Jump to content
  • entries
  • comments
  • views




Becoming Poets


You and I, we have a strong bond
Like brothers, like lovers;
We disgust the world with our vain perversions,

our inane attachment with the word and the seas of heresy

part at our command revealing the shells of untruths hiding

beneath the silt of social justice.
Ecstasy beyond judgement is what we share

in the binding fallacy of corporeal pain

battling to win over the spirit.
Our ascension begins at the alter of ego.
Broken down pieces of the mirror of self-hate, we tread

upon our steps to immortality. Morality, ethics, civility, higher power

are all suspended in space as dwindling starlights, reaching us

from the outer edges of cosmos.

You and I, we have a strong bond.

Like brothers, like lovers;

We step over millions of corpses to reach the quintessential truth, the poesy of nature.






When I see you talking to others I think of it as betrayal
When I see you smiling with others I question if you are loyal
When I see you moving on with life going roundabout your business
I feel I have been left out from it all in order to hide your menace

I know the wheels are turning
I know the fires are burning out
Emotions are condensing in big chunks of ice
And soon it won't suffice to tell you that I love you,
that the earth only blooms for you,
that my breath begins & ends with you

And soon you will leave me for the others who make you smile, who kiss
you behind my back, smell your hair, bend you over to the road of infidelity
And it drives me mad, mad like a ragging bull,
Like a substance user craving his previous high
I can't stand them making you smile

One of these days I will tell them of your lies



  • Like 4
  • Love 1


Recommended Comments

Hi, two very emotional poems. I totally get the second one. I guess even if we don`t like to admit it, we all felt this kind of emotions from time to time. I hope for you, that this won`t hold you to long and that you feel better soon. Consider, it is always our decision, which thoughts we allow to be in our head. ;-) Hugs Lyssa

Link to comment

Even without reading the title of the first poem, I thought that it embodied the act of (no, the art of) creating poetry. A poem about writing poems, the place those poems have within society and across the universe, and how poets can exploit emotions, both and good and bad, from the inner core of themselves and also of their surroundings - this is a riveting theme. You're right that to a poet (and writers of other forms) words are indeed like brothers, like lovers. We scheme together with them. We manipulate meanings and form the words into the messages we want to portray, and they, in turn, satiate us (at least, that is the case for me...)


'Paranoia' expresses real and honest emotion, and I felt it deeply as I read it. Too many of us have experienced betrayal, loss, jealousy, frustration, anger. The things that make us crazy, the things that make us want to do harm. Finding another point to focus on in those situations can begin the healing - usually. Hope that's been the case for you.

Edited by MacGreg
  • Like 1
Link to comment
This blog entry is now closed to further comments.
  • Similar Content

