2194 lines
65 KiB
Plaintext
2194 lines
65 KiB
Plaintext
|
||
|
||
|
||
ÚÄ Ü Ü Ü Ü Ä¿
|
||
Ûßß ÛßÛ ß Û Û Ûßß ÜÜÛ ß ÛÛÜ Û Ü
|
||
ßßÛ ÛÜÛ Û Û Û Ûß Û Û Û Û Þ ÛÜß
|
||
ÛÛÛ Û ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ ÛÛÛ Û Þ ÛßÛ
|
||
ÀÄ ÄÙ
|
||
Ä electronic literary 'zine Ä
|
||
|
||
*ÄÄÄÄÄÄÄÄÄÄÄÄÄ*
|
||
ù ÄÄ´ volume nine ÃÄÄ ù
|
||
*ÄÄÄÄÄÄÄÄÄÄÄÄÄ*
|
||
|
||
stop plagiarism - let out your soul
|
||
Copyright 4/96
|
||
|
||
ú úùcompiled & edited by Twilightùú ú
|
||
|
||
ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ
|
||
* All literature presented herein is copyrighted by their respective authors *
|
||
|
||
|
||
|
||
þ Table of Contents þ
|
||
ùúùúùúùúùúùúùúùúùúùúù
|
||
|
||
1. Adultery - Ray Heinrich
|
||
2. Amanda - Medea
|
||
3. And On The Second Day - Stephen Lush
|
||
4. Annoyed And Numb - Stephen Lush
|
||
5. Bitter Garland - C. Dianne Long
|
||
6. Blind Date - C. Dianne Long
|
||
7. Bottom - Tool
|
||
8. Bound - Twilight
|
||
9. Concrete - Ray Heinrich
|
||
10. Darkness - Renee Medeiros
|
||
11. Dyers Eve - James Hetfield
|
||
12. Event - Sylvia Plath
|
||
13. Flood - Tool
|
||
14. In A Darkened Room - Sebastian Bach, Rachel Bolan & Dave Sabo
|
||
15. Let Me Go - Twilight
|
||
16. Lucidity - LaceyL@aol.com
|
||
17. Maybe Solo - Stephen Lush
|
||
18. Mental Cases - Winfred Owen
|
||
19. My Black Shoe - Eu-Ming Lee
|
||
20. Overabundance - Autumn Silver
|
||
21. Passion - Zac Maloy
|
||
22. Please Come To Boston - D. A. Loggins
|
||
23. Psycho Love - Rachel Bolan
|
||
24. Quicksand Jesus - Rachel Bolan & Dave Sabo
|
||
25. Routine 1996 - Victor Saunders
|
||
26. Sober - Tool
|
||
27. Somber Locket - Medea & Hecate
|
||
28. Sweet Beyond - Zac Maloy
|
||
29. Sylvia Plath Is My Mother - Ray Heinrich
|
||
30. The Poet In Pain - Winfred Owen
|
||
31. Untitled - HappyMonk
|
||
32. Untitled - HappyMonk
|
||
33. Untitled - Molina
|
||
34. Untitled - Molina
|
||
35. Untitled - Quinn@adren.net
|
||
36. Untitled - Rob@adren.net
|
||
37. Untitled - Tempest
|
||
38. Untitled - Eddie Vedder
|
||
39. Wasted Time - Sebastian Bach, Rachel Bolan & Dave Sabo
|
||
40. When She Was Free - Quinn@adren.net
|
||
|
||
|
||
þ Including Quotes From:
|
||
Tori Amos, 'V. C. Andrews', 'Cliff Notes', Ralph Waldo Emerson, _Ferris
|
||
Bueller's Day Off_, Dana Gould, Ray Heinrich, Jimi Hendrix, 'Mademoiselle',
|
||
Mary McCarthy, Joyce Carol Oates, Winfred Owen, Anne Rice, Alix Kates
|
||
Shulman, _The Simpsons_, and Oscar Wilde
|
||
|
||
|
||
ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ
|
||
|
||
|
||
|
||
|
||
Adultery
|
||
þ Ray Heinrich
|
||
ùúùúùúùúùúùúùú
|
||
|
||
your breasts were just the right size
|
||
just the right brown
|
||
for the light
|
||
one window away
|
||
balanced between
|
||
the two parts of a day
|
||
our love
|
||
innocent
|
||
but only to us
|
||
and they
|
||
could always be waiting outside
|
||
but not in this room
|
||
where two months rent
|
||
was more than enough
|
||
for eternal love
|
||
for your breasts
|
||
the right size of my hands
|
||
your breasts
|
||
that sucked firm in my mouth
|
||
and the constant surprise
|
||
of your thin sweet milk
|
||
as his baby
|
||
slept quietly beside us
|
||
|
||
þùúùþ
|
||
Ray is an ex-Texas technofreak and hippie-socialist wannabe. He writes poems
|
||
for thrills and attention, likes dogs, and owns a blue fish. He published his
|
||
first chapbook by secretly placing copies in local bookstores and libraries.
|
||
His poems have appeared in CrossConnect, Morpo Review, So It Goes..., Sand
|
||
River Journal, 33 Review, BiSexual Journal, billetdoux, Droplet Journal,
|
||
Sub-UrbanTerrain, No Trace, Biopsy, his own "Word Biscuit E-letter" and
|
||
elsewhere. An electronic edition of his chapbook: "lots more damn poems"
|
||
(Word Biscuit Press) is available free via e-mail.
|
||
Send e-mail/requests to: ray@vais.net
|
||
|
||
|
||
|
||
|
||
"A poem is written first in its writer's language. When you read it, you are
|
||
translating it into your own language. Which act requires more skill and
|
||
creativity, depends on the individual writer or reader." Ä Ray Heinrich
|
||
|
||
|
||
|
||
|
||
Amanda
|
||
þ Medea
|
||
ùúùúùúù
|
||
|
||
Superstitous and on the prowl,
|
||
blonder and blonder holds the black down.
|
||
Kissing the universal nemesis, while we close our eyes,
|
||
first and forever he was my garbage boy.
|
||
Shut the door as I choke in his darkness,
|
||
pretend not to hear him admiring my name.
|
||
Lodged in your throat is the look of a whore.
|
||
Sometime in candlelight I'll want to play,
|
||
because first and forever he was my garbage boy.
|
||
|
||
|
||
|
||
|
||
And On The Second Day
|
||
þ Stephen Lush
|
||
ùúùúùúùúùúùúùúùúùúùúù
|
||
|
||
today is the day to end all days
|
||
with sinking blood and vertigo
|
||
and hallucinations of what I thought of you
|
||
rigor sets into what we know
|
||
and flashing lighthouses boast the brightest noise
|
||
crumbling
|
||
shapelessly into
|
||
the sea
|
||
and pits of disease and death shriek
|
||
in bastardized monotone, ominous thunderings
|
||
they set us free into the night
|
||
they thought we knew what was right
|
||
chalices on a lace centerpiece
|
||
nine levels of babylon,
|
||
no one speaks the common thread
|
||
I can't tell the live
|
||
from the
|
||
dead
|
||
bury your friends in the sand
|
||
(they'll be safe there)
|
||
as glass was formed on a european beach
|
||
somewhere near the heart of the world
|
||
a gull cries dear to the end of my soul
|
||
erosion shatters and shakes, sincere but slow
|
||
when the one became two
|
||
in heaven's rain
|
||
i'll never know
|
||
so i looked inside
|
||
the curled shell i found
|
||
something alive poked out
|
||
and i let it go
|
||
it cratered the wet grain
|
||
and i saw it go
|
||
colossus nightmares
|
||
of large feet alone on windtorn spyres
|
||
jagged ankles pointing into a forlorn sky
|
||
commerce below
|
||
in italy it rained
|
||
in reykjavik it snowed
|
||
colossus fell into the abyss
|
||
the mistakes of the day
|
||
are the fears of the night.
