The HyperTexts

Romantic Poems
by Michael R. Burch

These are poems from what I call my "Romantic Period." These are not necessarily poems about love and romance, although some are. But primarily these are poems in the Romantic tradition of William Blake, Robert Burns, Lord Byron, Thomas Chatterton, Samuel Taylor Coleridge, John Keats, Percy Bysshe Shelley and William Wordsworth. Other influences on my work have been Conrad Aiken, Louise Bogan, Hart Crane, e. e. cummings, Ernest Dowson, Sylvia Plath, Kevin N. Roberts, Algernon Charles Swinburne, Dylan Thomas, Walt Whitman and William Butler Yeats.



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.



Moments
by Michael R. Burch

There were moments full of promise,
like the petal-scented rainfall of early spring,
when to hold you in my arms and to kiss your willing lips
seemed everything.

There are moments strangely empty
full of pale unearthly twilight—how the cold stars stare!
when to be without you is a dark enchantment
the night and I share.

This is the sort of poem that is hard to get published these days. Thankfully this one was eventually published by Tucumcari Literary Review, Romantics Quarterly and in a Romanian translation by Petru Dimofte.

 

Goddess
by Michael R. Burch

“What will you conceive in me?”—
I asked her. But she
only smiled.

“Naked, I bore your child
when the wolf wind howled,
when the cold moon scowled . . .
naked, and gladly.”

“What will become of me?”—
I asked her, as she
absently stroked my hand.

Centuries later, I understand;
she whispered—“I Am.”



Autumn Conundrum
by Michael R. Burch

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



Piercing the Shell
by Michael R. Burch

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



Les Bijoux
by Charles Baudelaire
loose translation by Michael R. Burch

The Jewels

My lover nude 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 loins, her abdomen, her thighs,
Oiled alabaster, sinuous as a swan,
Writhed pale before my calm clairvoyant eyes;
Like clustered grapes her breasts 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 breasts enormously
Out-thrust, 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.


Kin
by Michael R. Burch

O pale, austere moon,
haughty beauty ...

what do we know of love,
or duty?



Smoke
by Michael R. Burch

The hazy, smoke-filled skies of summer I remember well;
farewell was on my mind, and the thoughts that I can't tell
rang bells within (the din was in) my mind, and I can't say
if what we had was good or bad, or where it is today.
The endless days of summer's haze I still recall today;
she spoke and smoky skies stood still as summer slipped away . . .

This poem appeared in my high school journal, the Lantern, in 1976. It also appeared in my college literary journal, Homespun, in 1977. I believe I had The Summer of '42 in mind when I wrote the poem. Ironically, I didn't see the movie until many years later, but something about its advertisement touched me. Am I the only poet who ever wrote a love poem for Jennifer O'Neil after seeing her fleeting image in a blurb? At least in that respect, I may be unique! In any case, the movie came out in 1971 or 1972, so I was probably around 14 when I wrote the poem.



Styx
by Michael R. Burch

Black waters,
deep and dark and still . . .
all men have passed this way,
or will.



Lady’s Favor
by Michael R. Burch

May
spring
fling
her riotous petals
devil-
may-care
into the air,
ignoring the lethal
nettles
and may
May
cry gleeful-
ly Hooray!
as the abundance
settles,
till a sudden June
swoon
leave us out of tune,
torn,
when the last rose is left
inconsolably bereft,
rudely shorn
of every device but its thorn.



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.



Last Anthem
by Michael R. Burch

Where you have gone are the shadows falling . . .
does memory pale
like a fossil in shale
. . . do you not hear me calling?

Where you have gone do the shadows lengthen . . .
does memory wane
with the absence of pain
. . . is silence at last your anthem?



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.
Hence, lead me back tonight
through bright waterfalls of light
to where we shine as one.


Sappho’s Lullaby
by Michael R. Burch

for Jeremy

Hushed yet melodic, the hills and the valleys
sleep unaware of the nightingale's call,
but the dew-laden lilies lie
listening,
glistening . . .
this is their night, the first night of fall.

Son, tonight, a woman awaits you;
she is more vibrant, more lovely than spring.
She'll meet you in moonlight,
soft and warm,
all alone . . .
then you'll know why the nightingale sings.

Just yesterday the stars were afire;
then how desire flashed through my veins!
But now I am older;
night has come,
I’m alone . . .
for you I will sing as the nightingale sings.



Desdemona
by Michael R. Burch

Though you possessed the moon and stars,
you are bound to fate and wed to chance.
Your lips deny they crave a kiss;
your feet deny they ache to dance.
Your heart imagines wild romance.

Though you cupped fire in your hands
and molded incandescent forms,
you are barren now, and—spent of flame—
the ashes that remain are borne
toward the sun upon a storm.

You, who demanded more, have less,
your heart within its cells of sighs
held fast by chains of misery,
confined till death for peddling lies—
imprisonment your sense denies.

You, who collected hearts like leaves
and pressed each once within your book,
forgot. None—winsome, bright or rare—
not one was worth a second look.
My heart, as others, you forsook.

But I, though I loved you from afar
through silent dawns, and gathered rue
from gardens where your footsteps left
cold paths among the asters, knew—
each moonless night the nettles grew

and strangled hope, where love dies too.



Lucifer, to the Enola Gay
by Michael R. Burch

Go then,
and give them my meaning
so that their teeming
streets
become my city.

