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Literature Text
Thin static, noise-mess, grainy tuning sounds.
Voice, recognizable. This is London.
The sound you hear the moment,– an air-raid
Siren,– wailing high over the rooftop
Silhouettes. Spotlight bursts into action.
Another behind Trafalgar’s Column.
White light in the capital of the night;
Blackout. Now the hoary searchlight rays,
Roving, rearing, reach up into the sky
And through; or strike cloud; splash against the bloom.
Noise, unintelligible. Twiddle the dial;
Find the way, with voice, with speech, with the word.
I am standing on a rooftop, looking
Out. To my left, red burst far off snaps out
Without report,– too far,– but angry fire
Against the steel-blue sky, invading steel.
White paint across from me, what was a home
Yesterday, and ten years ago, now ruin.
Whispers of a plane above St. Paul’s dome,
Dull thump of the guns working near.
Explosions overhead, but faintly heard.
Interlude. Interruption. Bulletin.
London is burning. London is burning.
Shrill sirens scream. Alarms howl. To shelter.
A sense of unreality pervades,
And there is little meaning in distance:
Sudden flowers of smoke, and streets strewn with glass;
Behold the rubble; eyes reflect no fear
No anxiety, until the bomb-scream
More felt than heard. Down prone, dust-dowsed, struck dumb.
Breathe. Stand up. Later, the human wreckage
That fill a half-dozen ambulances
Push home the human cost of tragedy.
Go, press on, onwards, groping through the dark;
Hand meets another urging human shape
In passing. Back to the sirens? I hold
The rough-wrought wrist I will not hold again.
The meaning is known though the words are weak.
Yes. Good night, and good luck. My friend. Godspeed.
Voice, recognizable. This is London.
The sound you hear the moment,– an air-raid
Siren,– wailing high over the rooftop
Silhouettes. Spotlight bursts into action.
Another behind Trafalgar’s Column.
White light in the capital of the night;
Blackout. Now the hoary searchlight rays,
Roving, rearing, reach up into the sky
And through; or strike cloud; splash against the bloom.
Noise, unintelligible. Twiddle the dial;
Find the way, with voice, with speech, with the word.
I am standing on a rooftop, looking
Out. To my left, red burst far off snaps out
Without report,– too far,– but angry fire
Against the steel-blue sky, invading steel.
White paint across from me, what was a home
Yesterday, and ten years ago, now ruin.
Whispers of a plane above St. Paul’s dome,
Dull thump of the guns working near.
Explosions overhead, but faintly heard.
Interlude. Interruption. Bulletin.
London is burning. London is burning.
Shrill sirens scream. Alarms howl. To shelter.
A sense of unreality pervades,
And there is little meaning in distance:
Sudden flowers of smoke, and streets strewn with glass;
Behold the rubble; eyes reflect no fear
No anxiety, until the bomb-scream
More felt than heard. Down prone, dust-dowsed, struck dumb.
Breathe. Stand up. Later, the human wreckage
That fill a half-dozen ambulances
Push home the human cost of tragedy.
Go, press on, onwards, groping through the dark;
Hand meets another urging human shape
In passing. Back to the sirens? I hold
The rough-wrought wrist I will not hold again.
The meaning is known though the words are weak.
Yes. Good night, and good luck. My friend. Godspeed.
Literature
Gardener's Lament
there are times
where I feel
like I have naught a right to talk to anyone
where my only permissions
are those required to bask in pain
that the only things written on my skin are the words of someone who knows pain but does not grasp it with her palms
words that nobody can read but me
words are no longer my primary means of conveying meaning
silence is
the silence between my words no longer exists
weeds have grown in the gaps between the stepping stones
taking root and sucking the nutrients out of the soil so that the flowers cannot grow
when the seasons pass the weeds spread their seeds across the landscape
pulling them is a fool's errand
n
Literature
Dream Invasion
In the dead of night the culprit stole;
Into your dream to take you whole,
Lacing thoughts with such blight;
Stealing your heart for its own delight.
Within your head it creeps and lurks;
Placed by terror and dark’s deep quirks,
Cold and sharp behind your eyes;
Pouring up in incriminating cries.
The blank of white streams in tears;
Forcing out your primal fears,
Twisted into targeted hate;
It strips you of your chosen fate.
Now you are but to paint the lines;
A story to tell of her crimes,
Prose written in desperate plea;
Unable to hide, unable to flee.
Forever stuck in the cold tide;
A surge which you are forced to ride,
It was but
Literature
What Are You Doing Here?
Accept that the world is dying
Accept that you only exist for the benefit of others
Accept that you will never know happiness
Accept that you will always be alone
Accept that you will always want more
Accept that you will never deserve more
Accept that you will never be good enough
Accept that those you love will leave you
Accept
Accept
Accept
That you are an inconsequential speck of dust
In a vast and unending universe
And if you don't shape your own meaning
In your fragile finite life
Then what the fuck are you even doing here?
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I was listening to some of the old radio broadcasts when I got it into my head to rewrite and montage them into a poem. Most of these were the wartime broadcasts of Edward R. Murrow during his time in London Blitz.
Hm...
Not much to say really,– a combination of immediacy and distance underlies the dual action of event and emotion, with the radio providing a contextual conduit. Although everything happens in real-time on live radio, the physical distance is something that nonetheless contributes to a sense of detachment that pervades the poem despite the horror of the action. As Orwell suggests through his narrative in Homage to Catalonia, distance makes action seem unreal, or inconsequential. Sniping at other human beings far away in trenches become potshots at ants, and the machineguns of an aeroplane high in the sky become the flutter of wings.
Hm...
Not much to say really,– a combination of immediacy and distance underlies the dual action of event and emotion, with the radio providing a contextual conduit. Although everything happens in real-time on live radio, the physical distance is something that nonetheless contributes to a sense of detachment that pervades the poem despite the horror of the action. As Orwell suggests through his narrative in Homage to Catalonia, distance makes action seem unreal, or inconsequential. Sniping at other human beings far away in trenches become potshots at ants, and the machineguns of an aeroplane high in the sky become the flutter of wings.
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