|
||
|
||
|
||
|
||
|
||
Annoyed And Numb
|
||
þ Stephen Lush
|
||
ùúùúùúùúùúùúùúùú
|
||
|
||
the day is laced with novocaine
|
||
there are no stars from where I stand
|
||
given up in such a short time
|
||
maybe I should have talked with that girl
|
||
some dreams aren't meant to come true
|
||
I wonder where we are
|
||
wondering if I is a plural
|
||
stuck in the divots in the lawn
|
||
wishing for my own song
|
||
listening on where I don't belong
|
||
creatures frolic in the newborn sound
|
||
and I don't even know
|
||
caterpillars and centipedes crawling around
|
||
I built this lonely Friday night for you
|
||
its worn to the ground like a soleless shoe
|
||
if its such a success to live, why don't I fly?
|
||
at least I have feeling
|
||
but it's such a bowl of dust
|
||
I could be blown apart by one gust
|
||
I smoke like my father now
|
||
it's only a matter of time
|
||
it blends together and scoots along too fast
|
||
sometimes I like bad music
|
||
with the passion that never lasts
|
||
the people have been set to shuffle
|
||
the people have been set to shuffle
|
||
london bridge is falling down
|
||
and I'm never sure when things are supposed
|
||
to be the same
|
||
except with you
|
||
my heart is anchored to your drying cement
|
||
it would take so little
|
||
to forget what I meant.
|
||
|
||
|
||
|
||
|
||
"I'm the one who has to die when it's time for me to die, so let me live
|
||
my life - the way I want to." Ä Jimi Hendrix
|
||
|
||
|
||
|
||
|
||
Bitter Garland
|
||
þ C. Dianne Long
|
||
ùúùúùúùúùúùúùúùú
|
||
|
||
Don't look at me I said
|
||
You won't see
|
||
my beautiful dress.
|
||
|
||
Hours of needle and thread
|
||
Fingers pricked
|
||
healed but scarred.
|
||
|
||
You can't see what I've done
|
||
The perfect hem
|
||
underneath.
|
||
|
||
Only the frills and lace show
|
||
Not the seam
|
||
sewn arrow straight.
|
||
|
||
You'll only see
|
||
The flowers and bows
|
||
not the lining.
|
||
|
||
You don't deserve to see
|
||
Such a beautiful dress
|
||
worn only on Sunday.
|
||
|
||
The beauty is embedded
|
||
In the fabric
|
||
pressed neatly smooth.
|
||
|
||
Don't look at my dress
|
||
You won't see its beauty
|
||
until crumpled on the floor.
|
||
|
||
|
||
|
||
|
||
"I have never heard of an ex-feminist. Ex-Communists, ex-Moonie,
|
||
ex-convicts, but no ex-feminists. Once that light goes on at whatever
|
||
age, it remains on." Ä Alix Kates Shulman
|
||
|
||
|
||
|
||
|
||
Blind Date
|
||
þ C. Dianne Long
|
||
ùúùúùúùúùúùúùúùú
|
||
|
||
Silver taped
|
||
blowhole
|
||
roped feet and hands
|
||
broken glass
|
||
swollen eye
|
||
purple nose
|
||
bloody thighs
|
||
shiny watch still
|
||
in place
|
||
tissue ripping
|
||
fingers gripping
|
||
my own flesh
|
||
was it
|
||
the two drink
|
||
minimum
|
||
or my short skirt
|
||
or the girl
|
||
that stood him up
|
||
either way
|
||
I'm here
|
||
its done
|
||
and
|
||
each night
|
||
a part of me cracks open
|
||
and dies
|
||
wondering why
|
||
As he
|
||
continues to
|
||
tip
|
||
the waitresses.
|
||
|
||
|
||
|
||
|
||
Bottom
|
||
þ Tool
|
||
ùúùúùú
|
||
|
||
Impression is broken now. The wounds, they're erupting now.
|
||
Desire is broken now. Makes me feel ugly.
|
||
I'm on my knees and burning; my fits and moans are human.
|
||
I set my head on fire. Smell my soul, it's burning.
|
||
Broken, lookin' up, I see the enemy.
|
||
And I have swallowed the poison you bein' me
|
||
But I survive on the poison of bein' me
|
||
Guilt within. Hatred within. Weakness within.
|
||
And it makes me feel ugly.
|
||
I'm on my knees and burning, my fits and moans are human.
|
||
I set my head on fire. I'm dead inside.
|
||
Shit adds up at the bottom.
|
||
|
||
If I let you, you would make me destroy myself. In order to
|
||
survive you, I must first survive myself. I can sink no
|
||
further, and I cannot forgive you. There's no choice but to
|
||
confront you, to engage you, to erase you. I've gone to great
|
||
lengths to expand my threshold of pain. I will use my
|
||
mistakes against you. There is no other choice. Shameless
|
||
now. Nameless now. Nothing now. No one now. But my soul
|
||
must be iron 'cause my fear is naked. I'm naked and fearless,
|
||
and my fear is naked.
|
||
|
||
Dead inside...
|
||
Nameless now. Shameless now. Nothing now. No one now.
|
||
(Shit adds up) As you see me naked now. Fearless now.
|
||
Naked now. Fearless now.
|
||
(Shit adds up) It leaves me dead inside. Dead inside.
|
||
|
||
Hatred keeps me alive. Hunger has kept me alive.
|
||
Weakness keeps me alive. Guilt keeps me alive at the bottom.
|
||
|
||
|
||
|
||
|
||
"I've got enough guilt to start my own religion." Ä Tori Amos
|
||
|
||
|
||
|
||
|
||
Bound
|
||
þ Twilight
|
||
ùúùúùúùúùú
|
||
|
||
pierced gushy eyes -
|
||
staring, pins outward,
|
||
sharp points.
|
||
|
||
running waterfalls -
|
||
mixed clear and crimson,
|
||
interweaving pink.
|
||
|
||
dripping onto chestplate -
|
||
seeping into heart,
|
||
shaping funnels.
|
||
|
||
velvet-red like a robin's breast -
|
||
furiously bright,
|
||
but tenderly sore.
|
||
|
||
eager to rise -
|
||
aflight with broken wings,
|
||
but leaden down.
|
||
|
||
punch through the alloy cage -
|
||
from tarnished wire,
|
||
to another light.
|
||
|
||
|
||
|
||
|
||
"Eternally may sad waves wail his death,
|
||
Choke in their grief 'mongst rocks where he has lain,
|
||
Or heave in silence, yearning with hushed breath,
|
||
While mournfully trail the slow-moved mists and rain,
|
||
And softly the small drops slide from weeping trees,
|
||
Quivering in anguish to the sobbing breeze." Ä Winfred Owen
|
||
|
||
|
||
|
||
|
||
Concrete
|
||
þ Ray Heinrich
|
||
ùúùúùúùúùúùúùú
|
||
|
||
a condominium on the 23rd floor
|
||
one with a balcony
|
||
is NOT the place
|
||
for a poet
|
||
or even someone who pretends to be
|
||
a poet
|
||
you see
|
||
there is a sliding glass door to the balcony
|
||
and you open it and walk six feet
|
||
to the railing which is three feet high
|
||
and look down
|
||
23 floors
|
||
to
|
||
pavement
|
||
concrete with gravel
|
||
that gives it
|
||
a little texture
|
||
makes it
|
||
seem hospitable
|
||
but
|
||
from 23 floors up
|
||
it
|
||
is just as hard
|
||
as life
|
||
|
||
|
||
|
||
|
||
"We all enter this world in the same way: naked, screaming, soaked in blood.
|
||
But if you live your life right, that kind of thing doesn't have to stop
|
||
there." Ä Dana Gould
|
||
|
||
|
||
|
||
|
||
Darkness
|
||
þ Renee Medeiros
|
||
ùúùúùúùúùúùúùúùú
|
||
|
||
a man
|
||
with broad shoulders
|
||
huge eyes
|
||
glowing
|
||
a frightening shade of red,
|
||
dressed in black.