    • By AC Benus
      Poetry Prompt  2 – Haiku
      Let's Write a Basho-style Haiku!
      It's arguable that Haiku is now the most popular set form of verse in the English language. Today more Haiku are written around the world than Sonnets and all the other forms put together.
      Haiku, or Hokku, arose out of Tanka and a variation on that form. The natural way in which the five lines of Tanka can be broken into strophes of three and two lines, in either combination, was known as Renga, or linked verses. These witty poems, which often took the form of question and answer, were light and popular entertainment.
      That all changed with a Gay genius. Basho Mastsuo (1644-1694) spent his life sequestered with the men he loved, first with the teenager with whom he was raised almost as a brother within a samurai family, and then later as a lay Buddhist monk with several men who formed his acolytes and partners.     
      In the summer of 1684 (when he was forty years old), he set out with his partner Chiri (who was thirty-six) to see the country. These adventures resulted in the flowering of his poetry and the widespread dispersal of his brand of Haiku. Later, his most influential travel collection of verse was finalized the year he died as Oku no Hosomichi, or A Narrow Path through Open Country. Its posthumous publication in 1702 ensured his poetic immortality.    
      So, Basho's form was a serious attempt to redact out the subjective view of the poet, and in this regard he was influenced by Zen thought that the "I" is an illusion. Within a very limited form he tried to capture the corporal impressions of an event, and trusted that the reader would insert his or her own emotions into what they were shown. By corporal I mean the bodily senses: sight, smell, touch, taste, and hearing. His most famous Haiku is this:
      Which translates literally as:
      There is a particular anthology of one hundred English language versions of those eight simple Japanese words, and all of them are different, and all of them are in proper Haiku form.
      The Haiku is based on a three-lined structure, and has the following syllables: 5,7,5. Like all Japanese poetry and traditional lyrics, a seasonal word is essential. In the frog poem, the frog is a symbol of summer. Another summer poem that illustrates his totally subjective style is this one from Oku no Hosomichi:
      The Prompt: write two Haiku. One inspired by a sight you witnessed outdoors, in a secluded patch of nature (either in your yard, a city park, or the great untamed wilderness). And a second one inspired by an urban sight (something that catches your eye on the street), or that happens indoors. You must be true to the form and include a seasonal word within both poems, but remember, words like 'surfboard' and 'bug spray' speak of summer just as much as 'frog' and 'cicada' do. Think outside the box and just use a sight that speaks to the season in the part of the world you are right now. 
      To be a true Haiku, do not use words or concepts like "I," "my," "mine," etc. Stick to plain scene painting, for if the sight moved you, it has the potential to move others too. 
    • By AC Benus
      Poetry Prompt 11 – Haiku #2
      Let's Write an Issa-style Haiku!
      We have studied Tanka, and Basho-style Haiku, so now we can move on to the other great master of Japanese Haiku, Issa Kobayashi.[1]
      While in Tanka the poet can have free range to explore the subjective with words like "I" and "me," Basho's Haiku strives to be totally objective and simply paint a scene with words. His Haiku assume the reader will feel the same emotions the poet did from simply reading the scene.
      Issa approached it from a different perspective. His Haiku are almost a perfect blend of detached witness speaking from an "I" POV, while focusing on showing (and not telling) the reader about an event.
      Here's an example:
      The dog's kindness shows
      as he moves aside for me
      on this path of snow.
      Or, here's another wintry one:
      Hey, it's in his look,
      that guy right in front of me,
      right down to his chill.
      Now for some background: born in 1763, and trained firmly in the Basho tradition of poetry, he wrote more than 20,000 Haiku but only a few hundred Tanka.[2] When he was 52 years old, he decided to start writing a poetic journal, whereby he would chronicle a year of his life. He called it Oraga haru, or My Springtime.[3] His wife had borne him a daughter recently, and their child turned two years old as he began this project. He dedicated his newfound joy in living to the fact that she brought hope and a fresh outlook to his existence. It proved tragic, because as he was writing this work, his daughter contracted smallpox and died.
      Issa recorded it all – his happiness, his despair, his grief, and finally, his determination that a higher purpose exists. Oraga haru became a landmark when he published, and it's arguably one of the greatest poetic works you'll be able to find. Do check it out in Hamill's translation.
      So, intimacy reigns in Issa's Haiku. He does not shy away from being a poet telling his side of things, as long as he keeps it simple, and adheres to the basic requirements of the Haiku as a form. Those are, the inclusion of a seasonal word – like 'snow,' and 'chill' in the examples above – and a structure of three lines arranged in syllables of 5-7-5.
      The question is, how does he do his magic? Answer: I do not know. It's just one of those things that works or fails to work, so I can simply give you more examples to see how he balanced the objective with the subjective.
      The great lord is now
      from his horse dismounting like
      cherry blossoms fall.
      You butterfly, fly –
      I see already on me
      too much earth-bound earth.
      At mid-summer's height,
      my umbrella disappeared;
      hard-core thief, perhaps?
      There are moonlit flowers,
      forty-nine years' worth of them,
      beneath whom I've walked.
      Perfect form, oh, snail,
      bit by bit, unflagged you climb
      Mount Fuji's great heights.
      Old dog lying there
      ear on the ground as if to
      hear Worm's lullaby.  
      And his most famous poem, the one for the loss of his daughter:
      Tsuyu no yo wa
      tsuyu no yo nagara
      The way of the dew,
      the dew's way of departing,
      brings and takes so much.
      The Prompt: write one or more Haiku based on an animal observation. This can be an inspirational moment, like a snail climbing a mountain, or a peaceful moment, like a dog napping on the grass. Just anything you see from the animal kingdom that makes you pause and reflect. Keep a seasonal word, and maintain three lines of 5-7-5 syllables.  
        [1] In Japan, he's simply known as Issa, which is highly unusual. For in Europe, many important people, like Michelangelo and Galileo, are remembered by their first names; in Japan that's almost unheard of. I would speculate it's the intimacy of his poetry that makes people feel close to him; close enough to simply think of him as "Issa."     
      [2] See: The Spring of My Life by Sam Hamill, Boston 1997. 
      [3] Oftentimes the simplest things are the most difficult to translate. Case in point, the word oraga is a masculine form of 'my,' but it carries a certain, forced crudeness to it. It's a spoken work, the kind you're likely to hear in informal settings, like a bar, and its inclusion in the title of a collection of poems must have shocked early readers. I almost toy with the idea that the accurate rendering in English for this book is My Damn Spring.  
    • By Mawgrim
      I'm currently writing a story in which a character speaks several lines from a poem. I know how to punctuate when someone is quoting within dialogue, but what are the conventions for this scenario? I imagine that each line of the poem would have to start on a new line within the dialogue, but do you need an open speech mark, followed by a quote mark each time? It just looks wrong and very untidy. I can't seem to find anything on Google and wonder if anyone else has figured it out or has had to do something similar.
    • By Anita Samandra
      when you see the smile from someone feeling the same.
      or the warmth in your chest from the mention of a name.
      your first thought in the beginning of a day,
      and the last thing you feel when you're hitting the hay.
      when every moment you're waiting you seem to ache,
      so afraid that from this dream you'll wake.
      the feeling so strong time seize to exist
      Yet even those moments blow away like mist.
      filling you up 'till you feel so strong,
      yet so small that you feel you'll do everything wrong
      when the smallest thing can send you into a rut,
      yet the same thing will pull you back up.
      when you warm up by the mention of a name
      knowing by their smile that they feel the same.
    • By HOPINME
      ashes of June ...
      your eye are delighted for me firing my soul draining my mind....
      when i see you....
      my thoughts get drained....
      my tears are gone ....
      my heart stops .
       i know i wont be able to be with u any more
      loving you is the only thing i can do for you .....
      ashes of the June 
      my heart is beating for you 
      from deep inside...
      i collapse ....
      i ruined....
      i my self got a sin of being a boy ...
      god??? if u exist then answer me why ain't i a person that i want to be?:((
      i wish
      I lOVE yOU like now i'm dead man ...
  • Create New...

Important Information

Our Privacy Policy can be found here. We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue..