college, won a poetry competition in senior year of high school, got a full ride to UW Seattle and declined, won best dressed in high school, squatted 225lbs, muscular body, sang in a few songs (good at singing)

73. how do you interact with others when they are invading your personal space?
-> don't do anything, interrupt and tell them to move, slowly do something on your own without saying anything to them

74. what do you do and how do you feel when someone cries next to you?
-> hug/touch them, talk to them, remain silent, get stiff and uncomfortable, try to get them to stop crying, walk away

75. how do you regulate your emotions when they are out of homeostasis?
-> don't know how to, take deep breaths, walk away from the situation so the stimulus/source is not in front of me, cry

76. name as many emotions as you can
-> reflects their ability to accurately label their emotional experiences and can possibly be a marker/indicator for their emotional intelligence/maturity

77. how do you feel about death, do you talk about death, do you see others shut down or open up when you express this topic?
-> isn't it ironic how death is an inevitable event yet so many humans are uncomfortable with talking about it. I believe that it interrupts the natural grieving process. I talk about death with my dad and he is more open with talking to me about when he passes; my mom gets uncomfortable and gets upset and tries to switch the topic.

78. would you rather eat any form of noodles or burgers for the rest of your life?

79. when was the last time you sat in silence and was comfortable with it (excluding before you fall asleep)?

80. when was the last time you had a conversation with yourself about something deep? what was it about?

81. what is a revelation in your life that made you cry?
->only God can provide me with unconditional love; no one else can

82. what do you think is the root of all fears? what do you think can remove them?
->ignorance; distraction/knowledge -> unconditional love

83. What is the most unique response you’ve received when you’ve asked someone how they are doing?
-> still breathing

84. Do you think humans are easy to love?
-> I don’t think they are easy; it is complex just like they are

85. When was the last time you read a book? What was the title called? what was it about? Why did you read it?
-> the emotionally absent mother by Jasmin Lee Cori

86. If you’re comfortable with sharing, talk to me about the life of someone that has passed away? What were they like? How did they make you feel? Who were they to you? How did you cope when you realized they passed away?

87. Who are addicts? What do you need to do to be one? Do you think everyone is an addict to some extent? Why do you think people become addicts?
-> whenever faced with such questions it is imperative that we must ask ourselves the question of why! Yes, I believe all of us are addicts to dopamine; our brain is wired that way. But when we think of addicts, we forgot to ask the question of why they are addicts. Life became too difficult to manage and the body found a way to stimulate the mind in such a manner that it either numbed the pain or provide sensation to a chronic state of numbness

88. Other than the lips, where do you like to be kissed the most?
-> forehead, cheek, behind the ear, neck, top of head, hand, nose, shoulder, chest, back, collarbone

89. What type of kiss do you enjoy the most?
-> slow, fast, French, peck, open mouthed, short, long, sloppy, hungry, passionate, affectionate, sweet, etc.

90. it is easy to agree with the statement that dehumanization is not okay, but is it more gray than we think? is there a degree of dehumanization that is okay or needed? if so, what is that degree? also, do you think we commit acts of dehumanization regularly? if so, when and what are these instances?
-> i believe that as humans we have a tendency of wanting to see our light and ignore the aspects of ourselves that are casted in that shadow. to have a light is to also have a shadow; i believe that we dehumanize almost every time we meet someone by limiting their mystery to small snipits of who they really are; also, sometimes it is very difficult to handle and hold such emotional space that our minds need to shut off and dehumanize for our own sake of well-being

91. are soul mates meant to be with each other?
-> A soulmate is a person with whom one has a feeling of deep or natural affinity. This may involve similarity, love, romance, platonic relationships, comfort, intimacy, sexuality, ****** activity, spirituality, compatibility and trust

92. what are ways that you can take a break from reality?
-> sleep, reading, gaming, showering

93. do you have people in your life where their presence is enough? no conversation is necessary, just each other's presence is comforting enough.
->celesa, kristina, michelle, marta,

94. what is a memory you like to relive time to time?
->dancing with celesa at the bistro to adore you; trinity; late night phone calls with close friends

95. how would you describe your relationship using 5 adjectives or phrases with your best friend, sibling (if you have one), and care giver?
-> "If you love yourself, you love others. If you hate yourself, you hate others. Because in relationship with others … the other is nothing but a mirror." - Anonymous

96. how would you describe yourself using 10 adjectives?
-“I’m selfish, impatient and a little insecure. I make mistakes, I am out of control and at times hard to handle. But if you can’t handle me at my worst, then you sure as hell don’t deserve me at my best." I like this quote because it acknowledges the negatives of who we all are. we aren't all only happy, funny, bubbly, hard-working, etc. we are also grumpy, boring, rude, and lazy. we are a combination of every adjective out there; it just depends on how aware we are of our expressions of these adjectives. So, notice the kind of adjective the person uses when they respond and also note the context and circumstance of your relation to them.

97. do you prefer a hot drink on a cold day or a cold drink on a hot day?

98. if you could be famous would you? famous for writing, acting, food, music, sport, YouTube etc.
-> for me personally it depends on the exposure i get. if i get a lot of focus on myself then no (music, acting, etc.) but if my work gets more focus than i do and i can still live a "normal" life then yes (writing, food, etc).

99. which musicians or artists do you think deserve more recognition?
-> emotional oranges, Justice Der, cigarettes after ***, the 1975, pink sweat$, A. Chal

100. what is one of the most thought-provoking questions or statements you have ever heard?
-> "not all of us can afford to be romantic" - Pride and Prejudice;
"when will it be enough; how much more do you need to finally be happy"- My dad; "do you believe that everyone deserves to look and find themselves to be aesthetically beautiful" -My brother

101. Favorite piece of clothing?
-> yuriy’s wedding: the dress I had, red socks, fuzzy sweater

102. What’s your full name?

103. What’s the weirdest saying an old person has said?
-> don’t go spending your money in a wooden nickel

104. What age would you consider a person to be old?

105. Do you believe that life requires s purpose?

106. What is your purpose?

107. What is one of your biggest fears that you believed in (as a child, adult, etc)?
-> that I was unlovable at some point in my life

108. When you are in an emotional emergency, do you have someone you can call? If so, who is it and why?
-> I don’t really...I try to stick through it...weird since I have had people tell me that I could call them but I still don’t feel comfortable to talk to them...