|
||
I see him walking
|
||
with a light step.
|
||
He floats,
|
||
above a fog
|
||
a black cloud.
|
||
He reaches out
|
||
His long, thin, pale hand,
|
||
grasping for something,
|
||
I will not give up.
|
||
He speaks,
|
||
with a whisper
|
||
barely audible,
|
||
yet able to shatter glass
|
||
With a voice,
|
||
sharp and cold,
|
||
my name.
|
||
We face,
|
||
each solid
|
||
brave.
|
||
He smiles,
|
||
a toothy grin,
|
||
in a drawn face,
|
||
lips scarlet
|
||
his mouth a dark hole.
|
||
He opens his arms,
|
||
thin and long.
|
||
I feel the fog
|
||
at my feet.
|
||
He pleads,
|
||
for me to join him
|
||
I am alone
|
||
I am not afraid
|
||
I do.
|
||
We embrace
|
||
becoming acquainted
|
||
becoming friends.
|
||
He offers
|
||
to keep me company
|
||
a companion
|
||
another man to embrace
|
||
to become a family.
|
||
I smile,
|
||
I am not alone,
|
||
I know him
|
||
too well to distrust.
|
||
He turns
|
||
calls forth
|
||
his friend
|
||
Death.
|
||
|
||
|
||
|
||
|
||
Dyers Eve
|
||
þ James Hetfield
|
||
ùúùúùúùúùúùúùúùú
|
||
|
||
Dear Mother
|
||
Dear Father
|
||
What is this hell you have put me through
|
||
Believer
|
||
Deceiver
|
||
Day in day out live my life through you
|
||
Pushed onto me what's wrong or right
|
||
Hidden from this thing that they call life
|
||
|
||
Dear Mother
|
||
Dear Father
|
||
Every thought I'd think you'd disapprove
|
||
Curator
|
||
Dictator
|
||
Always censoring my every move
|
||
Children are seen but are not heard
|
||
Tear out everything inspired
|
||
|
||
Innocence
|
||
Torn from me without your shelter
|
||
Barred reality
|
||
I'm living blindly
|
||
|
||
Dear Mother
|
||
Dear Father
|
||
Time has frozen still what's left to be
|
||
Hear nothing
|
||
Say nothing
|
||
Cannot face the fact I think for me
|
||
No guarantee, it's life as is
|
||
But damn you for not giving me my chance
|
||
|
||
Dear Mother
|
||
Dear Father
|
||
You've clipped my wings before I learned to fly
|
||
Unspoiled
|
||
Unspoken
|
||
I've outgrown that fucking lullaby
|
||
Same thing I've always heard from you
|
||
Do as I say not as I do
|
||
|
||
Innocence
|
||
Torn from me without your shelter
|
||
Barred reality
|
||
I'm living blindly
|
||
|
||
I'm in hell without you
|
||
Cannot cope without you two
|
||
Shocked at the world that I see
|
||
Innocent victim please rescue me
|
||
|
||
Dear Mother
|
||
Dear Father
|
||
Hidden in your world you've made for me
|
||
I'm seething
|
||
I'm bleeding
|
||
Ripping wounds in me that never heal
|
||
Undying spite I feel for you
|
||
Living out this hell you always knew
|
||
|
||
|
||
|
||
|
||
Event
|
||
þ Sylvia Plath
|
||
ùúùúùúùúùúùúùú
|
||
|
||
How the elements solidify!
|
||
The moonlight, that chalk cliff
|
||
In whose rift we lie
|
||
Back to back. I hear an owl cry
|
||
From its cold indigo.
|
||
Intolerable vowels enter my heart.
|
||
The child in the white crib revolves and sighs,
|
||
Opens its mouth now, demanding.
|
||
His little face is carved in pained, red wood.
|
||
Then there are the stars - ineradicable, hard.
|
||
One touch: it burns and sickens.
|
||
I cannot see your eyes.
|
||
Where apple bloom ices the night
|
||
I walk in a ring,
|
||
A groove of old faults, deep and bitter.
|
||
Love cannot come here.
|
||
A black gap discloses itself.
|
||
On the opposite lip
|
||
A small white soul is waving, a small white maggot.
|
||
My limbs, also, have left me.
|
||
Who has dismembered us?
|
||
The dark is melting. We touch like cripples.
|
||
|
||
|
||
|
||
|
||
Flood
|
||
þ Tool
|
||
ùúùúùú
|
||
|
||
All I knew. All I believe.
|
||
Crumbling images no longer comfort me.
|
||
Scramble to reach higher ground.
|
||
Order and sanity something to comfort me.
|
||
|
||
I'll take what is mine, hold what is mine,
|
||
Suffocate what is mine, bury what's mine.
|
||
Soon the water will come and claim what is mine.
|
||
I must leave it behind and climb to a new place now.
|
||
|
||
This ground is not the rock I thought it would be.
|
||
|
||
Thought I was high. Thought I was free.
|
||
Thought I was there to find destiny.
|
||
I was wrong. This changes everything.
|
||
|
||
Running away, got me running away.
|
||
Now I'm running away.
|
||
|
||
I'll take what is mine, hold what is mine,
|
||
Suffocate what is mine, bury what's mine.
|
||
Soon the water will come and claim what is mine.
|
||
I must leave it behind and climb to a new place.
|
||
|
||
Water rises over me
|
||
Said the water rises over me
|
||
So will someone come deliver me
|
||
But it seems they've come to punish me instead
|
||
|
||
Die...
|
||
|
||
Ground break down right under me.
|
||
Cleanse and purge me in the water.
|
||
|
||
|
||
|
||
|
||
In A Darkened Room
|
||
þ Sebastian Bach, Rachel Bolan & Dave Sabo
|
||
ùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúù
|
||
|
||
In a darkened room
|
||
Beyond the reach of God's faith
|
||
Lies the wounded, the shattered remains of
|
||
love betrayed
|
||
And the innocence of a child is bought
|
||
and sold
|
||
In the name of the damned
|
||
The rage of the angels left silent and cold
|
||
|
||
Forgive me please for I know not what I do
|
||
How can I keep inside the hurt I know
|
||
is true
|
||
|
||
Tell me when the kiss of love becomes a lie
|
||
That bears the scar of sin too deep
|
||
To hide behind this fear of running
|
||
onto you
|
||
Please let there be light
|
||
In a darkened room
|
||
|
||
All the precious times have been put to
|
||
rest again
|
||
And the smile of the dawn
|
||
Brings tainted lust singing my requiem
|
||
Can I face the day when I'm tortured
|
||
in my trust
|
||
And watch it crystalize
|
||
While my salvation, it crumbles to dust
|
||
|
||
Why can't I steer the ship before it hits
|
||
the storm
|
||
I've fallen to the sea but still I swim
|
||
for shore
|
||
|
||
Tell me when the kiss of love becomes a lie
|
||
That bears the scar of sin too deep
|
||
To hide behind this fear of running
|
||
unto you
|
||
Please let there be light
|
||
In a darkened room
|
||
|
||
|
||
|
||
|
||
"Promises are like spiderwebs we weave to trap our own dreams, but dreams
|
||
have a way of thinning out until you're left with nothing but the web."
|
||
Ä 'V. C. Andrews'
|
||
|
||
|
||
|
||
|
||
Let Me Go
|
||
þ Twilight
|
||
ùúùúùúùúùú
|
||
|
||
why did you rush at me
|
||
take away the gun from me
|
||
it was so softly nestled
|
||
in the fleshy pit of my temple
|
||
why continue my ceaseless crying
|
||
why pretend that you care
|
||
with those falsely-lit pearly teeth
|
||
lying through those teeth
|
||
eyes glassed over in deceit
|
||
but then why do they cry
|
||
is it a lie
|
||
why do you still want me here
|
||
do you enjoy prolonging my suffering
|
||
continuing this horrid thing
|
||
that they - laughingly - call "life"?