Bring back a pretty
flower—
a chrysanthemum,
perhaps, to bloom
if but an hour,
within a certain room
of mine
where
the sun does not rise or fall,
and the moon,
although it is content to shine,
helps nothing at all.

There,
if I hear the wistful call
of their voices
regretting choices
made
or perhaps not made
in time,
I can look back upon it and recall,
in all
its pale forms sublime,
still
Death will never be holy again.

Unfoldings

for Vicki

Time unfolds ...
Your lips were roses.
... petals open, shyly clustering ...
I had dreams
of other seasons.

... ten thousand colors quiver, blossoming.

Night and day ...
Dreams burned within me.
... flowers part themselves, and then they close ...
You were lovely;
I was lonely.

... a virgin yields herself, but no one knows.

Now time goes on ...
I have not seen you.
... within ringed whorls, secrets are exchanged ...
A fire rages;
no one sees it.

... a blossom spreads its flutes to catch the rain.

Seasons flow ...
A dream is dying.
... within parched clusters, life is taking form ...
You were honest;
I was angry.

... petals fling themselves before the storm.

Time is slowing ...
I am older.
... blossoms wither, closing one last time ...
I'd love to see you
and to touch you.

... a flower crumbles, crinkling, worn and dry.

Time contracts ...
I cannot touch you.
... a solitary flower cries for warmth ...
Life goes on as
dreams lose meaning.

... the seeds are scattered, lost within a storm.



The Last Enchantment

Oh, Lancelot, my truest friend,
how time has thinned your ragged mane
and pinched your features; still you seem
though, much, much changed—somehow unchanged.

Your sword hand is, as ever, ready,
although the time for swords has passed.
Your eyes are fierce, and yet so steady
meeting mine . . . you must not ask.

The time is not, nor ever shall be,
for Merlyn’s words were only words;
and now his last enchantment wanes,
and we must put aside our swords . . .



If You Come to San Miguel
by Michael R. Burch

If you come to San Miguel
before the orchids fall,
we might stroll through lengthening shadows
those deserted streets
where love first bloomed ...

You might buy the same cheap musk
from that mud-spattered stall
where with furtive eyes the vendor
watched his fragrant wares
perfume your breasts ...

Where lean men mend tattered nets,
disgruntled sea gulls chide;
we might find that cafetucho
where through grimy panes
sunset implodes ...

Where tall cranes spin canvassed loads,
the strange anhingas glide.
Green brine laps splintered moorings,
rusted iron chains grind,
weighed and anchored in the past,

held fast by luminescent tides ...
Should you come to San Miguel?
Let love decide.



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



Of Civilization and Disenchantment
by Michael R. Burch

Suddenly uncomfortable
to stay at my grandfather’s house—
actually his third new wife’s,
in her daughter’s bedroom
—one interminable summer
with nothing to do,
all the meals served cold,
even beans and peas . . .

Lacking the words to describe
ah!, those pearl-luminous estuaries—
strange omens, incoherent nights.

Seeing the flares of the river barges
illuminating Memphis,
city of bluffs and dying splendors.

Drifting toward Alexandria,
Pharos, Rhakotis, Djoser’s fertile delta,
lands at the beginning of a new time and “civilization.”

Leaving behind sixty miles of unbroken cemetery,
Alexander’s corpse floating seaward,
bobbing, milkwhite, in a jar of honey.

Memphis shall be waste and desolate,
without an inhabitant.
Or so the people dreamed, in chains.



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
pricks her to motion, again and again.



Escape
by Michael R. Burch

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.



The Composition of Shadows
by Michael R. Burch

“I made it out of a mouthful of air.”—W. B. Yeats

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.



The Composition of Shadows (II)
by Michael R. Burch

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,
the blood’s debate
within the heart. Here, resonant,

sounds’ shadows mass
against bright glass,
within the white Labyrinthian maze.

Through simple grace,
I touch your face,
ah words! And I would gaze

the night’s dark length
in waning strength
to find the words to feel

such light again.
O, for a pen
to spell love so ethereal.



Regret
by Michael R. Burch

Regret,
a bitter
ache to bear . . .

once starlight
languished
in your hair . . .

a shining there
as brief
as rare.

Regret . . .
a pain
I chose to bear . . .

unleash
the torrent
of your hair . . .

and show me
once again—
how rare.


This Distance Between Us
by Michael R. Burch

This distance between us,
this vast gulf of remembrance
void of understanding,
sets us apart.

You are so far,
lost child,
weeping for consolation,
so dear to my heart.

Once near to my heart,
though seldom to touch,
now you are foreign,
now you grow faint . . .

like the wayward light of a vagabond star—
obscure, enigmatic.
Is the reveling gypsy
becoming a saint?

Now loneliness,
a broad expanse
—barren, forbidding—
whispers my name.

I, too, am a traveler
down this dark path,
unsure of the footing,
cursing the rain.

I, too, have felt pain,
pain and the ache of passion unfulfilled,
remorse, grief, and all the terrors
of the night.

And how very black
and how bleak my despair . . .
O, where are you, where are you
shining tonight?

The Toast
by Michael R. Burch

For dreams discarded, useless dust,
brief lusts that animated clay,
for passions wilted at the bud
and skies grown desolate and gray,

for stars that fell from tinseled heights
and mountains bleak and scarred and lone,
for seas reflecting distant suns
and weeds that thrive where seeds were sown,

for waltzes ending in a hush
and rhymes that fade as pages close,
for flames exhausted, leaving ash,
and petals falling from the rose,

I raise my cup before I drink
in reverence to a love long dead,
and silently propose a toast—
to passages, to time that fled.