109. Do you have relationships where you felt valued, a sense of belonging, calm, accepted?

110. What is your earliest memory of feeling left out?
-> the social pain overlap theory (SPOT) describes the overlap between the pain of being physically hurt and the pain of being left out. In our bodies, there is literally no distinction between the two.

111. If you could only have one for the rest of your life, would you choose to keep limes or lemons?

112. Have you ever experienced the relational paradox? If so, with whom?
->  when you’re convinced that your friends won’t tolerate who you really are so you decided the best way to be excepted is to leave a part of yourself out of those relationships; By hiding yourself you may preserve the friendship but at the cost of feeling that you don’t legitimately belong but if your friends can see who you truly are they would cut you loose

113. Have you ever done a relational mindfulness exercise?
-> set a timer for 10 minutes, and then stare into each other’s eyes silently. It should sync your cardiac systems as well as your respiratory systems. Hold each other’s pulses to identify; I find it weird how we get stared at lovingly when we are babies and then that goes away as well get older...

114. What is a secret that you have kept from your partner, family, or closest friends that you believe if they found out they would reject you?

115. Do you have a person in your life that can be categorized as “the one that got away”? Someone you either dated or never dated?

116. Is there someone in your life that you don’t see anymore that you would like to have a conversation with? Dead and/or alive.

117. Sunset or sunrise?

118. Do you want children? What is your opinion on men who don’t want children; what is your opinion on women who don’t want children?

119. Have you ever felt forced to do something that you didn’t want to do or say? Like give a handshake, hug, take a picture, have a conversation, give a number, compliment someone, disclose personal information, go on a date, say I love you?
-> there’s a difference between not wanting to do something and feeling forced to do something, and I find it interesting that we all do things that we feel are forced upon us when no one is directly stating that we have to do it; it’s like an invisible force

120. what is something that another person did that made you uncomfortable but you never addressed it?
-> sing terribly while they are genuinely trying, get physically close to me, compliment me in a creepy way, talk in a movie theater

121. What is a pet peeve of yours?
-> leaving garbage on a table after you eat (not cleaning up after yourself), having poor etiquette with servers or cashiers, saying “mom” instead of “my mom” if I don’t share the same mother as them (missing the possessive pronoun before a parent).

122. Who is someone that you find attractive that is the same *** as you?
-> Arbby, Irina, Jessica, Sara, Valentina

123. What is the most sweet/****** compliment you have given to someone?

124. What is the biggest plot twist you have ever seen in a movie or book?

125. When did you  feel the most loved (in your entire life, this week, by me)?

126. what is something I have said that you have always remembered?

127. Blue or red Gatorade?

128. Star gazing or sunset picnic?

129. What is something that is underrated?
-> our bodies (specifically our our hands, eyes), stars, cologne/perfume

130. have you ever tried to impress the other? If so, for what reason and when?

131. Which do you prefer: breakfast, lunch, or dinner for the rest of your life?

132. Are you missing someone right now? Do you think they miss you?

133. What was the happiest meme out you have had this year?
-> dancing with Celesa at trinity, at the apartment, after hours at the bistro, French dip at lost like with Celesa, holding Lorenzo, seeing a birth and colostrum, making my first song and listening to it for the first time, board game with Hayden, D.E.A. Hat guy, Fourth of July with kristina -> ride back with questions, eagles falls, yuriy’s wedding and gelato boy, euphoria makeup with Bella, painting with Michelle at green lake, reading books

134. where were you born?

135. how many states/countries have you visited?

136. what color would you use to describe your life

137. would you say it is better or worse to listen to sad music when you are sad?

138. what is the #1 factor that predestines people for failed relationships?
-> no examples of healthy relationships

139. what is the weirdest ice cream flavor you have ever tried?
->black licorice, peppercorn/caramel/goat cheese

140. What’s the most exciting dream you have ever had?

141. What’s the most peaceful dream you have ever had?

142. What’s the most terrifying dream you have ever had?

143. Who is the most misunderstood person you know?
-> Mark; he wasn’t well liked, but I remember thinking that the was just misunderstood...

144. Who in your life are you misunderstood by?
-> my mom

145. Do you prefer handshakes or hugs?

146. Do you prefer movie nights or dinner dates?

147. When was the last time you read a paper book for pleasure?

148. What is a comment that someone said to you that you were honestly shocked by? Like, you couldn’t believe it came from their mouth?
-> when I was in sixth grade and my friend’s mom said, “aren’t you jealous of [her daughter/my best friend’s name] ****”?; “do you even know what wings are”?

149. As a kid in elementary school, where did you play during recess? Tetherball, four-square, hopscotch, jump rope, soccer, basketball, slide, monkey bars, swings, sandpit, etc?

150. What otter pop flavor was your favorite?
-> the pink one

151. When you brush your teeth, are you messy or clean? Meaning, does the toothpaste get outside of your mouth at all?

152. What do you remember about elementary school in terms of field trips, punishments, recess, fun run, day of activities, lunch food, movie nights, fundraisers, assemblies, and reading points?

153. what do you remember about middle school in terms of the change from elementary school with no recess, classes, $ex ed, lockers, assemblies, P.E., lunch food?

154. what do you remember about high school in terms of the change from middle school, classes, assemblies, P.E., sports, lunch food, standard tests, dances, friends from your first year to your last year?

155. what do you think is a poet's aphrodisiac in the form of a person?
->intelligence, originality, mystery, intriguing personality

156. what is a bad habit that you know you should quit ( can be a substance, activity, or person)?

157. How often would you say you reflect on your life? with the mundane activities and the more impacting activities?

158. what's a song that you are replaying right now?
-> redbone x childish gambino by Jospeh Solomon

159. what is the most random food combo that you really enjoy?
->mashed potatoes/gravy with corn; hot dog with jelly

160. who is a person in your life that was the most mysterious to you?

161. would you say that you were shown healthy relationships throughout your childhood? in particular, your parents' relationship?

162. would you say that your family made you feel seen, heard, and understood? if not, would you say that you subconsciously expect this in your adult relationships? what have you done to unlearn this mentality?

163. would you say that you are always the one doing the caretaking in your relationships?