|
||
|
||
why did you grab my wrists
|
||
wrap my wrists in gauze white
|
||
they were so eagerly flowing
|
||
in dark, peaceful crimson
|
||
why bar my entrance to peace
|
||
why pretend that you care
|
||
with that selfish, sexual look
|
||
eyes glazed over in lust
|
||
carefully disguised as empathy
|
||
is it a lie
|
||
why do you still want me here
|
||
do you enjoy prolonging my pain
|
||
continuing this awful thing
|
||
that they - jokingly - call "life"?
|
||
|
||
why did you slap the bottle away
|
||
why did you take my pills from me
|
||
they were lovingly working wonders
|
||
gently slowing down responses
|
||
why continue this agony
|
||
why even try to relate
|
||
with that tongue that creates
|
||
your own tragedies with make-believe
|
||
tears cried, an actor's tears
|
||
red and puffy from practiced plays
|
||
is it a lie
|
||
why do you still want me here
|
||
do you enjoy prolonging my torture
|
||
continuing this miserable thing
|
||
that they - sardonically - call "life"?
|
||
|
||
why did you run at me with the chair
|
||
put the chair back underneath my toes
|
||
i was dangling like a stringed puppet
|
||
waiting for the curtains to close
|
||
why won't you let me out of this dungeon
|
||
why pretend that you don't have the key
|
||
with that hand hid behind your back
|
||
grinning unmercifully, playing keep-away
|
||
from this monkey in the middle
|
||
who only wants release from captivity
|
||
is it a lie
|
||
why do you still want me here
|
||
do you enjoy prolonging my suffering
|
||
continuing this masochistic thing
|
||
that they - amusingly - call "life"?
|
||
|
||
why can't you just let me go
|
||
let me go in peace
|
||
do you enjoy me in misery
|
||
do you love the upper hand...
|
||
or can it possibly be
|
||
that you rush at me,
|
||
grab at me, slap at me,
|
||
run at me...
|
||
because you actually
|
||
love...
|
||
me?
|
||
|
||
|
||
|
||
|
||
"When someone says 'Have a nice day', tell them you have other plans."
|
||
|
||
|
||
|
||
|
||
Lucidity
|
||
þ LaceyL@aol.com
|
||
ùúùúùúùúùúùúùúùú
|
||
|
||
Falling, blinking, through beauty and lost time
|
||
Crystal clear and the words connect within
|
||
Familiar emotion nightwalks a chime
|
||
The faint sound hints to me it will begin
|
||
God take me to this far off glitter land...
|
||
Symbol of empathy lies in a letter
|
||
Soul of a man is in peace with his band
|
||
One day we will meet, rest, peace and be better
|
||
But do those who read this know where I'm from?
|
||
You laughing, saying, "Beautiful Loser"
|
||
Thinking of his outer looks make you cum
|
||
How can you not look inside? - a chooser
|
||
But now take me away - green hills and sun
|
||
Where love is the power and all is fun
|
||
|
||
|
||
|
||
|
||
Maybe Solo
|
||
þ Stephen Lush
|
||
ùúùúùúùúùúùúùú
|
||
|
||
maybe your social life is better than mine
|
||
maybe it isn't
|
||
maybe we can meet halfway
|
||
maybe we can rule the world
|
||
maybe we can rule our trailer home
|
||
maybe we can conquer our fears
|
||
maybe we can shrug them off and have fun
|
||
maybe we can lose ourselves
|
||
maybe we can find ourselves
|
||
maybe you could give me your name
|
||
maybe you shouldn't tell me
|
||
maybe it wasn't meant to be
|
||
maybe it's all too perfect
|
||
maybe I'm paranoid
|
||
maybe I'm saner than most
|
||
maybe you're jealous
|
||
maybe I'm egotistical
|
||
maybe you could give me some food
|
||
maybe I can give you something back
|
||
maybe you're better than me
|
||
maybe you're stronger
|
||
maybe you've found the way
|
||
that I can see no longer
|
||
maybe I get too much attention
|
||
maybe I deserve what I have
|
||
maybe I should give it away
|
||
the guilt of owning what isn't to be had
|
||
maybe we're allowed pride
|
||
maybe that's something for others to hide
|
||
maybe we can have just one wish
|
||
maybe you could give me another kiss
|
||
maybe you'll be my last reason
|
||
maybe you'll be my last hope
|
||
maybe I shouldn't have left
|
||
maybe I shouldn't mope
|
||
sometimes I think you're for me
|
||
sometimes I think I'm for you
|
||
at times we are uncertain
|
||
at times we are uncool
|
||
look deep inside my maybe soul
|
||
and cherish it with care
|
||
god forbid I lose what I live for
|
||
maybe I shouldn't dare.
|
||
|
||
|
||
|
||
|
||
"Experience is the name everyone gives to their mistakes." Ä Oscar Wilde
|
||
|
||
|
||
|
||
|
||
Mental Cases
|
||
þ Winfred Owen
|
||
ùúùúùúùúùúùúùú
|
||
|
||
Who are these? Why sit they here in twilight?
|
||
Wherefore rock they, purgatorial shadows,
|
||
Drooping tongues from jaws that slob their relish,
|
||
Baring teeth that leer like skulls' teeth wicked?
|
||
Stroke on stroke of pain, - but what slow panic,
|
||
Gouged these chasms round their fretted sockets?
|
||
Ever from their hair and through their hands' palms
|
||
Misery swelters. Surely we have perished
|
||
Sleeping, and walk hell; but who these hellish?
|
||
|
||
- These are men whose minds the Dead have ravished.
|
||
Memory fingers in their hair of murders,
|
||
Multitudinous murders they once witnessed.
|
||
Wading sloughs of flesh these helpless wander,
|
||
Treading blood from lungs tat had loved laughter.
|
||
Always they must see these thigns and hear them,
|
||
Batter of guns and shatter of flying muscles,
|
||
Carnage incomparable, and human squander
|
||
Rucked too thick for these men's extrication.
|
||
|
||
Therefore still their eyeballs shrink tormented
|
||
Back into their brains, because on their sense
|
||
Sunlight seems a blood-smear; night comes blood-black;
|
||
Dawn breaks open like a wound that bleeds afresh.
|
||
- Thus their heads wear this hilarious, hideous,
|
||
Awful falseness of set-smiling corpses.
|
||
- Thus their hands are plucking at each other;
|
||
Picking at the rope-knouts of their scourging;
|
||
Snatching after us who smote them, brother,
|
||
Pawing us who dealt them war and madness.
|
||
|
||
|
||
|
||
|
||
My Black Shoe
|
||
þ Eu-Ming Lee
|
||
ùúùúùúùúùúùúù
|
||
|
||
My girl, I know you're chanting
|
||
your mantra again.
|
||
Though your thin lips are still,
|
||
and your blue eyes unwavering,
|
||
their tautness and dullness
|
||
reveal the secret song you sing.
|
||
Though you turn your back
|
||
and your gaze casts through me,
|
||
I know your soul yet:
|
||
Taut tarnished brass harp string
|
||
accidentally plucked by God's clumsy thumb--
|
||
buzzing and wailing in ugly disharmony.
|
||
I hear you, my girl, it's true:
|
||
That jangle-toothed saw
|
||
clawing your soul---
|
||
you do not do, you do not do.
|
||
Hear me out, my girl.
|
||
My soul is noisy and rattles and wheezes
|
||
like a sick horse, stomps around and lingers,
|
||
that lame goat.
|
||
Though more annoyance than music,
|
||
you cannot deny our queer resonance.
|
||
Listen, I don't want a mythic goddess,
|
||
I just want my girl.
|
||
For though the world
|
||
may feast upon your words and noisy soul,
|
||
forever---
|
||
It is I,
|
||
alone---
|
||
who shall starve when no sensuous smile
|
||
and no soft laughter
|
||
shall sing---
|
||
with me
|
||
anymore, black shoe.
|
||
|
||
|
||
|
||
|
||
Overabundance
|
||
þ Autumn Silver
|
||
ùúùúùúùúùúùúùúù
|
||
|
||
morbid
|
||
glistening
|
||
tangled in my hair
|
||
sliding off the curb
|
||
in bloody puddles
|
||
and the rain washing away
|
||
the death
|
||
to be replaced with pain
|
||
tears burning through laughter
|
||
smiling of death
|
||
greet the reaper with a kiss
|
||
and watch the blood flow
|
||
white wrists with pink scars
|
||
beneath anguished, dead eyes
|
||
fingers idly stroking the gun
|
||
hot metal warming cold hearts
|
||
screaming inside my head
|
||
until the explosion comes
|
||
blood spattered on the walls
|
||
screaming, screaming aloud
|
||
laughter and sickness
|
||
dead silence
|
||
dead
|
||
screaming
|
||
morbid
|
||
|
||
|
||
|
||
|
||
"Tragedy is the art form that revels in death as if death were a kind of
|
||
transfiguring experience and not the portal to mere deadness."
|
||
Ä Joyce Carol Oates
|
||
|
||
|
||
|
||
|
||
Passion
|
||
þ Zac Maloy
|
||
ùúùúùúùúùúù
|
||
|
||
He doesn't see her anymore, and yet she stands in front of him
|
||
No communication, only empty words are spoken
|
||
With a memory, she lingers on and on and on
|
||
For a moment, she'll just close her eyes and drift away
|
||
|
||
He doesn't see her anymore
|
||
Somehow forgotten what it is he promised to be here for
|
||
But there's something there, something left
|
||
That keeps her by his side, close her eyes...
|
||
She remembers the passion
|
||
|
||
Doesn't feel her breath, her kiss, and yet she lies beside him
|
||
No imagination, keeps two steps back - two steps back
|
||
With a memory she lingers on and on and on
|
||
For a moment she'll just close her eyes - remember when
|
||
|
||
He doesn't see her anymore
|
||
Somehow forgotten what it is he promised to be here for
|
||
But there's something left, something there
|
||
That keeps her by his side, close her eyes...
|
||
She remembers.
|
||
|
||
She remembers him, she remembers why she came here
|
||
from far away to find her way through fairy tales...
|
||
|
||
He doesn't see her anymore
|
||
Somehow forgotten what he promised to be there for
|
||
But there's something there, something left
|
||
Keeps her by his side
|
||
Something there, something strong that keeps her hanging on.
|
||
Close her eyes and they remember why it is they promise to be here
|
||
Close her eyes
|
||
She remembers the passion
|
||
|
||
|
||
|
||
|
||
Please Come To Boston
|
||
þ D. A. Loggins
|
||
ùúùúùúùúùúùúùúùúùúùúù
|
||
|
||
Please come to Boston for the springtime
|
||
I'm staying here with some friends and they've got lots of room
|
||
You can sell your paintings on the sidewalk
|
||
By a cafe where I hope to be working soon
|
||
|
||
Please come to Boston
|
||
She said "No, you come home to me."
|
||
She said "Ramblin' boy, why don't ya settle down?
|
||
Boston ain't your kind of town
|
||
There ain't no gold and there ain't nobody like me
|
||
I'm the number one fan of a man from Tennessee..."
|
||
|
||
Please come to Denver where the snow falls
|
||
We'll move up into the mountains so high that we can't be found
|
||
Yell "I love you"s echoing down the canyon
|
||
And we'll lie awake at night 'til they come back around
|
||
|
||
Please come to Boston
|
||
She said "No, you come home to me."
|
||
She said "Ramblin' boy, won't ya settle down?
|
||
Boston ain't your kinda town
|
||
There ain't no gold and there ain't nobody like me
|
||
I'm the number one fan of a man from Tennessee..."
|
||
|
||
Please come to L.A., we'll live forever
|
||
The California life alone is just too hard to bear
|
||
We'll live in a house that looks out over the ocean
|
||
And we'll see stars fall from the sky, livin' up on the hill
|
||
|
||
Please come to Boston
|
||
She said "No, you come home to me."
|
||
She said "Ramblin' boy, won't ya settle down?
|
||
Boston ain't your kinda town
|
||
There ain't no gold and there ain't nobody like me
|
||
I'm the number one fan of a man from Tennessee..."
|
||
|
||
|
||
|
||
|
||
"Life moves pretty fast. You don't stop and look around once in awhile, you
|
||
could miss it." Ä _Ferris Bueller's Day Off_
|
||
|
||
|
||
|
||
|
||
Psycho Love
|
||
þ Rachel Bolan
|
||
ùúùúùúùúùúùúùú
|
||
|
||
Check out Clementine
|
||
Cleanin' needles in her wine
|
||
Face down in her one-eyed world
|
||
With her brain-dead valentine
|
||
|
||
She'll be your zombie, your livin' dead
|
||
Her sweet corruption
|
||
It's gonna make you, gonna break you
|
||
Ohh yeah, she said...
|
||
|
||
Haunt my house of pain
|
||
And feel my psycho love
|
||
We'll shine and pray for rain
|
||
To heal my psycho love
|
||
|
||
Legs at ten and two
|
||
Chain her down that's what you do
|
||
King Tut and snake-eyed slut
|
||
In the pink but screamin' blue
|
||
|
||
I'll taste your crazy, you smell insane
|
||
I'm just another ghost
|
||
Inside your spirits hall of fame
|
||
|
||
Haunt my house of pain
|
||
And feel my psycho love
|
||
We'll shine and pray for rain
|
||
To heal my psycho love
|
||
|
||
As the warm smooth soul
|
||
Chases through the cold silence of a body
|
||
A body of touch not feel
|
||
One question, is she a stone in the
|
||
devil's garden
|
||
Or a speck in an angel's dust
|
||
Ashes to ashes
|
||
And lust to lust
|
||
|
||
She'll teach you true love
|
||
Watchin' you turn blue, love
|
||
She'll wrap you in a chokehold
|
||
And suck your spirit dry
|
||
|
||
|
||
|
||
|
||
"Sex without meaning is like sleep without dreaming."
|
||
|
||
|
||
|
||
|
||
Quicksand Jesus
|
||
þ Rachel Bolan & Dave Sabo
|
||
ùúùúùúùúùúùúùúùúùúùúùúùúùú
|
||
|
||
She caught the melting sky
|
||
It burned, but still the winter passes
|
||
by and by
|
||
To the other side
|
||
|
||
A slow parade of wind
|
||
That blows through threes
|
||
That wilted with the season's children
|
||
|
||
Are we saved by the words of bastard saints
|
||
Do we live in fear or faith
|
||
Tell me now who's behind the rain
|
||
|
||
A maze of tangled grace
|
||
The symptoms of 'for real' are crumbling
|
||
from embrace
|
||
But still we chase...the shadows of belief
|
||
And new relgion clouds our visions of the
|
||
roots of our souls
|
||
|
||
Are we ashamed of our own fate
|
||
Or play the fool for our own sake
|
||
Tell me who's behind the rain
|
||
|
||
What do we need where do we go
|
||
When we get where we don't know
|
||
Why should we doubt the virgin white of
|
||
fallen snow
|
||
When faith's our shelter from the cold
|
||
|
||
Quicksand Jesus, I'm so far away
|
||
without you
|
||
Quicksand Jesus, I'm so far away
|
||
without you
|
||
Quicksand Jesus, I'm so far away
|
||
without you
|
||
|
||
Quicksand Jesus, I need you
|
||
Quicksand Jesus, I believe you
|
||
Quicksand Jesus, I'm so far away
|
||
|
||
|
||
|
||
|
||
"God offers to every mind its choice between truth and repose. Take which you
|
||
please; you can never have both." Ä Ralph Waldo Emerson
|
||
|
||
|
||
|
||
|
||
Routine 1996
|
||
þ Victor Saunders
|
||
ùúùúùúùúùúùúùúùúù
|
||
|
||
Why have ya come to my confession box? Because you want to be absolved of
|
||
your sins. I see. Before ya begin, I don't want no half-truths. I expect all
|
||
your sins ta come a pourin out. What's that? I don't sound like a killer.
|
||
How does a killer sound then? You don't know. What, like in the same way you
|
||
don't know if I'm training a gun at your head from behind this partition. How
|
||
do I know you're not doin the same? Because if you was, this conversation
|
||
wouldn't be happenin. Know what I'm sayin. What do you mean it disgusts you
|
||
that I use the holy order as a front to cover up my murderous lifestyle? Well
|
||
ain't that just too bad. Anyway, let's stop fuckin around and get to the real
|
||
reason you came here today. Oh be real, you've come here for something more
|
||
than a confession my friend so don't lay that bullshit on me. You've come to
|
||
me because you want someone killed. Yes, you're absolutely right, you don't
|
||
have ta take this kind of talk from me. You can walk right out of here and
|
||
get yourself another killer. But ya won't do that cause you know I'm the best
|
||
there is. Do I enjoy putting you through this humiliation? No. There's not
|
||
one thing about you I enjoy. If you want the truth, I'm indifferent to your
|
||
existence. Within my life you're represented as a bundle of notes. To come
|
||
here and imagine you are anything else is a mistake.
|
||
|
||
Just a little question before we begin. Do you have any problems with
|
||
duality? What kinda question is that? Well it's a relevant question of
|
||
course. For my information you don't have any problems with duality. That
|
||
surprises me, cause when I met you and your bodyguards earlier, I could've
|
||
sworn you were rude to me. You don't remember meeting me? Then perhaps you
|
||
should cast your mind back to the guy who asked you why you were harassing
|
||
the beggar sleeping in your office doorway. Ah, you remember now. You
|
||
thought I was going to attack you. Is that why you had your bodyguards rough
|
||
me up? It wasn't personal? What, so if I came round the other side of this
|
||
partition and dished you out a beatin, you wouldn't think of it as an assault
|
||
on your person? How would I like it if I found a guy sleeping in my front
|
||
porch and the next minute, another guy steps up behind me? To be perfectly
|
||
honest, I wouldn't mind. A man has to sleep somewhere. As for steppin up.
|
||
The only person who was doin that was you and ya bodyguards. What do ya mean
|
||
I don't arrive at my office every day with roaches beggin out front? What
|
||
the fuck are you if ya ain't a roach?
|
||
|
||
I should be careful in case a description of me falls on a homicide cop's
|
||
desk. Well ain't that somethin, a big old gangster like yaself threatenin me
|
||
with the pigs. Don't surprise me though, pig or gangster, you're all the same
|
||
ta me. Anyway, if ya so friendly with the cops, how come ya don't get one of
|
||
them ta do the hit for ya? It's none of my business. No, you're right, it is
|
||
none of my business. Though it becomes my business when ya get your guards ta
|
||
push me around while ya big up yaself in my face. It was a mistake? Keep
|
||
makin em, man. No, that's not a threat. It's called good advice. You don't
|
||
take advice from suckers like me. I commend your boldness, seein as none of
|
||
your guards are around. For my information, they are around. You had three
|
||
of them stake out the church in case anything went wrong? Yea, I guess you're
|
||
right, my voice has gone all quaky - but then so would yours if someone
|
||
reminded you that earlier you shot dead those same three guards. You don't
|
||
believe me. Here, take a look at these; then tell me I'm lyin. Hey, you're
|
||
shakin all of a sudden. See, I knew ya had a problem with duality. And there
|
||
was you, all shy ta tell me, as if I was some kinda insensitive type who'd
|
||
take advantage of a man who no longer had the luxury of three heavily armed
|
||
friends to do his fightin for him.
|
||
|
||
Hold back the tears for the minute, my friend, and savor the cozy scene.
|
||
Ah, almost brings a tear to my own eye. Hey, man, I know us two bein alone
|
||
in here in my humble church is a beautiful moment, but there's really no need
|
||
for so much tears. Oops, silly me. For a second I thought you was cryin
|
||
cause ya felt the beauty of our moment together.
|
||
|
||
I should have realized you were cryin cause you think I'm gonna blow ya
|
||
away. Sorry, I'm a little insensitive ta some vibes. Ya know, they just
|
||
don't get through. Anyway, ya can rest yaself, cause I ain't gonna shoot
|
||
ya - well, not yet anyway. See, when I destroy, I create. Why ya lookin so
|
||
down, man, you're in the presence of an artist who takes great pride in his
|
||
work. Shit, when was the last time ya was in such company? Speak up, man,
|
||
you're all mumblin on me. You've wet your crotch! Oh fa christ sakes, why
|
||
didn't ya use the toilet like everyone else?
|
||
|
||
Why are ya passin me the collection box? Are ya makin a donation to the
|
||
church restoration fund? Or are ya just hopin this little bribe will make me
|
||
forget this morning's events? It's a gift. Thanks very much; I love
|
||
gifts - except when they're not really gifts at all, but a bribe from a sad
|
||
little sucker like yaself. No, please, there's really no need ta explain; I
|
||
understand clear as crystal. See, I've had the misfortune to breathe the
|
||
same air as the likes of you all my life. The greedy sucker who thinks he
|
||
can solve any problem with a fat bundle of crisp notes. Sadly, my friend, I'm
|
||
very flush on the cash front so I can't be bought. Though seein as you've
|
||
given me this tidy sum, I'll see it goes to the charity of my choice - may
|
||
even give it to the guy you kicked outta ya doorway this mornin. Hey, why
|
||
are ya runnin ta the door? Don't ya know churches are always locked nowadays.
|
||
Ya know, theft, vandalism. A defenseless priest like myself just can't be too
|
||
careful.
|
||
|
||
What's this ya throwin at me? Well lookie here. It's a fatter, crisper
|
||
bundle of notes? Well thanks again. What is it for this time? New Year
|
||
spirit, you say. How commendable. We can be friends? What ever gave ya
|
||
that idea? Oh, of course, it's New Year's Eve, I forgot. Here, pull up a
|
||
chair and join me in celebration. Oh, for christsake, stop fiddlin with the
|
||
door and come and sit down. There, that's better. Sit yaself right down
|
||
and ree-lax. So what was ya wishin for in the new year? Optimism and cheer,
|
||
you say. Let's just clear the air with a little bit of reality. When you're
|
||
celebratin and slappin each other on the back and shouting Hap-pey newoo
|
||
ye-aragh and tellin everyone how ya gonna win the lottery and gonna get ridda
|
||
the car and buy a bike and ride ta work and get fit and stop smokin and save
|
||
more money and drink less and earn more and buy a bigger house and move to a
|
||
better area and...
|
||
|
||
And you'll do none of these things. You'll still be a fat, nicotine
|
||
loaded, scared, confused, spiritually impoverished sucker. Though that
|
||
wasn't the point I was goin ta make; that was just a little aside - ya know,
|
||
somethin I had ta get outta my system. Anyway, what I was gonna say was this.
|
||
When all you guys are havin a great time sayin all that ha-ppey new ye-ar
|
||
stuff, there'll be: women bein raped, kids bein molested, people bein
|
||
stabbed, people bein shot, people bein dumped by their family/friends/
|
||
themselves, people livin in hell.