Sunset
by Michael R. Burch

This poem is dedicated to my grandfather, George Edwin Hurt, who died April 4, 1998.

Between the prophesies of morning
and twilight’s revelations of wonder,
the sky is ripped asunder.

The moon lurks in the clouds,
waiting, as if to plunder
the dusk of its lilac iridescence,

and in the bright-tentacled sunset
we imagine a presence
full of the fury of lost innocence.

What we find within strange whorls of drifting flame,
brief patterns mauling winds deform and maim,
we recognize at once, but cannot name.



The Sky Was Turning Blue
by Michael R. Burch

Yesterday I saw you
as the snow flurries died,
spent winds becalmed.
When I saw your solemn face
alone in the crowd,
I felt my heart, so long embalmed,
begin to beat aloud.

Was it another winter,
another day like this?
Was it so long ago?
Where you the rose-cheeked girl
who slapped my face, then stole a kiss?
Was the sky this gray with snow,
my heart so all a-whirl?

How is it in one moment
it was twenty years ago,
lost worlds remade anew?
When your eyes met mine, I knew
you felt it too, as though
we heard the robin's song
and the sky was turning blue.



Roses for a Lover, Idealized
by Michael R. Burch

When you have become to me
as roses bloom, in memory,
exquisite, each sharp thorn forgot,
will I recall—yours made me bleed?

When winter makes me think of you—
whorls petrified in frozen dew,
bright promises blithe spring forsook,
will I recall your words—barbed, cruel?



Bubble
by Michael R. Burch

                Love—
          fragile,    elusive—
      if held         too closely
    cannot              withstand
  the inter                    ruption
of its                              bright,
  unmalleable              tension
    and breaks, disintegrates,
       at the           touch of
           an undiscerning
                   hand.

I believe this is my only "shape" or "shaped" poem.



Nothing Returns
by Michael R. Burch

A wave implodes,
impaled upon
impassive rocks . . .

this evening
the thunder of the sea
is a wild music filling my ear . . .

you are leaving
and the disbelieving
wind I hear:

telling me
that nothing returns
as it was before,

here where you have left no mark
upon this dark
Heraclitean shore.



The Harvest of Roses
by Michael R. Burch

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.



Breakings
by Michael R. Burch

I did it out of pity.
I did it out of love
I did it not to break the heart of a tender, wounded dove.

But gods without compassion
ordained: Frail things must break!
Now what can I do for my shattered psyche’s sake?



Performing Art
by Michael R. Burch

Who teaches the wren
in its drab existence
to explode into song?

What parodies of irony
does the jay espouse
with its sharp-edged tongue?

What instinctual memories
lend stunning brightness
to the strange dreams

of the dull gray slug
—spinning its chrysalis,
gluing rough seams—

abiding in darkness
its transformation,
till, waving damp wings,

it applauds its performance?
I am done with irony.
Life itself sings.



The Princess and the Pauper
by Michael R. Burch

for Norman Kraeft in memory of his beloved wife June Kysilko Kraeft

Here was a woman bright, intent on life,
who did not flinch from Death, but caught his eye
and drew him, powerless, into her spell
of wanting her himself, so much the lie
that she was meant for him—obscene illusion!—
made him seem a monarch throned like God on high,
when he was less than nothing; when to die
meant many stultifying, pained embraces.

She shed her gown, undid the tangled laces
that tied her to the earth: then she was his.
Now all her erstwhile beauty he defaces
and yet she grows in hallowed loveliness—
her ghost beyond perfection—for to die
was to ascend. Now he begs, penniless.



Crescendo Against Heaven
by Michael R. Burch

As curiously formal as the rose,
the imperious Word grows
until its sheds red-gilded leaves:
then heaven grieves
love’s tiny pool of crimson recrimination
against God, its contention
of the price of salvation.

These industrious trees,
endlessly losing and re-losing their leaves,
finally unleashing themselves from earth, lashing
themselves to bits, washing
themselves free
of all but the final ignominy
of death, become
at last: fast planks of our coffins, dumb.

Together now, rude coffins, crosses,
death-cursed but bright vermillion roses,
bodies, stumps, tears, words: conspire
together with a nearby spire
to raise their Accusation Dire ...
to scream, complain, to point out these
and other Dark Anomalies.

God always silent, ever afar,
distant as Bethlehem’s retrograde star,
we point out now, in resignation:
You asked too much of man’s beleaguered nation,
gave too much strength to his Enemy,
as though to prove Your Self greater than He,
at our expense, and so men die
(whose accusations vex the sky)
yet hope, somehow, that You are good ...
just, O greatest of Poets!, misunderstood.



Chloe
by Michael R. Burch

There were skies onyx at night ... moons by day ...
lakes pale as her eyes ... breathless winds
undressing tall elms; ... she would say
that we loved, but I figured we’d sinned.

Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray ...
all the light of that world softly dimmed.

Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.

What I found, I found lost in her face
while yielding all my virtue to her grace.



The Wonder Boys
by Michael R. Burch

(for Leslie Mellichamp, the late editor of The Lyric,
who was a friend and mentor to many poets, and
a fine poet in his own right)

The stars were always there, too-bright cliches:
scintillant truths the jaded world outgrew
as baffled poets winged keyed kites—amazed,
in dream of shocks that suddenly came true . . .

but came almost as static—background noise,
a song out of the cosmos no one hears,
or cares to hear. The poets, starstruck boys,
lay tuned in to their kite strings, saucer-eared.