164. do you have a hard time listening to others?

165. do you act differently with men than with women?

166. do you get hurt easily and withdraw when there is conflict; what are you like during conflict?

167. what are you like when you don't get your way (aggressive, sad, quiet, loud, irritated, calm, unbothered, indifferent, annoyed, happy, frustrated)?

168. what are the molds for your ideas about how relationships are supposed to work?

169. what do you believe you're entitled to within a relationship (any/ friend/ romantic/ family)?

170. what was your closest experience with death?

171. do you prefer cauliflower or broccoli?

172.  what's the weirdest thing you have ever eaten?

173. what are your favorite tv shows or movies?
-> bridgerton, pride and prejudice, law abiding citizen,

174. what is the most controversial thing you have ever done?

175. what is the most controversial thing another person has done?

176. what is your superpower?
->there is no one on this planet that is quite like me

177. what do you believe is the purpose of a romantic relationship? Marriage?

178. do you think love is needed to marry someone? would you find yourself ever in a situation where you would marry someone that you did not love?

179. what is your weirdest talent? hobby? experience?

180. do you bring your phone with you when you go to the bathroom? if so, when was the last time that you went without your phone?

181. what is something that most people have done but will not admit to?
->eat a ******, smelling their **** out of curiosity, ma$turbate, blame a **** on someone else, etc.

182. do you believe that there should be aspects of yourself that no one else on this earth except yourself should ever know?

183. what's the weirdest conversation you've ever had with someone?

184. How old were you when you had your first kiss? Describe the situation? Who made the first move?

185. What is the spiciest thing you have ever eaten?

186. what is the most bitter thing you have ever eaten?
-> unripe pear!!

187. what is the most spontaneous thing you've ever done and/or said?
->eagles falls with kristina, lorenzo's birthday with selesa

188. how would you want a girl/boy to shoot their shot at you?

189. if you could be someone else for a day (someone you have met and know) who would it be?

190. if someone wasn't interested in you, how would you want them to rejected?

191. do you prefer buttered popcorn or the sweet kettle popcorn?

192. what is the rudest thing you've wanted to say but stopped yourself from saying?

193. what is the most genuine, heart-felt compliment you have received from someone?
-> you are courageous/brave; you are a natural psychologist and healer; you're my best friend, I can tell you anything

194. what is an experience you look forward to in life?
-> walking down the aisle and maintaining eye contact with my man the entire time until I have to hug my dad goodbye; my wedding night; going on vacations with just my husband; going to Jamaica; holding my baby in my arms for the first time; watching my husband play with our children on a beach as I sit under the shade; trying fruity cocktails on my 21st; going on my first date; my first kiss; moving into my house

195. what is a moment that you tend to relive in your mind?

196. what is something that you have learned to accept in life as you have gotten older?

197. who was your first crush? how old were you? what about them made you like them?
->ruslan at church; I was maybe four; he was really sweet to me and I thought he was cute; at yuriy's wedding, I saw him and told him about it which made him get really excited

198. what is something that you hate to eat? you've tried it and you know that you will try to avoid it at all costs.
->parsley, celery, beets, ginger

199. at what age would you say you lost your child-like innocence?

200. your turn. create a question!

201. how old were you when you found out that santa wasn't real? how did you handle it?

202. what is something that people hate, but still choose to participate in?
->beauty standards

203. what super power would you wish to have?
->time control

204. if you had the chance to have the superpower of mind control, would you accept it?

205. how would you decorate your ideal house?
-> different vibes for different rooms; monochromatic black room with lava lamps, white room with dark brown wood accents and lots of plants, pastel light pink with neon glass decorations

206. who is a person that had made you cry?

207. what is one of the most scariest thoughts you have had run through your mind?

208. what is one of the most sad thoughts you have had run through your mind?

209. do you believe you should have to pay to live on a planet you were born on?

210. what is a candy that you hate?

211. what is a song that you try to avoid because it is too personal?
-> apple bottom jeans

212. would you say that you are alive or merely living?

213. what is something that someone said to you that you have never forgotten?
-> you have a lot of knowledge, but you lack experience

214. what is an example of a person that you thought was good but turned out to be a genuinely bitter, horrible person?

215. When was the last time you felt truly understood by somebody? Who was it? What did they understand?

216. Can you think of someone in your life who understands you better than anyone else?

217. Is your relationship with yourself healthy or unhealthy?

218. Growing up, the relationships I primarily saw were healthy or unhealthy?

219. Do you attach guilt with growth?

220. Have you spent too much time today comparing yourself?

221. When did you feel the most trapped?

222.who do you feel most yourself around? Why?

223. what parts of yourself do you need to break up with?

224. what is your favorite conspiracy that you believe in right now?

225. do you prefer to work with people are are the same or opposite gender as you?

226. what was the most intense experience of $exual tension that you have had?

227. what activity do you do that makes you feel most at home/ yourself?

228. what was the most painful truth you have ever been told?

229. who is someone you will never forget even though you have only had one encounter with them?

230. when was the last time you felt adrenaline pumping through your veins due to excitement?

231. what about you feels easiest to love (physical and character)?

232. what about you feels hardest to love (physical and character)?

233. What kind of love feels more familiar to you -> peaceful or chaotic love?

234. to what extent to you feel your appearance is the most important aspect of who you are?

235. do you think being attractive is a privilege? are you nicer or meaner to people you find attractive?

236. what was the hardest thing that you forgave someone for?

237. how would you define forgiveness?

238. who have you farted the loudest or most often?

239. what is an embarrassing story of when you really needed to **** in class but struggled to hold it in?

240. what is something that made you blush really hard?

241. if you had the opportunity to be famous, would you choose to be?

242. what is the longest you have not dated someone (or was flirting or thinking with someone)? In other words, what is the longest you have been alone?

243. what separates us from God?
-> ignorance (spiritual) and death (physical) - Jordan Peterson

244. what is a message that everyone deserves to hear in life?
-> "you deserve someone who's going to work hard to find ways to care for you." You are worthy of unconditional love.

245. what is a difficulty in your life right now?