|
||
|
||
Hey, I'm sorry, have I put you on a downer? Here, have some holy water. Oh
|
||
shit, I'm really sorry, man, someone must have put acid in the water
|
||
receptacle by mistake. Wait til I see my assistant. Here use this cloth ta
|
||
wipe ya face. Sorry, could ya say that again. What, with ya screamin and
|
||
everything, I can't hear what ya sayin. Oh right, ya sayin ya need a hosp and
|
||
not a cloth. What the fuck is a hosp? Look, if ya don't calm down, I won't
|
||
be able ta hear ya, and if I can't hear ya, I can't help ya, can I. Now run
|
||
it past me again. This time a little slower. Hosp? I ain't gettin ya man.
|
||
Whatever it is ya tryna tell me, it's just a passin me by. Ya know flo...in
|
||
right over my head.
|
||
|
||
Anyway, let's get back to the murder ya want me ta commit. Er, hallo, is
|
||
anybody in? Ah, for christsakes, what is it now? Ya want me ta take you
|
||
where? Look, stop screamin and flayin ya limbs around and tell me what it
|
||
is ya want. Ya want me ta take ya to a hosp. Look man I don't wanna sound
|
||
repetitive, but I thought we'd both agreed that hosp means very little ta me.
|
||
Hosp? What is it, a word ya made up, like ya own kinda slang or somethin?
|
||
Are you listenin ta me? Or are ya thinkin of a way to communicate hosp to me.
|
||
Ah, whatever. The deal! Christ, I almost forgot about the murder you want me
|
||
to commit on your behalf. Now go through the details slowly, an I'll repeat
|
||
them back to ya. The ac-id h-as bur, burn, burn-t ya ska-in and ya ner-eed ta
|
||
ger-oo to tha hos, hosp, hospit. The hospital! Christ, why didn't ya just
|
||
say - aggh, I get it now, when you said hosp you meant hospital. Jesus, I'm
|
||
so dumb sometimes. I should have realized acid burns flesh. Look, man, I'm
|
||
really sorry. Ya not gonna hold it against me, are ya? I mean anyone can
|
||
forget that if ya throw acid inta someone's face, it'll really fuck up their
|
||
complexion. I mean you must have known. Why didn't you say something - oh
|
||
shit, there I go again, forgettin myself. The receptacles they were - well,
|
||
ya know what happened. Hey, look, I, er, take full er responsibility for
|
||
what's, er, happened here today. I promise I'll, er, compensate you so to,
|
||
er, speak. How's the acid coming along. Um, looks a bit sore. Does it hurt?
|
||
|
||
Ha ha ha - just a little joke. Ha ha ha. Come on, lighten up, it's New Year
|
||
after all. That's better. Here, sit back down; let's have a chat. How ya
|
||
soul shapin up? I hope it's clean, cause God don't like dirty souls. What's
|
||
that? You'll give me anything I want if I let ya go. Anything I want. Umm
|
||
that's quite a proposition. Tell ya what. How bout me and you havin a little
|
||
talk about God, souls and the afterlife. You think that's a good idea?
|
||
Great, then fire away.
|
||
|
||
Am I gonna kill ya? Are ya askin that question in relation to, er, God and
|
||
the, er, afterlife? Was that a yes? It was - good. Now I want ta ask ya
|
||
a very serious question. Are ya ready. OK. When ya dead do ya think ya have
|
||
ta accept God's judgment? You wouldn't claim ta know what happens when ya
|
||
die. Well that's unusually modest of you. The way you go on, I thought you
|
||
had a direct line with the Almighty. Don't defame the word of God? Why not?
|
||
After all, that's what he wants ya ta do. He wants ya ta make your own
|
||
decisions. Ya know, be responsible for your own actions. Then again, you
|
||
don't have ta do anything at all if ya don't wanna. Man, that's when all
|
||
this God stuff gets real scary. Ya know, like when ya realize how ya think
|
||
and how ya act is up ta you. Hey, I don't know how that makes ya feel, but
|
||
it scares the shit outta me. I mean, most people think life's gonna be
|
||
explained in some kinda post-death college. Though don't getta thinkin we're
|
||
in anyway special now. Oh no, we're no more special than the roach ya rush
|
||
from ya room.
|
||
|
||
Hey, get up of the floor, man. What do ya think this is, some kinda
|
||
chillout bar? This is a church, and a church ain't no place ta lay around
|
||
on tha floor. Sorry, I missed that, could you speak up. The pain from the
|
||
acid made you faint. Oh, I really wish I could do something ta help ya.
|
||
Prayer! Yea, I'll get on my knees and give ya some prayer. What do ya mean,
|
||
ya don't want prayers, ya want a hospital. What a thing ta say to a man of
|
||
the cloth. What are ya belly achin about now? So I'm not a man of the cloth,
|
||
I'm a what? A dirty fuckin killer. Swearin and a cursin my church is very
|
||
rude. How can I say that when I've murdered so many people within this modest
|
||
chapel? I haven't murdered people. I've murdered arseholes. The location of
|
||
their deaths is irrelevant. What do ya mean a church is a holy place? A
|
||
church is just another buildin, and you, my friend, are just another arsehole.
|
||
Does that mean I'm gonna kill ya? Well, of course it does. Christ, man, why
|
||
do ya have ta do all that gibberin shit? I thought you was a big time
|
||
gangster who feared nothing and nobody. Your family will hunt me down for the
|
||
rest of my life. I see. Well you'd better give them this ticket so they'll
|
||
know their place in the queue. At the moment, they're the 87th family in the
|
||
'hunt me down for the rest of my life party'. Shame you won't be there.
|
||
Please don't shoot ya. I have no intention of doin anythin of tha sort. I'm
|
||
an artist, remember, and you, my latest masterpiece. Shoot you. Oh you are
|
||
funny sometimes. Anyway, you should realize how I feel with you bein an
|
||
artist yaself. Oh, come on, don't give me that puzzled look. Or perhaps
|
||
it's modesty. Whatever it is, I know deep down you're an artist. Here, let
|
||
me illustrate what I mean so there's no confusion.
|
||
|
||
Remember the time ya had ya guys carve up that young woman who borrowed a
|
||
little of your small change so she could feed her kid? Man, that was pure art
|
||
the way your guys bust into the bed, sit and cut out the defenseless woman's
|
||
heart and stuffed it in the kid's mouth. Pure art. Then there was the time
|
||
you rigged the guy to the scolding radiator and the time ya handed a guy a
|
||
wood plane and told him ta plane his shin down ta an acceptable standard -
|
||
pure genius. I could go on all day, but I need a little time ta match ya
|
||
artistic endowment. Obviously I'll never be able ta match ya for such huge
|
||
extravaganzas like the nail bomb that killed 120 people, or the way your guys
|
||
filled up the local swimmin pool with acid and threw in a hundred or so
|
||
tenants of a block ya wanted ta convert inta offices.
|
||
|
||
Though I'll attempt to balance the lack of quantity by fillin my work with
|
||
quality and invention. Wow wow, ya have a gun. Where did ya get that?
|
||
Put my hands up and walk out front so you can shoot me in my face. Now
|
||
that's not a very nice way ta talk to a priest, is it. After all I've done
|
||
for ya, I - okay, man, relax; I'm comin out. There, now ya can see me.
|
||
|
||
I'd advise ya not ta pull the trigger. Am I sayin that cause I'm scared
|
||
of dying? No, not at all; I'm tellin ya cause I've rigged it ta backfire
|
||
and shower ya with tiny shards of glass. Bullshit, you say, then fire
|
||
away.
|
||
|
||
Cut out that agonized screamin shit, man. I just warned ya what would
|
||
happen, and ya chose to ignore me. Yea, I know it hurts when hundreds of
|
||
tiny shards of glass stick in ya hands and face. Looks good though. The way
|
||
the light filters through the stained glass and drifts across the glistening
|
||
sores created by the acid. It really is a wonder to behold.