They thought to feel the lightning’s brilliant sparks
electrify their nerves, their brains; the smoke
of words poured from their overheated hearts.
The kite string, knotted, made a nifty rope . . .

You will not find them here; they blew away—
in tumbling flight beyond nights’ stars. They clung
by fingertips to satellites. They strayed
too far to remain mortal. Elfin, young,

their words are with us still. Devout and fey,
they wink at us whenever skies are gray.



US Verse, after Auden
by Michael R. Burch

“Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.”


Verse has small value in our Unisphere,
nor is it fit for windy revelation.
It cannot legislate less taxing fears;
it cannot make us, several, a nation.
Enumerator of our sins and dreams,
it pens its cryptic numbers, and it sings,
a little quaintly, of the ways of love.
(It seems of little use for lesser things.)



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.



The Lingering and the Unconsoled Heart
by Michael R. Burch

There is a silence—
the last unspoken moment
before death,

when the moon,
cratered and broken,
is all madness and light,

when the breath comes low and complaining,
and the heart is a ruin
of emptiness and night.

There is a grief—
the grief of a lover's embrace
while hopelessness shimmers in a mother’s tears ...

There is no gruesomer time, nor place,
while the faint glimmer of life is ours
that the lingering and the unconsoled heart fears

beyond this: seeing its own stricken face
in eyes that drift toward some incomprehensible place.



These Hallowed Halls
by Michael R. Burch
a young Romantic Poet mourns the passing of an age . . .

I.

A final stereo fades into silence
and now there is seldom a murmur
to trouble the slumber
of these ancient halls.

I stand by a window where others have watched
the passage of time alone,
not untouched,
and I am as they were—
                                       unsure,
and the days
stretch out ahead,
a bewildering maze.

II.

Ah, faithless lover—
that I had never touched your breast,
nor felt the stirrings of my heart,
which until that moment had peacefully slept.

For now I have known the exhilaration
of a heart that has leapt from the pinnacle of love,
and the result of every infatuation—
the long freefall to earth, as the moon glides above.

III.

A solitary clock chimes the hour
from far above the campus,
but my peers,
returning from their dances,
heed it not.

And so it is
that we seldom gauge Time’s speed
because He moves so unobtrusively
about His task.

Still, when at last
we reckon His mark upon our lives,
we may well be surprised
at His thoroughness.

IV.

Ungentle maiden—
when Time has etched His little lines
so carelessly across your brow,
perhaps I will love you less than now.

And when cruel Time has stolen
your youth, as He certainly shall in course,
perhaps you will wish you had taken me
along with my broken heart,
even as He will take you with yours.

V.

A measureless rhythm rules the night—
few have heard it,
but I have shared it,
and its secret is mine.

To put it into words
is as to extract the sweetness from honey
and must be done as gently
as a butterfly cleans its wings.

But when it is captured, it is gone again;
its usefulness is only
that it lulls to sleep.

VI.

So sleep, my love, to the cadence of night,
to the moans of the moonlit hills
that groan as I do, yet somehow sleep
through the nightjar’s cryptic trills.

But I will not sleep this night, nor any . . .
how can I, when my dreams
are always of your perfect face
ringed in whorls of fretted lace,
and a tear upon your pillowcase?

VII.

If I had been born when knights roamed the earth
and mad kings ruled strange lands,
I might have turned to the ministry,
to the solitude of a monastery.

But there are no monks or hermits today—
theirs is a lost occupation
carried on, if at all,
merely for sake of tradition.

For today man abhors solitude—
he craves companions, song and drink,
seldom seeking a quiet moment,
to sit alone by himself, to think.

VIII.

And so I cannot shut myself
off from the rest of the world,
to spend my days in philosophy
and my nights in tears of self-sympathy.

No, I must continue as best I can,
and learn to keep my thoughts away
from those glorious, uproarious moments of youth,
centuries past though lost but a day.

IX.

Yes, I must discipline myself
and adjust to these lackluster days
when men display no chivalry
and romance is the "old-fashioned" way.

X.

A single stereo flares into song
and the first faint light of morning
has pierced the sky's black awning
once again.

XI.

This is a sacred place,
for those who leave,
leave better than they came.

But those who stay, while they are here,
add, with their sleepless nights and tears,
quaint sprigs of ivy to the walls
of these hallowed halls.



Incompatibles
by Michael R. Burch

Reason’s
treason!
cries the Heart.

Love’s
insane,
replies the Brain.



Aflutter
by Michael R. Burch

This rainbow is the token of the covenant, which I have established between me and all flesh.—Yahweh

You are gentle now, and in your failing hour
how like the child you were, you seem again,
and smile as sadly as the girl (age ten?)
who held the sparrow with the mangled wing
close to her heart. It marveled at your power
but would not mend. And so the world renews
old vows it seemed to make: false promises
spring whispers, as if nothing perishes
that does not resurrect to wilder hues
like rainbows’ eerie pacts we apprehend
but cannot fail to keep
. Now in your eyes
I see the end of life that only dies
and does not care for bright, translucent lies.
Are tears so precious? These few, let us spend
together, as before, then lay to rest
these sparrows’ hearts aflutter at each breast.

This is a poem about a couple committing suicide together. The “eerie pact” refers to a Bible verse about the rainbow being a “covenant,” when the only covenant human beings can depend on is the original one that condemned us to suffer and die. That covenant is always kept perfectly.



