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Literature Text
monotonous conversational merry-go-round
everyone's pretense and pretend,
bag and bicker, cough and cry in the dark
and light of leperous pop culture gods
while the hastily erected idols of dollar and cunt crumble
flashing edges of a non-life over-lived
the rumble in the dark
is not you or me,
but us.
they say all lovers need distance, and i love you even in my heart of darkness,
even in my house of pain.
i love you, my false society.
my harlequin world.
world that still has not looked up to see if there are stars,
as it is too busy trying to become one.
world. totally oblivious.
my world?
the pavement and old gargoyles
with eyes and faces and nothing human
I write this to them
they are the darkness watchers now.
they've seen the real you.
everyone's pretense and pretend,
bag and bicker, cough and cry in the dark
and light of leperous pop culture gods
while the hastily erected idols of dollar and cunt crumble
flashing edges of a non-life over-lived
the rumble in the dark
is not you or me,
but us.
they say all lovers need distance, and i love you even in my heart of darkness,
even in my house of pain.
i love you, my false society.
my harlequin world.
world that still has not looked up to see if there are stars,
as it is too busy trying to become one.
world. totally oblivious.
my world?
the pavement and old gargoyles
with eyes and faces and nothing human
I write this to them
they are the darkness watchers now.
they've seen the real you.
Literature
and this is where
to find myself idling along
salt-cropped backshores
again moaning in stride
with docks- i think he said
they looked like me strained,
water-stained, stripped and still
moaning
and pulling down to
six years done
holding hands like lovers,
my eyes are shifted
away from the paper-back tongue
scraping down my neck, raining
until i find myself barefoot and tossing
between sea-grey and sex, open
thighed and fingers
pushing down
Literature
Oranges
Oranges
I.
Thinking themselves thieves, they feed
on the ripe as the cart owner on the highway
fingers peels, rinds, forgotten leaves and listens
to the voices of his customers like moving cars.
II.
To articulate herself she keeps the cream
in one hand and licks the rust off her
once black kettle. The tea is waiting
on the counter to be drowned as she says to him:
Let me live in my ashes.
Her echolalia says: scissors, sliver as the image
of diseased pigeon wings echoes on her eyelids.
Twenty years of echolalia.
III.
There is a boy who lives in his own palms,
collecting teeth from the children who fight.
At six o'cl
Literature
Nowhere
They were everything, the stars –
their hope we harbored in our pockets,
and it seeped under our fingernails in the winter cold
until we bled and breathed them, believed
their possibilities cupped like fireflies
in our hands – we went to sleep to them
and woke to their memory, dreamed
them in between – we ourselves
piloting the ships of tomorrow.
They called us, stringing their melodies
down to earth in half-remembered
filaments of color: we whispered our promises
up in return, the four of us,
our breaths frosting windows as we
stared up and pointed at the darkening sky.
Lodged in our eyes and minds, the stars,
and th
Suggested Collections
.h
—listen: there's a hell
of a good universe next door; let's go
-e.e cummings "pity this busy monster, manunkind"
—listen: there's a hell
of a good universe next door; let's go
-e.e cummings "pity this busy monster, manunkind"
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Comments3
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"looking for safety in sterility?
are you the mask you wear yet?"
i actually thought that portion was one of the strongest points in the poem (commenting on that comment)
that aside, the whole poem exudes this corrupt sexual distraught feel, very powerful and intriguing. though i dont usually look at the world this way, sometimes you look around and see the ugliness and you realize the truth: that inside us all is a heart of darkness, as conrad so aptly put it.
"world that fears change and embraces it and forces it and fights against it."
i think this line is actually the best in the poem, but that's just my opinion
there's a lot of good flow and emotion in this, its very very... well.. like i said, powerful.
great job, definitely +fav
are you the mask you wear yet?"
i actually thought that portion was one of the strongest points in the poem (commenting on that comment)
that aside, the whole poem exudes this corrupt sexual distraught feel, very powerful and intriguing. though i dont usually look at the world this way, sometimes you look around and see the ugliness and you realize the truth: that inside us all is a heart of darkness, as conrad so aptly put it.
"world that fears change and embraces it and forces it and fights against it."
i think this line is actually the best in the poem, but that's just my opinion
there's a lot of good flow and emotion in this, its very very... well.. like i said, powerful.
great job, definitely +fav