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The Pen is Mightier than the Sword

Swift.


galindo1

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Your body grows inside me, swift as a forest empty of sound,

Like a lemon tree sprouting up from the ground

Of my heart, self-contained and ready

For the harvest, when with steady

Hands they'll peel you open from root to tip.

 

With gentle compliance you let those hands slip

Over you: quilted blessings mesh against ear.

The tree-leaves, belle feuille, work patterns on iron-black bristling hair, break shadows here

And there; I'm tired and the workings of my heart

Prove futile through the warm wash blending between us, my heart stunted from the start,

 

In the swarthy caress of heat wave we slept together on the hillside

Of my bed, lightning bugs on the windowsill

And back again, but the floorboards were icy dead on my bare toes

As I crept over the knolls and stains of yesteryear

With your steady breathing rushing in my ear.

Edited by Bouts_of_coughing
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You chair, there behind the table,

You bide your time.

At the start of the year

You were a new friend,

A weird but sturdy support

For my ass.

By end of first semester

I hated you and your damn resistance.

Why didn't you let me fall

Every once in a while?

You chair, you bastard,

Blue plastic and unnatural like the taste of rubber.

A red tongue and the tired sag

Of an armchair,

I miss that. Why can't you be that chair?

Why can't you be my grandpa

Or my brother?

You stupid, goddamn chair.

By second semester I wanted you.

I wanted you in the trash heap.

You're not a treacherous grapple

Or a vicious hit

Or a sexual friend.

You're just a chair.

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You make me laugh. =)

 

 

 

I particularly liked your first poem--though I didn't get any laughs from it. To show you how much I like it, I will make some recommendations...

 

 

To begin with, the first line strikes me as out of place, or maybe incomplete. What is it that's swift as a forest empty of sound? I think that's what's confusing to me. Overall I feel you could use some work on your transitions, making sure there is a connection that can quickly be made so the mind can jump effortlessly as it reads.

 

Let these hands slip

Over you and quilted blessings mesh against your ear. ----- consider "Over you: quilted blessings mesh against ear."

The tree is over my head, breaking shadows here ----- The tree is over my head--can you think of another way of phrasing this?

And there; I'm tired and the workings of my heart

Prove futile, stunted from the start.

 

My only suggestion on the 3rd stanza is that I would like "hill" to be hillside, even though it makes the rhyme a bit more complex.

 

 

 

Some of what I really like about this poem include your "quilted blessings," "stunted from the start," and your last two lines. You seem to have a knack for grabbing ahold of unique ways of phrase, continue to cultivate this and you'll do well.

Edited by Loki Wyrd
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In death mode

Lights panic.

Your heart speeds up a bit faster,

Hairline filaments run out and down,

Reinforcing failure.

In recovery mode

The itty bites run down the convex screen.

The image jitters up and down

As out of a memory of dancing.

Out of a simple machine erupt

Millions of bugs, jumpy legs

All spidery against the thick darkness.

In response mode

Fingers touch with little jolts of energy.

The keys spell names and words,

Pouring out images and

Crazy line breaks

All shuddery against your face

Like a cool wind.

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