I AM
by Michael R. Burch

I am not one of ten billion—I—
sunblackened Icarus, chary fly,
staring at God with a quizzical eye.

I am not one of ten billion, I.

I am not one life has left unsquashed—
scarred as Ulysses, goddess-debauched,
pale glowworm agleam with a tale of panache.

I am not one life has left unsquashed.

I am not one without spots of disease,
laugh lines and tan lines and thick-callused knees
from begging and praying and girls sighing “Please!”

I am not one without spots of disease.

I am not one of ten billion—I—
scion of Daedalus, blackwinged fly
staring at God with a sedulous eye.

I am not one of ten billion, I
AM!

This is another heretical poem. It sort of reverses my childhood poem "Am I."



Kindred (II)
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.



You Never Listened
by Michael R. Burch

You never listened,
though each night the rain
wove its patterns again
and trembled and glistened . . .

You were not watching,
though each night the stars
shone, brightening the tears
in her eyes palely fetching . . .

You paid love no notice,
though she lay in my arms
as the stars rose in swarms
like a legion of poets,

as the lightning recited
its opus before us,
and the hills boomed the chorus,
all strangely delighted . . .



Twice
by Michael R. Burch

Now twice she has left me
and twice I have listened
and taken her back, remembering days

when love lay upon us
and sparkled and glistened,
the brightness of dew through a gathering haze.

But twice she has left me
to start my life over,
and twice I have gathered up embers, to learn:

rekindle a fire
from ash, soot and cinder
and softly it sputters, refusing to burn.



Premonition
by Michael R. Burch

Now the evening has come to a close and the party is over ...
we stand in the doorway and watch as they go—
each stranger, each acquaintance, each unembraceable lover.

They walk to their cars and they laugh as they go,
though we know their bright laughter’s the wine ...
then they pause at the road where the dark asphalt flows
endlessly on toward Zion ...

and they kiss one another as though they were friends,
and they promise to meet again “soon” ...
but the rivers of Jordan roll on without end,
and the mockingbird calls to the moon ...

and the katydids climb up the cropped hanging vines,
and the crickets chirp on out of tune ...
and their shadows, defined by the cryptic starlight,
seem spirits torn loose from their tombs.

And I know their brief lives are just eddies in time,
that their words are unreadable runes
unlikely to stand in this waterlogged land
when their corpses lie ravaged and ruined ...

You take my clenched fist and you give it a kiss
as though it’s something to be loved,
and the tears fill your eyes, outshining the night
and all the stars ringed high above ...

and you whisper, "It's time that we went back inside;
if you'd like, we can sit and just talk for a while."
And the hope in your eyes burns too deep, so I lie
and I say, "Yes, I would," to your small, troubled smile.

I rather vividly remember writing this poem after an office party the year I co-oped with AT&T (at that time the largest company in the world, with presumably a lot of office parties). This would have been after my sophomore year in college, making me around 20 years old. The poem is “true” except that I was not the host because the party was at the house of one of the upper-level managers. Nor was I dating anyone seriously at the time.



Instruction
by Michael R. Burch

Toss this poem aside
to the filigree and the wild tide
of sunset.

Strike my name,
and still it is all the same.
The onset

of night is in the despairing skies;
each hut shuts its bright bewildered eyes.
The wind sighs

and my heart sighs with her—
my only companion, O Lovely Drifter!
Still, men are not wise.

The moon appears; the arms of the wind lift her,
pooling the light of her silver portent,
while men, impatient,

are beings of hurried and harried despair.
Now willows entangle their fragrant hair.
Men sleep.

Cornsilk tassels the moonbright air.
Deep is the sea; the stars are fair.
I reap.



Excerpts from the Journal of Dorian Gray
by Michael R. Burch

It was not so much dream, as error;
I lay and felt the creeping terror
of what I had become take hold . . .

The moon watched, silent, palest gold;
the picture by the mantle watched;
the clock upon the mantle talked,
in halting voice, of minute things . . .

Twelve strokes like lashes and their stings
scored anthems to my loneliness,
but I have dreamed of what is best,
and I have promised to be good . . .

Dismembered limbs in vats of wood,
foul acids, and a strangled cry!
I did not care, I watched him die . . .

Each lovely rose has thorns we miss;
they prick our lips, should we once kiss
their mangled limbs, or think to clasp
their violent beauty. Dream, aghast,
the flower of my loveliness,
this ageless face (for who could guess?),
and I will kiss you when I rise . . .

The patterns of our lives comprise
strange portraits. Mine, I fear,
proved dear indeed . . . Adieu!
The knife’s for you.

Another strange one, written after reading Wilde's macabre novella.



The Century’s Wake
by Michael R. Burch

lines written at the close of the 20th century

Take me home. The party is over,
the century passed—no time for a lover.
And my heart grew heavy
as the fireworks hissed through the dark
over Central Park,
past high-towering spires to some backwoods levee,

hurtling banner-hung docks to the torchlit seas.
And my heart grew heavy;
I felt its disease—
its apathy,
wanting the bright, rhapsodic display
to last more than a single day.

If decay was its rite,
now it has learned to long
for something with more intensity,
more gaudy passion, more song—
like the huddled gay masses,
the wildly-cheering throng.

You ask me—
How can this be?
A little more flair,
or perhaps only a little more clarity.
I leave her tonight to the century’s wake;
she disappoints me.