246. what is something you've always wanted to try but haven't yet?
->fall in love, go on a trip by myself, go to Europe with Itzhel, drink a mimosa at brunch in a sunny place

247. what are qualities that you really admire in people?
-> attentiveness, observant, thoughtful, thought-provoking, mysterious, charming, honest transparency, vulnerability, calm curiosity, humble confidence

248. what is one of the most important connections you can have in life?
->your relationship with yourself

249. what memory comes to mind when you think about the ocean/beach?

250. what memory comes to mind when you think about carnivals?

251. what memory comes to mind when you think about water balloon fights or snowball fights?

252. Do you think your parents have thought about killing themselves?

253. Do you think your best friend has thought about killing themselves?

254. How often do you think people have thought about harming or killing themselves.

255. Do you believe in the concept of marriage?

256. what is the worst advice you have ever received?

257. was there ever a time where you were vulnerable and regretted it? if you are comfortable with it, what was the situation?

258. if you could go to any concert, who would you go see?
-> chase atlantic, post malone, cigarettes after ***, ariana grande, the 1975

259. why do you think people protect their pain? what does that look like - to protect one's own pain?

260. what is an acoustic version of a song that sounds better than the studio version?
-> like a rockstar & what u call that & cassie - chase atlantic

261. what is an experience that you wish to never experience again?

262. how do you feel about silence? is its presence comforting?

263. have you taken any drugs? if so and you feel comfortable sharing, what are they?

264. what is advice you would give to your 15yo self and your 40yo self? (a much younger and older version of yourself?)
-> younger self: you are worthy to love; you are worth getting to know and understand; you will one day believe that you are enough and choose healing with a life filled with authenticity that will get challenged; you'll be more unconventional; your way of thinking will not be like most that are around you - this is okay and expected
older self: I hope you are happy and live a life that you chose and not one that you compromised on for the sake of other's happiness and comfortability; I hope you live authentically and continued the process of living actualized as Maslow would saw; I hope you married your best friend that is your match in his own unique way; i hope your communication is better and that your relationships are healthy and boundary enforced

265. if you knew you were going to interview God for thirty minutes and could ask him only one question, what would it be?
-> who am I?

266. what would you do if knew you could not fail?

267. how are you, really?

268. how would you behave if you were the best at what you do in the world?

269. are you finding your dream job or are you creating it?

270. if there was a solution to your anxiety, what would it look like?

271. why are you worth knowing?
-> well, you're sitting in this seat listening to me

272. when was the last time you did something for the first time?

273. how do you treat people who can do nothing for you?

274. do you stack the plates and clean up your table when at a restaurant?
->analyze SES and their behavior to working class

275. what or who lights you up?

276. what would your perfect day look like?

277. what is an underappreciated fruit and vegetable?

278. what is something that guys/girls are insecure of that guys/girls do not really care about?

279. tell me about a time where you threw up in public?

280. tell me something illegal that your family did?

281. what is a word that would always make you laugh whenever you heard or said it when you were a kid?

282. what is the first cuss word you started using often in your vocabulary?

283. if you could be one animal, what would it be?

284. what insect were you the most fascinated by as a kid?
->ladybugs, dragonflies

285. if you could blow one thing, what would it be?
->paint, slaughterhouse, firework stand

286. what emotions would you associate to every color in the rainbow including pink, brown, black, and white? If that is too much, if you could choose one color, what emotion would you assign to it?

287. what is the saddest thing that a person has ever said to you about themselves or their life?

288. if you could be any pair of shoes, what would it be?
->professional rock climber, work boot

289. would you consider yourself to be an addict?
-> I think we are all on a continuum and are all wired to be addicted to dopamine and love we just go about it different ways.

290. if you could have any dog in the world, what would it be and why?

291. if you had to describe love and what it feels like to a young person, what would you say? OR
if a kid asked you what love feels like, how would you answer them?
-> able to feel no judgment and feel free to be who you are without the fear of rejection

292. how would you define healing?

293. how would you know that you are healing or healed?

294. where in your life have you compromised and lived for someone else?

295. what is a thought or idea that scares you?

296. why do you think people protect their pain?

297. how would you like to be cared for when you are experiencing an emotional crisis?

298. what is something that you were told when you were a kid that you have never forgotten because it provoked you so much?

299. who is a friend in your life that you know you should stop the friendship with but you struggle to?

300. what is a motto that you would tell your kids that you have lived by?
->be the man/woman that you would want your daughter/son to marry one day

301. when was the last time anyone ever told you how important you are?

302. Who have you spoken the most genuine I love you to?

303. What social situation are you the most anxious of?

304. What is something that people would never think or associate with you that you’ve thought or done?
-> I love to binge on romance novels, I played the violin and cello, I’ve never been kissed/had a bf, I have a song on all platforms, I’ve had a 4.0 most of my life, I tend to write ****** poems, I was in a drill team for five years, I wasn’t born in America, I love country music

305. What is something you’d like to say to someone who has already passed away?
-> Robertson: I hope you’re proud of me in the way that I am; thank you for supporting me in more ways than one

306. What is something you’d like to say to someone who hurt you badly?
-> i deserved better than your projected insecurities, but I was too naïve to understand any better

307. If you were forced to only listen to three songs on replay during the deed for the rest of your life, what would it be?

308. Like all of us, we are replete with contradictions -> we are walking contradictions. What are yours?
-> a desire for intimacy and a fear of touch/commitment; a desire to be known and a fear of vulnerability

309. Do you think you ever turned a teacher on?

310. What is the greatest lesson that the other person has taught you?

311. if people could not take pictures, do you think they would still drive to the tulip festivals?

312. why do you think we met?

313. which is the hardest for you to say
(1) I love you
(2) I was wrong; I'm sorry
(3) Worcestershire sauce
(4) I need help
(5) I appreciate you

314. what is one of your favorite lines in a song?
-> hoodie on low cuz I stay focused yeah, hard to stay low when everybody notice
-> heart on your sleeve like you've never been loved; I don't feed her fears I feed her habits; type to make you f*ck 'till you finish
->said you needed this heart then you got it turns out that it wasn't what you wanted

315. Are you struggling with your mental health right now?

316. Are you afraid to admit the things that go on in your head?

317. Have you ever met a person that made you so nervous that you avoided them at all costs due to the way that they look?

318. Who is the most selfish person you know?

319. Who is the most selfless person you know?

320. How many Costco hotdogs could you eat in 45 minutes for a hotdog eating competition?

321. What do you put on your Costco hotdog?

322. What’s your favorite cereal brand?

323. Stargazing or sunset?

324. What is an underrated aspect of life that is mundane to most?
-> breathing, eyesight, touch

325. If you could only keep two out of the five senses, which ones would you choose? What if you could only keep one?
-> taste, touch, smell, eyesight, hearing

326. Would you consider yourself to be more black and white or gray in terms of your thinking?

327. What was your favorite kind of candy cane: the peppermint, chocolate, or fruity ones?

328. What’s an American tradition that you do not follow?
-> I'm not a huge fan of chocolate chip cookies, PB cups, peppermint candy canes

329. what do you love most about your family?

330. what is something you would like to change about your family?

331. what is a fashion trend that you think is overrated?

332. what is an aspect about people that you have only encountered a few times in your life?
->humble/ confident authenticity, thoughtfulness

333. what do you think is the ugliest trait one can have?

334. which is worse to be super insecure or to have an inflated ego?

335. would you call yourself a good person? how do you define good?

336. what is something that fascinates you that you think about time to time?
-> reality doesn't really exist; it's our perception of the stimuli in our life that we come to understand as our own reality which is only one side of the narrative. Also, people have conversations that are quite incompatible in the sense that their definitions of words and their life experiences impact how each person enters the conversation. It is like there are two conversations that are being shared and understood in the same space.

337. what is a job that you think is much more difficult to do/live with?
-> acting: how do you separate and keep hold of your authentic self and the characters you play if you can play them really well. Does life become your stage?

338. what is a movie or song that is about to release that you look forward to seeing/listening?

339. how do you feel about your inevitable mortality?

340. what do you think about graves? how do you think society has shaped or challenged your opinion of them?

341. what is a reason for why you cried?

342. when was the last time you laughed so hard you couldn't breath?
-> talking to Bella's family and Devin jumping into the conversation with his friend that his lactose intolerant when we were talking about birth control

343. what is the best vacation that you have had? what made it so special?

345. what is the greatest lesson a friend has taught you?

346. what is the greatest lesson a parent or adult has taught you?

347. what is the weirdest thing you have done with someone in public?

348. have you ever looked at someone while they're doing something like driving, laughing or eating and just smile because they mean so much to you? If so, who?

349. what do you think is the most influential relationship that you have that impacts all other ones that you have?
-> yourself or with your parent(s)/caregiver(s)
-> "never forget that the relationship you have with yourself sets the tone for the relationship you have with everyone else. If you want to work on your relationships, start working on yourself"

350. what was a phase of your life that you would go back to if you have the chance. why?

351. what is a warning that you wish you got before knowing me?

352. what is a question that you have wanted to ask someone but got too nervous to announce?

353. talk about a time where you needed toilet paper but it wasn't there. what did you do? were you in public or at home?

354. what is an instrument that you think is harder than it actually is?
-> the drums!! that is multiple rhythms to keep up with...

355. describe a time where you thought you were going to cry but tried really hard to keep your composure?

356. when you would cry as a kid, what would your parent(s) say? other adults? if they shamed or shut you down immediately, do you still do this to yourself today?

357. what is the craziest drug you have ever taken?

358. what is something you would miss if your home burned down?

359. if you could move anywhere, where would it be? would it be in the city or country?

360. what is knowledge that you wished you knew when you were younger?

361. what is the most expensive item you have bought that you regretted?

362. if you could hug anyone in the world, dead or alive, who would it be?

363. what is the most messed up thing you have seen another person do to another?

364. what do you tend to think about during the time where you are laying in bed and trying to fall asleep? where does your mind tend to go to?

365. what is an event in the future that you are looking forward to?

366. Is a hotdog a sandwich?

367. If you were diagnosed with Alzheimer's and you could remember only one memory, what would it be?

368. What aspect/version of yourself are you the most ashamed of?

369. What aspect/version of yourself are you the most proud of?

370. Is there someone in your life that you hide aspects of yourself from? Do you believe that if they knew all of you unfiltered that they wouldn’t accept you? is this true love?

371. Do you know how to swim? If so, how and where did you learn to?

372. What is a song that makes you cry/emotional? W

373. What song reminds you of another other person?

374. What is the name of a song you will not listen to again because it is too painful?

375. Who has emotionally hurt you the most in your life?

376. When was the last time someone told you that they loved you? How did it make you feel?

377. What did you dream of last night? If you do not remember any dream, then what was your most recent dream?

378. If you had to either eat and **** out of your mouth or *** which one would it be?

379. What's something a stranger said to you that you remember to this day?
-> I think that your body is perfect

380. What is a lesson that the earth has taught you?

381. What is a lesson that your body has taught you?

from the simple email, to now a pitch-perfect complication
of the internet - no performance poetry found here -
performance meaning singing, meaning cascade of rhymes
to help you memorise sentences and shake your hands
about - ekphrasis (εκφρασις) - performance stand-up
but not stand-out - i'm not complaining, i'm just feeling
the fear and loathing too - or according to M. Schmidt (
no, not Martin Schmitt, the ski-jumper, but then again
the two seem almost indistinguishable when said -
counter e.g. gnome - 'nome and schmi'dt'dt'dt'tt stutter
at the end of words rather than at the beginning before
the dam gates open for the word to flow out from).
besides the point, can you imagine Kant using the phrase
a fortiori in his work that uses only a priori and
a posteriori? i only came across it today - but given
the big *** systematic approaches, you'd find it hard
to squeeze in a fortiori into the complex narrative -
an entire blackboard of mathematical proof concerning
disallowing the end product to be ∞: in philosophy that means
explaining something on a universal basis, the entire human
concern for things said, things done, things owned -
inserting the term a fortiori where once came a priori
would be a disaster for the Kantian narrative, he'd
have to write another critique all on its own to insert that phrase
among a complete systematisation of that phrase -
well the funny thing is, this expression goes in line with that
i observed about left and right, hands eyes whatever -
indefinite a- and the definite -the articles and then an ism -
i sometimes feel funny or at least embarrassed that i keep
repeating this notice from time to time -
but you would expect me to include gravity too,
or how i used to be a flower thief in spring bordering
on winter, plucking the eager flowers in the frost around
the countryside - well, i revived that practice today,
plucked two stalks of lavender (they were pinching my
nose when i walked past with a beer) and something
resembling lavender... google-moment... if only they
created apps that could tell you what flower it is you're
trying to identify, search engine impromptu -
well... it's either a coin-toss between
summersweet (clethra alnifolia) or butterfly bush
(buddleia davidii) - but it could be something else -
cigarette, beer and sniffing lavender, just my kind of night -
i swear to god i once drank a lavender-flavoured beer,
or cider... i can't remember -
but by definition, when i look at philosophy books i feel
they're much too bound to something said earlier
and followed by something to support it -
or in the case of a fortiori the expanded-upon basics,
i.e.: from a / the stronger (thing) - which means
it's a dual-carriage way of saying what you want to say:
from a stronger thing - from the stronger thing -
in real life that's like: what we get from a telescope,
or? what we get from a microscope -
stars aplenty - G-Rex 5571 in the Zodiac constellation,
U80802Z from the constellation of Poseidon -
i mean, flimsy answers - sky's the limit - then
the azure cage hovers over us during the day and
we turn to daydreams packing apples into crates -
telescope: oh airy-fairy, somewhere far far away -
microscope: got that needle and thread with you?
well, whatever we have, we know that our minds are
not build for the omni- affix when affixed to anything,
esp. god. Jews never bothered with it - there are just
as many necessary limitations of a deity as there are
as many unnecessary limitations of our freedoms -
that's how you move away from big ideas and narratives
of a Kant, with his chequers of analytic / synthetic
a priori / a posteriori and concern yourself with
knives (indefinite) and scissors (definite) articulation of
language - hell, we can go down the road much further
and say something about indirect and direct articles -
pronouns are the prime subscribers -
you wouldn't talk to a Jihadi directly as you'd talk about
him indirectly - i shared that curiosity with a local
stranger-mate in a park once walking his dog,
an ex-banker - those boom-bomb boys are being prescribed
the same thing that the Lufftwaffe pilots were prescribed
(pervitin) - but i doubt they got their hands on the pure
medical stuff, they're probably on amphetamines...
oh the R.A.F.? yeah, drunk like skunks.
but just imagine rewriting the Critique with a fortiori
and a infirmiori - disobeying "correct" definition,
as already mentioned the pronouns composed from
articles, as in condensed to indistinguishable parameters -
a fortiori - from something stronger            -
             a infirmiori - from something weaker -
(as already stated, the original definition of
  a fortiori was - from a / the stronger [thing]) -
so the articles disappear and couple themselves to the word
thing (word meaning, no grammatical classification is
really necessary, because if grammatically classified it would
be too obstructive) - but because of this lack of
grammatical classification of the word thing,
we are already associating the definitions via only the
indefinite pronoun - rather than a definite pronoun (i.e. nothing),
it would be pointless to write definitions using a definite
pronoun - well, up to a point, i suppose that
suggesting both a fortiori and a infirmiori to be defined
as: from nothing stronger and / or weaker we can create
a self-mechanistic-propeller, a way of self-overcoming that
in the end arrives as self-knowledge, obviously the
ultimate purpose - and this goes against all solipsistic despair,
as it also goes against making too many comparisons
with others, some who are weaker than us, and some who
are stronger than us - for the stronger will make light
of one set of propositions as the weaker will make light
of another set of propositions to suit their demands -
this can only be seen in light of Kantian-Darwinism,
survival of the fittest and what not -
Kant had in mind something simply said historically in
a condensed sphere of reality, Darwinism kinda did away
with historical realism, soon after the English Renaissance
after the second world war, Darwinism picked up again,
as a way to shut off the murk of the Holocaust -
Elvis did his bit, the Beatles too, but once the imagination
dried up, people decided they wanted to travel back
in time to 10,000 B.C. - and you think artistic expression
will end up a concept prog rock album, or a cute 3 minute
synthesizer song while M.T.V. turns into a 16 year old's
******* of a baby? i'm going keep the acronym, and instead
call it MORAL TELEVISION, or? how to buy a ******
or pull out early - but obviously i'd get a wisecrack comeback
from Juno - see a preacher man anywhere around here?
Kantian algebraic (big words, small people, Belgian waffles
too):                                                    ­              a. / s. after
                                           (event) x.
a. / s. prior
                                     what qualifies?
                                    - historical hindsight -
                                    - the current historical catalyst(s),
        THE BIG BANG... or as i like to call our current history,
an interchange on the words: BIG BANG BLACK HOLE...
BANG A ******* HOLE... get a BIG CLOCK...
******* HOLE... which is what it looks like at night...
two catalysts overall - and boy we're speeding
to Groundhog day - the biggest changes in history were
some celebrity's haircut - that's relative to
what happened when the Treaty of Versailles was signed;
BIG HOLE BLACK BANG (and that's thanks to dark matter) -
but to be honest, if i'm given only these two historical
vectors to work with... i'm not surprised so many
Islamic youths are disfranchised, choosing a third,
Jannah - it seems like a natural thinking process that
will never make it into popular media -
just thinking about it probably warms the heart,
obviously to an extremely violent end -
but this is gone way beyond the heliocentric and
geocentric arguments - because up there, where you
can see the earth where the hell is Copernican East
or Copernican West? it's nice to know that the earth
isn't flat... but that won't help you reaching the Panama
Canal from Portugal... will it?!

Form is emptiness
Emptiness is form

1. Sunyata (Emptiness) is the profound meaning of the Mahayana Teaching.

Two thousand five hundred years ago, the Buddha was able to realise "emptiness" (s. sunyata). By doing so he freed himself from unsatisfactoriness (s. dukkha). From the standpoint of enlightenment, sunyata is the reality of all worldly existences (s. dharma). It is the realisation of Bodhi — Prajna. From the standpoint of liberation, sunyata is the skilful means that disentangle oneself from defilement and unsatisfactoriness. The realisation of sunyata leads one to no attachment and clinging. It is the skilful means towards enlightenment and also the fruit of enlightenment.

There are two ways for us to understand this concept of sunyata in the Mahayana context. One way is to try to understand the explanation about its true nature. The other way is the realisation through practice. What we are going to discuss now is about its true nature.