First and Last

for Beth

You are the last arcane rose
of my aching,
my longing,
or the first yellowed leaves—
vagrant spirals of gold
forming huddled bright sheaves;
you are passion forsaking
dark skies, as though sunsets no winds might enclose.

And still in my arms
you are gentle and fragrant—
demesne of my vigor,
spent rigor,
lost power,
fallen musculature of youth,
leaves clinging and hanging,
nameless joys of my youth to this last lingering hour.



Insurrection
by Michael R. Burch

She has become as the night—listening
for rumors of dawn—while the dew, glistening,
reminds me of her, and the wind, whistling,
lashes my cheeks with its soft chastening

She has become as the lights—flickering
in the distance—till memories old and troubling
rise up again and demand remembering ...
like peasants rebelling against a mad king.



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.



What Works
by Michael R. Burch

What works—
hewn stone;
the blush the iris shows the sun;
the lilac’s pale-remembered bloom.

The frenzied fly: mad-lively, gay,
as seconds tick his time away,
his sentence—one brief day in May,
a period. And then decay.

A frenzied rhyme’s mad tip-toed time,
a ballad’s languid as the sea,
seek, striving—immortality.

When gloss peels off, what works will shine.
When polish fades, what works will gleam.
When intellectual prattle pales,
the dying buzzing in the hive
of tedious incessant bees,
what works will soar and wheel and dive
and milk all honey, leap and thrive,

and teach the pallid poem to seethe.



Distances
by Michael R. Burch

There is a small cleanness about her,
as though she has always just been washed,
and there is a dull obedience to convention
in her accommodating slenderness
as she feints at her salad.

She has never heard of Faust, or Frost,
and she is unlikely to have been seen
rummaging through bookstores
for mementos of others
more difficult to name.

She might imagine “poetry”
to be something in common between us,
as we write, bridging the expanse
between convention and something . . .
something the world calls “art”
for want of a better word.

At night I scream
at the conventions of both our worlds,
at the distances between words
and their objects: distances
come lately between us,
like a clean break.



R.I.P.
by Michael R. Burch

When I am lain to rest
and my soul is no longer fierce,
but clinging to life, 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,
and 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.
This is a poem from my "Romantic Period" ...



Myth
by Michael R. Burch

Here the recalcitrant wind
sighs with grievance and remorse
over fields of wayward gorse
and thistle-addled lanes.

And she is the myth of the scythed wheat
hewn and sighing, complete,
waiting, lain in a low sheaf—
full of faith, full of grief.

Here the immaculate dawn
requires belief of the leafed earth
and she is the myth of the scythed grain
golden and humble in all its weary worth.



Nashville and Andromeda
by Michael R. Burch

I have come to sit and think in the darkness once again.
It is three a.m.; outside, the world sleeps . . .

How nakedly now and unadorned
the surrounding hills
expose themselves
to the lithographies of the detached moonlight—
breasts daubed by the lanterns
of the ornamental barns,
firs ruffled like silks
casually discarded . . .

They lounge now—
indolent, languid, spread-eagled—
their wantonness a thing to admire,
like a lover’s ease idly tracing flesh . . .

They do not know haste,
lust, virtue, or any of the sanctimonious ecstasies of men,
yet they please
if only in the solemn meditations of their loveliness
by the erect pen . . .

Perhaps there upon the surrounding hills,
another forsakes sleep
for the hour of introspection,
gabled in loneliness,
swathed in the pale light of Andromeda . . .

Seeing.
Yes, seeing,
but always ultimately unknowing
anything of the affairs of men.



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 breasts 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.



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.

NOTE: The poem above was written either in high school or my first two years of college because it appeared in the 1979 issue of my college literary journal, Homespun.



Winter
by Michael R. Burch

The rose of lost potential
lies tattered by the thorn;
her scent was sweet
but at her feet
the pallid lilies mourn.

The lilac of devotion
has felt the winter hoar
and shed her dress;
companionless,
she shivers at the door.



Besieged
by Michael R. Burch

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

Life—it is 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.



To Please The Poet
by Michael R. Burch

To please the poet, words must dance—
staccato, brisk, a two-step:
so!
Or waltz in elegance to time
of music—mild,
adagio.

To please the poet, words must chance
emotion in catharsis—
flame.
Or splash into salt seas, descend
in sheets of silver-shining
rain.

To please the poet, words must prance
and gallop, gambol, revel,
rail.
Or muse upon a moment—mute,
obscure, unsure, imperfect,
pale.

To please the poet, words must sing,
or croak, wart-tongued, imagining.



Children
by Michael R. Burch

There was a moment
suspended in time like a swelling drop of dew about to fall,
impendent, pregnant with possibility ...

when we might have made ...
anything,
anything we dreamed,
almost anything at all,
coalescing dreams into reality.

Oh, the love we might have fashioned
out of a fine mist and the nightly sparkle of the cosmos
and the rhythms of evening!

But we were young,
and what might have been is now a dark abyss of loss
and what is left is not worth saving.

But, oh, you were lovely,
child of the wild moonlight, attendant tides and doting stars,
and for a day,

what little we partook
of all that lay before us seemed so much,
and passion but a force
with which to play.



Stump
by Michael R. Burch

This used to be a poplar, oak or elm . . .
we forget the names of trees, but still its helm,
green-plumed, like some Greek warrior’s, nobly fringed,
with blossoms almond-white, but verdant-tinged,
this massive helm . . . this massive, nodding head
here contemplated life, and now is dead . . .

Perhaps it saw its future, furrow-browed,
and flung its limbs about, dejectedly.
Perhaps it only dreamed as, cloud by cloud,
the sun plod through the sky. Heroically,
perhaps it stood against the mindless plots
of concrete that replaced each flowered bed.
Perhaps it heard thick loggers draw odd lots
and could not flee, and so could only dread . . .

The last of all its kind? They left its stump
with timeworn strange inscriptions no one reads
(because a language lost is just a bump
impeding someone’s progress at mall speeds).
We leveled all such “speed bumps” long ago
just as our quainter cousins leveled trees.
Shall we, too, be consumed by what we know?
Once gods were merely warriors; august trees
were merely twigs, and man the least divine . . .
mere fables now, dust, compost, turpentine.



Tonight, Let’s Remember

July 7, 2007 (7-7-7)

Tonight, let’s remember the fond ways
our fingers engendered new methods to praise
the gray at my temples, your thinning hair.
Tonight, let’s remember, and let us draw near ...

Tonight, let’s remember, as mortals do,
how cutely we chortled when work was through,
society sated, all gods put to rest,
and you in my arms, and I at your breast ...

Tonight, let’s remember how daring, how free
the Madeira made us, recumbently.
Our inhibitions?—we laid them to rest.
Earth, heaven or hell—we knew we were blessed.

Tonight, let’s remember the dwindling days
we’ve spent here together—the sun’s rays
spending their power beyond somber hills.
Soon we’ll rest together; there’ll be no more bills.

Tonight, let’s remember: we’ve paid all our dues,
we’ve suffered our sorrows, we’ve learned how to lose.
What’s left now to take, only God can tell.
Be with me in heaven, or “bliss” will be hell!

I do not want God; I want to see you
free from all sorrow, your labor through,
a song on your tongue, a smile on your lips,
sweet, sultry and vagrant, a child at your hips,
laughing and beaming and ready to frolic
in a world free from cancer and gout and colic.
For you were courageous, and kind, and true.
There must be a heaven for someone like you.



Her Grace Flows Freely

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 damn 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 “whore” 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.



Laughter from Another Room
by Michael R. Burch

Laughter from another room
mocks the anguish that I feel;
as I sit alone and brood,
only you and I are real.

Only you and I are real.
Only you and I exist.
Only burns that blister heal.
Only dreams denied persist.

Only dreams denied persist.
Only hope that lingers dies.
Only love that lessens lives.
Only lovers ever cry.

Only lovers ever cry.
Only sinners ever pray.
Only saints are crucified.
The crucified are always saints.

The crucified are always saints.
The maddest men control the world.
The dumb man knows what he would say;
the poet never finds the words.

The poet never finds the words.
The minstrel never finds the notes.
The minister would love to curse.
The warrior never knows his foe.

The warrior never knows his foe.
The scholar never learns the truth.
The actors never see the show.
The hangman longs to feel the noose.

The hangman longs to feel the noose.
The artist longs to feel the flame.
The proudest men are not aloof;
the guiltiest are not to blame.

The guiltiest are not to blame.
The merriest are prone to brood.
If we go outside, it rains.
If we stay inside, it floods.

If we stay inside, it floods.
If we dare to love, we fear.
Blind men never see the sun;
other men observe through tears.

Other men observe through tears
the passage of these days of doom;
now I listen and I hear
laughter from another room.

Laughter from another room
mocks the anguish that I feel.
As I sit alone and brood,
only you and I are real.



Dancer
by Michael R. Burch

You will never change;
you range,
investing passion in the night,
waltzing through
a blinding blue,
immaculate and fabled light.

Do not despair
or wonder where
the others of your race have fled.
They left you here
to gin and beer
and won't return till you are bled

of fantasy
and piety,
of brewing passion like champagne,
of storming through
without a clue,
but finding answers fall like rain.

They left.
You laughed,
but now you sigh
for ages,
stages
slipping by.

You pause;
applause
is all you hear.
You dance,
askance,
as drunkards cheer.



Love Unfolded Like a Flower
by Michael R. Burch

Love unfolded
like a flower;
Pale petals pinked and blushed to see the sky.
I came to know you
and to trust you
in moments lost to springtime slipping by.

Then love burst outward,
leaping skyward,
and untamed blossoms danced against the wind.
All I wanted
was to hold you;
though passion tempted once, we never sinned.

Now love's gay petals
fade and wither,
and winter beckons, whispering a lie.
We were friends,
but friendships end . . .
yes, friendships end and even roses die.



Mare Clausum
by Michael R. Burch

These are the narrows of my soul—
dark waters pierced by eerie, haunting screams.
And these uncharted islands bleakly home
wild nightmares and deep, strange, forbidding dreams.

Please don’t think to find pearls’ pale, unearthly glow
within its shoals, nor corals in its reefs.
For, though you seek to salvage Love, I know
that vessel lists, and night brings no relief.

Pause here, and look, and know that all is lost;
then turn, and go; let salt consume, and rust.
This sea is not for sailors, but the damned
who lingered long past morning, till they learned

why it is named:
Mare Clausum.


Afterglow
by Michael R. Burch

for Beth

The night is full of stars. Which still exist?
Before time ends, perhaps one day we’ll know.
For now I hold your fingers to my lips
and feel their pulse ... warm, palpable and slow ...

once slow to match this reckless spark in me,
this moon in ceaseless orbit I became,
compelled by wilder gravity to flee
night’s universe of suns, for one pale flame ...

for one pale flame that seemed to signify
the Zodiac of all, the meaning of
love’s wandering flight past Neptune. Now to lie
in dawning recognition is enough ...

enough each night to bask in you, to know
the face of love ... eyes closed ... its afterglow.

All Afterglow
by Michael R. Burch

Something remarkable, perhaps ...
the color of her eyes ... though I forget
the color of her eyes ... perhaps her hair
the way it blew about
... I do not know
just what it was about her that has kept
her thought lodged deep in mine ... unmelted snow
that lasted till July would be less rare,
clasped in some frozen cavern where the wind
sculpts bright grotesqueries, ignoring springs’
and summers’ higher laws ... there thawing slow
and strange by strange degrees, one tick beyond
the freezing point which keeps all things the same
... till what remains is fragile and unlike
the world above, where melted snows and rains
form rivulets that, inundate with sun,
evaporate, and in life’s cyclic stream
remake the world again
... I do not know
that we can be remade—all afterglow.

[Note: “inundate with snow” is not a typo.]

Come Down
by Michael R. Burch

for Harold Bloom

Come down, O, come down
from your high mountain tower.
How coldly the wind blows,
how late this chill hour ...

and I cannot wait
for a meteor shower
to show you the time
must be now, or not ever.

Come down, O, come down
from the high mountain heather
now brittle and brown ...
Watch your step through white feather!

Come down, or your heart
will grow cold as the weather
when winter devours
and spring returns never.

NOTE: I dedicated this poem to Harold Bloom after reading his introduction to the Best American Poetry anthology he edited. Bloom seemed intent on claiming poetry as the province of the uber-reader (i.e., himself), but I remember reading poems by Blake, Burns, cummings, Dickinson, Frost, Housman, Eliot, Pound, Shakespeare, Whitman, Yeats, et al, and grokking them as a boy, without any “advanced” instruction from anyone.

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.


The Tender Weight of Her Sighs
by Michael R. Burch

The tender weight of her sighs
lies heavily upon my heart;
apart from her, full of doubt,
without her presence to revolve around,
found wanting direction or course,
cursed with the thought of her grief,
believing true love is a myth,
with hope as elusive as tears,
hers and mine, unable to lie,
I sigh ...

NOTE: This poem has an unusual rhyme scheme, with the last word on each line rhyming with the first word on the next line. The final line is a “closing couplet” in which both words rhyme with the last words of the preceding line.



Musings at Giza
by Michael R. Burch

In deepening pools of shadows lies
the Sphinx, and men still fear his eyes.
Though centuries have passed, he waits.
Egyptians gather at the gates.

Great pyramids, the looted tombs
—how still and desolate their wombs!—
await sarcophagi of kings.
From eons past, a hammer rings.

Was Cleopatra's litter borne
along these streets now bleak, forlorn?
Did Pharaohs clad in purple ride
fierce stallions through a human tide?

Did Bocchoris here mete his law
from distant Kush to Saqqarah?
or Tutankhamen here once smile
upon the children of the Nile?

or Nefertiti ever rise
with wild abandon in her eyes
to gaze across this arid plain
and cry, “Great Isis, live again!”



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 flight 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
and 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 dream, or almost dream, and do not see
how, lumbering sunward, Hope, ungainly, flies,
clutching to Its ruffled breast what must not be.



Duet, Minor Key
by Michael R. Burch

Without the drama of cymbals
or the fanfare and snares of drums,
I present my case
stripped of its fine veneer:
behold, thy instrument.

Play, for the night is long.

Rhythm
by Michael R. Burch

How can I write and not be true
to the rhythms welling within?
How can the ocean not be blue,
not rock with the clockwork shock of tide,
the motion creation stirs within?
How shall I know, or soon decide
if rhythm has meaning, if heartbeats ring true?
Should I lie like impostors, elide?



Bio
: Michael R. Burch is an American poet who lives in Nashville, Tennessee with his wife Beth, their son Jeremy, and three outrageously spoiled puppies. His poems, epigrams, translations, essays, articles, reviews, short stories and letters have appeared more than 4,000 times in publications which include TIME, USA Today, The Hindu, BBC Radio 3, CNN.com, Daily Kos, The Washington Post, Light Quarterly, The Lyric, Measure, Writer's Digest—The Year's Best Writing, The Best of the Eclectic Muse, Unlikely Stories and hundreds of other literary journals, websites and blogs. Mike Burch is also the founder and editor-in-chief of The HyperTexts, a former columnist for the Nashville City Paper and, according to Google, a relevant online publisher of poems about the Holocaust, Hiroshima, the Trail of Tears, Darfur, Haiti, Gaza and the Palestinian Nakba. He has two published books, Violets for Beth (White Violet Press, 2012) and O, Terrible Angel (Ancient Cypress Press, 2013). A third book, Auschwitz Rose, is still in the chute but long delayed. Burch's poetry has been translated into eleven languages and set to music by the composers Mark Buller, Alexander Comitas and Seth Wright. One of his poems, "First They Came for the Muslims," has been adopted by Amnesty International for its Words That Burn anthology, a free online resource for students and educators. He has also served as editor of International Poetry and Translations for the literary journal Better Than Starbucks.

For an expanded bio, circum vitae and career timeline of the author, please click here: Michael R. Burch Expanded Bio.

Michael R. Burch Related Pages: Early Poems, Rejection Slips, Epigrams and Quotes, Free Love Poems by Michael R. Burch, Romantic Poems by Michael R. Burch

The HyperTexts