Mahayana teachings have always considered that the understanding of sunyata is an attainment which is extremely difficult and extraordinarily profound.

For example, in the Prajna Sutra it says "That which is profound, has sunyata and non-attachment as its significance. No form nor deeds, no rising nor falling, are its implications."

Again in the Dvadasanikaya Sastra (composed by Nagarjuna, translated to Chinese by Kumarajiva A.D. 408) it says: "The greatest wisdom is the so-called sunyata."

This sunyata, no creation, calmness and extinction (s. nirvana) is of a profound significance in the Mahayana teachings. Why do we see it as the most profound teaching? This is because there is no worldly knowledge, be it general studies, science or philosophy, that can lead to the attainment of the state of sunyata. The only path to its realisation is via the supreme wisdom of an impassionate and discriminating mind. It is beyond the common worldly understanding.

2. The Significance of Sunyata and Cessation

The Buddha always used the terms void, no rising and falling, calmness and extinction to explain the profound meaning of sunyata and cessation. The teachings of the Buddha that were described in words are generally common to worldly understandings. If one interprets the teachings superficially from the words and languages used, one will only gain worldly knowledge and not the deeper implication of the teachings. The teachings of the Buddha have their supra-mundane contexts that are beyond the worldly knowledge.

For example, sunyata and the state of nirvana where there is no rising nor falling, are interpreted by most people as a state of non-existence and gloom. They fail to realise that quite the opposite, sunyata is of substantial and positive significance.

The sutras often use the word "great void" to explain the significance of sunyata. In general, we understand the "great void" as something that contains absolutely nothing. However, from a Buddhist perspective, the nature of the "great void" implies something which does not obstruct other things, in which all matters perform their own functions. Materials are form, which by their nature, imply obstruction. The special characteristic of the "great void" is non-obstruction. The "great void" therefore, does not serve as an obstacle to them. Since the "great void" exhibits no obstructive tendencies, it serves as the foundation for matter to function. In other words, if there was no "great void" nor characteristic of non-obstruction, it would be impossible for the material world to exist and function.

The "great void" is not separated from the material world. The latter depends on the former. We can state that the profound significance of sunyata and the nature of sunyata in Buddhism highlights the "great void’s" non-obstructive nature.

Sunyata does not imply the "great void". Instead, it is the foundation of all phenomena (form and mind). It is the true nature of all phenomena, and it is the basic principle of all existence. In other words, if the universe’s existence was not empty nor impermanent, then all resulting phenomena could not have arisen due to the co-existence of various causes and there would be no rising nor falling. The nature of sunyata is of positive significance!

Calmness and extinction are the opposite of rising and falling. They are another way to express that there is no rising and falling. Rising and falling are the common characteristics of worldly existence. All phenomena are always in the cycle of rising and falling. However, most people concentrate on living (rising). They think that the universe and life are the reality of a continuous existence.

Buddhism on the other hand, promotes the value of a continuous cessation (falling). This cessation does not imply that it ceases to exist altogether. Instead, it is just a state in the continuous process of phenomena. In this material world, or what we may call this "state of existence", everything eventually ceases to exist. Cessation is definitely the home of all existences. Since cessation is the calm state of existence and the eventual refuge of all phenomena, it is also the foundation for all activities and functions.

The Amitabha Buddha who was, and is, revered and praised by Buddhists around the world, radiates indefinite light and life from this "state of cessation". This state is a continuous process of calmness. It will be the eventual refuge for us all. If we think carefully about the definitions of calmness and extinction, then we can deduce that they are the true natural end-points of rising and falling. The true nature of the cycle of rising and falling is calmness and extinction. Because of this nature, all chaos and conflicts in the state of rising and falling will eventually cease. This is attainable by the realisation of prajna.

3. Contemplating the Implications of Sunyata and Stillness (Nirvana) by Observing Worldly Phenomena

All existences exhibit void-nature and nirvana-nature. These natures are the reality of all existence. To realise the truth, we have to contemplate and observe our worldly existence. We cannot realise the former without observing the latter. Consider this Heart Sutra extract, "Only when Avalokitesvara Bodhisattva practised the deep course of wisdom of Prajna Paramita did he come to realise that the five skandhas (aggregates, and material and mental objects) were void."

Profound wisdom leads us to the realisation that all existences are of void-nature. The sutras demonstrate that the profound principle can be understood by contemplating and observing the five skandhas. We cannot realise the truth by seeking something beyond the material and mental world. The Buddha, using his perfect wisdom, observed worldly existence from various implications and aspects, and came to understand all existences.

In summary, there are three paths to this observation:

a) We should observe the preceding state and the current state of conditions. i.e., Observation according to the concept of time.

b) We should observe existences according to their interrelationships. i.e., Observation via the concept of space (either two or three-dimensions).

c) We should observe the true nature of all myriad beings. This is like observing the worldly existences of a point, a line and an area. Those with supreme wisdom understand the true nature of all worldly existences by observing vertically the relationships between the preceding and current conditions, and horizontally the interrelationships. Then we can understand the true meaning of void-nature and nirvana-nature.

3.1 By observing the preceding-stage and the current-stage conditions, we can verify the Law of Impermanence of all worldly existences. All existences, be they material or mental, be they the material world, or the physical or mental states of sentient beings, are subject to continuous change.

The world may have certain states of beings where they stay static or are in equilibrium on a temporary basis (for example hibernation). But when we observe them with supreme wisdom, we will find that not only do they keep changing on a yearly basis, but also that this change applies to even every briefest moment. After the current state of conditions have ceased to exist, the newly-formed state materialises. This is the state of rising and falling. The rising and falling of each small moment reveals that all existences are ever-moving and ever-changing.

Conventional scholars have a very good explanation of these ever-changing worldly conditions. However they, including the practitioners of dharma, try to make sense of the reality from the ever-changing worldly existences. That is, they are fooled by the material existences and are not able to understand the deeper truth of all existences.

Only those with the supreme wisdom of the Buddha and Mahabodhisattvas realise and understand that all existences are illusions. They understand that existences are not real from the observation of the flow of changing existences. The numerous illusionary existences may well be diverse and confusing, arising and decaying. But when we look into their true nature, we will find them void and of nirvana-nature.

On the other hand, since all existences are of nirvana-nature, they appear from the perspective of time, to be ever-changing. They never stay the same even for the briefest moment. Impermanence implies existences do not have a permanent entity. This is another implication of the nature of sunyata and stillness.

3.2 From observations of existence via inter-relationships, we can conclude that nothing is independent of the Law of Causation, and that everything is without ego. For example, the Buddha explains that the individual sentient being is composed of physical, physiological and psychological phenomena. The so called ego is a deluded illusion which does not exist in reality. Its existence depends on the combination of both physical and mental factors. It is a union of organic phenomena. Thus we call it the empirical ego. It is a mistake to cling to it as an infatuated ego.

The Indian concept of the supreme spirit implies someone who rules. The spirit is the ruler who is independent of is self-dependent and all causes. In other words, the spirit is the one who is free from all primary and secondary causes (for physical and mental aspects). The spirit is the one who has the soul of his own body and mind. This is the ego or supreme spirit that the theologists cling to. From their view point, the only way to avoid physical and mental decay is to be self-determined and self-sovereign. In this way, the supreme being can stay permanent in the cycle of reincarnation, and return to the absolute reality by liberating himself from life and death.

But from the profound contemplation and wisdom of the Buddha and Mahabodhisattvas, we know there is no such reality. Instead, egolessness (non-self) is the only path to understand the reality of the deluded life. All existences are subject to the Law of Causes and Conditions. These include the smallest particles, the relationship between the particles, the planets, and the relationship between them, up to and including the whole universe! From the smallest particles to the biggest matter, there exists no absolute independent identity.

Egolessness (non-self) implies the void characteristics of all existence. Egolessness (non-self) signifies the non-existence of permanent identity for self and existence (Dharma). Sunyata stresses the voidness characteristic of self and existence (Dharma). Sunyata and egolessness possess similar attributes. As we have discussed before, we can observe the profound significance of sunyata from the perspective of inter-dependent relationships. Considering dharma-nature and the condition of nirvana, all existences are immaterial and of a void-nature. Then we see each existence as independent of each other. But then we cannot find any material that does exist independent of everything else. So egolessness also implies void-nature!

3.3 From the observation of all existences, we can infer the theory of nirvana and the complete cessation of all phenomena. From the viewpoint of phenomena, all existences are so different from each other, that they may contradict each other. They are so chaotic. In reality, their existence is illusionary and arises from conditional causation. They seem to exist on one hand, and yet do not exist on the other. They seem to be united, but yet they are so different to one another. They seem to exist and yet they do cease! Ultimately everything will return to harmony and complete calmness. This is the nature of all existence. It is the final resting place for all. If we can understand this reality and remove our illusions, we can find this state of harmony and complete calmness.

All our contradictions, impediments and confusion will be converted to equanimity. Free from illusion, complete calmness will be the result of attaining nirvana. The Buddha emphasised the significance of this attainment and encouraged the direct and profound contemplation on void-nature. He said, "Since there is no absolute self-nature thus every existence exhibits void-nature. Because it is void, there is no rising nor falling. Since there is no rising nor falling, thus everything was originally in complete calmness. Its self-nature is nirvana."

From the viewpoint of time and space, we can surmise that all existences are impermanent, all existences have no permanent self, and nirvana is the result of the cessation of all existences - the Three Universal Characteristics. But there are not three different truths. Instead, they are the characteristics of the only absolute truth and the ultimate reality. This is the explanation of Dharma-nature and the condition of nirvana. The three characteristics are the one characteristic, and vice versa!

We may cultivate our meditation, contemplating the impersonality of all existences. This will lead us to enlightenment via the path of voidness. Contemplating nirvana and complete calmness leads to enlightenment by the path of immaterial form. Contemplating the impermanence of all existences, leads us to enlightenment by the path of inactivity (no desire).

The Three Universal Characteristics are the other implications of Dharma-nature and nirvana. The paths to enlightenment are also the same cause of absolute reality. All of them return to the Dharma-nature and the condition of nirvana. In short, the teachings of the Buddha start from the observation and contemplation of all worldly phenomena. They are like thousands of streams of water competing with each other, and flowing from the top of the mountains to the bottom. Eventually, all of them return to the ocean of voidness and nirvana.

4. Sunyata and Cessation is the Truth (Nature) of All Existences.

All existences that are recognised by worldly understanding, whether materially, spiritually or intellectually, have always been misunderstood by us. We cling to them as real, physically existing and permanent. Actually, they are only unreal names.

The more precise meaning of the term "unreal name" is "assumption" or "hypothesis". It is an empirical name. It is formed by the combination of various causes and effects. (These include the effects of mental consciousness.) It does not exist by itself. Everything exists relatively. Thus, what is the ultimate truth? If we investigate existence further, we realise that all existences are empty. This is the fundamental characteristic and reality of all existence. It is ultimate and absolute. But we should not think that empty means nothing. It implies the disentanglement from the worldly misunderstanding of the existence of self, identity, and the realisation of the absolute.

In the Sutras and Abhidharma, the worldly understandings are sometimes referred to as all phenomena (Dharma). Sunyata is referred to as "Dharma-nature", and hence there is a distinction between "phenomena" and "Dhamma-nature". However, this is only an expedient explanation that helps us to realise the truth of sunyata through the phenomena of all existences.

We should not think that "existence" and "nature"; or the "phenomena of Dharma" and "Dharma-nature" are something contradictory. They are just concepts needed to understand the implication of sunyata.

We may analyse the exp

Metaphysically speaking, computers are straitjackets of the soul.

trust** (verb):
the action of placing faith, belief, and confidence in another;
something I don’t do anymore

truth (noun):
a statement that corresponds with what is factual or certain;
something no one tells anymore

love (noun):
very strong feelings of affection toward another;
a lie that I don’t believe in anymore –
how they get you to give them everything,
you and your life and your heart,
and you’re completely okay with doing that because you think they are doing the same;
a game; an illusion I don’t look for anymore

love (verb):
to make a commitment to someone;
to give your heart completely and unconditionally;
something I avoid admitting, because if I do,
I can no longer protect my heart from the crushing boulder
that’s taken refuge in my chest for the last year

to be myself:
to simply void myself of emotion;
to distract myself with work when I can’t numb myself anymore