|
||
|
||
Aghh. Trust you ta spoil my work with a pain-filled grimace. Here, grimace
|
||
some more. Oh, christ, I meant ta throw the water in your face. It was
|
||
supposed ta be a joke. Hey, man, lighten up. Anyone can mistake acid for
|
||
water. I mean, the acid's bright yellow, and the water, a kinda grey
|
||
transparent color, er, if ya know what I mean. Anyway, ya won't have ta
|
||
worry about screamin for much longer, cause I intend ta shoot ya pretty soon.
|
||
Stop beggin, it was only a joke. Hey, come and sit round here. I wanna tell
|
||
ya somethin. Er, excuse me, Mister. I'd prefer it if ya stopped all that
|
||
pukin - it's, er, messin up tha floor.
|
||
|
||
That's better. Now listen up and listen hard.
|
||
|
||
I'm a killer, plain and simple. Why beat around the bush and pretend I
|
||
wash cars or sell insurance? Lies are for the weak. I should know, I spend
|
||
my time killing them. I, the killer of the liar and the traitor. What a
|
||
moral job. When I get ta heaven, God himself will thank me personally for
|
||
my contribution to cleaning away the scum. And who is the latest piece of
|
||
filth ta be annihilated? Well, it's you, of course. Though not yet. Hey,
|
||
you're right, eyes lookin really red and sore. I think ya should see a
|
||
doctor. Shall I call one? Yes per-leeeze. I suppose that's a yes. It
|
||
is - too bad I've already pulled the trigger.
|
||
|
||
How many more of these suckers will I torture and kill before I am
|
||
tortured and killed? No time ta speculate, next confession'll be along in
|
||
five minutes. Better dispose of the body.
|
||
|
||
Into the furnace. One, two, three, up!
|
||
|
||
A smokin, my furnace is a smokin with the flesh of another bad boy sucker.
|
||
Dah, dah, dah-oh yea.
|
||
|
||
Maybe the inside of this confession box could do with a lick of paint. I'll
|
||
give it some thought later; here comes the latest guilt-loaded loser from a
|
||
long line of guilt loaded losers.
|
||
|
||
Why have ya come to my confession box? Because you want to be absolved of
|
||
your sins. I see. Oh, and before ya begin, I don't want no half-truths.
|
||
I expect all your sins ta come a pourin out...
|
||
|
||
|
||
|
||
|
||
"In violence, we forget who we are." Ä Mary McCarthy
|
||
|
||
|
||
|
||
|
||
Sober
|
||
þ Tool
|
||
ùúùúùú
|
||
|
||
There's a shadow just behind me. Shrouding every step I take.
|
||
Making every promise empty. Pointing every finger at me.
|
||
Waiting like a stalking butler, who upon the finger rests.
|
||
Murder now the path "must we", just because the sun has come.
|
||
|
||
Jesus, won't you fucking whistle
|
||
Something more that's past and done
|
||
Jesus, won't you fucking whistle
|
||
Something more that's past and done
|
||
|
||
Why can't we not be sober? I just want to start this over.
|
||
Why can't we drink forever? I just want to start this over.
|
||
|
||
I am just a worthless liar. I am just an imbecile.
|
||
I will only complicate you. Trust in me and fall as well.
|
||
I will find a center in you. I will chew it up and leave.
|
||
I will work to elevate you, just enough to bring you down.
|
||
|
||
Mother Mary, won't you whisper
|
||
Something more that's past and done
|
||
Mother Mary, won't you whisper
|
||
Something more that's past and done
|
||
|
||
Why can't we not be sober? I just want to start this over.
|
||
Why can't we sleep forever? I just want to start this over.
|
||
|
||
I am just a worthless liar. I am just an imbecile.
|
||
I will only complicate you. Trust in me and fall as well.
|
||
I will find a center in you. I will chew it up and leave.
|
||
Trust me...
|
||
|
||
Why can't we not be sober. I just want to start things over.
|
||
Why can't we sleep forever. I just want to start this over.
|
||
|
||
I want what I want...
|
||
|
||
|
||
|
||
|
||
"The blues isn't about feeling better... it's about making other people
|
||
feel worse." Ä 'Bleeding Gums Murphy', _The Simpsons_
|
||
|
||
|
||
|
||
|
||
Somber Locket
|
||
þ Medea & Hecate
|
||
ùúùúùúùúùúùúùúùú
|
||
|
||
On the chest of the dark girl sits
|
||
the blonde one
|
||
braiding firefly bellies into bracelets.
|
||
They seek the deepest understanding
|
||
that can never be found.
|
||
Even white suggests impurity
|
||
if it's your brother's hands
|
||
beneath the fabric.
|
||
The silver moon is glinting its reflection of reality.
|
||
Somewhere beside them all
|
||
you can aquire the foulest desire
|
||
to be amongst the dead.
|
||
The only sins are committed before dawn.
|
||
|
||
|
||
|
||
|
||
"You've got to let go of innocence or it will take you down with it when it
|
||
sinks like some old rotted shrimp boat on the canal." Ä 'V. C. Andrews'
|
||
|
||
|
||
|
||
|
||
Sweet Beyond
|
||
þ Zac Maloy
|
||
ùúùúùúùúùúùú
|
||
|
||
In the end...I lay the flowers, I lay the flowers down
|
||
|
||
I have bent my rules I have laid before me
|
||
Falling deeper still than I ever thought I would
|
||
and I would again
|
||
|
||
As we begin this journey, put your soul with
|
||
Connected from this moment throughout life and death and time
|
||
I would show you the deepness - if there was a sea forever
|
||
I would give you the planets - if there was a way.
|
||
|
||
In the End...
|
||
If your life I should fail to save...
|
||
I'll lay the flowers on your grave.
|
||
|
||
As the years surround us, this will stay beautiful
|
||
Through the change of appearance, love remains
|
||
I would show you the vastness if there was a sky neverending
|
||
I would give you the sunlight if there was a way.
|
||
|
||
In the End...(I will be here)
|
||
If your life I should fail to save...
|
||
I'll lay the flowers on your grave.
|
||
|
||
I have felt what I never conceived
|
||
From here through sweeter beyond
|
||
Impossible for words to bring you understanding
|
||
I will be the one you see
|
||
|
||
In the End ... (I will be here)
|
||
If your life I should fail to save
|
||
In the End ... (I will be here)
|
||
If before me you should leave this place
|
||
I'll lay the flowers on your grave.
|
||
|
||
|
||
|
||
|
||
Sylvia Plath Is My Mother
|
||
þ Ray Heinrich
|
||
ùúùúùúùúùúùúùúùúùúùúùúùúù
|
||
|
||
sylvia plath is my mother
|
||
i
|
||
practiced cutting my finger like her
|
||
a few weeks ago
|
||
it was
|
||
exactly as she said
|
||
she
|
||
is perfect
|
||
the perfect poet
|
||
risking everything
|
||
and
|
||
losing it
|
||
and
|
||
gaining it
|
||
at the same time
|
||
i look
|
||
at her picture
|
||
posted
|
||
just to the right of my computer
|
||
just beside gary snyder
|
||
and the one
|
||
smoothly lives
|
||
and the other
|
||
roughly dies
|
||
but looking at the words
|
||
left behind
|
||
for all i know
|
||
they sit side by side
|
||
maybe even kiss me in my love for them
|
||
mirror images
|
||
reflecting paths
|
||
down which
|
||
any of us
|
||
can go
|
||
|
||
|
||
|
||
|
||
|
||
"Q: A friend makes tiny cuts on her arms with a razor. Why does she do this
|
||
and how can I help her stop?
|
||
|
||
A: It sounds as though your friend is exhibiting what's called
|
||
self-mutilating behavior. Some people - an estimated 7/1,000 (most of them
|
||
women) - seem able to relieve stress only by injuring some part of their
|
||
bodies. Most use razors or knives; some burn their skin or bang parts of
|
||
their bodies against walls. A few hide their cuts and scars, but many hurt
|
||
themselves in obvious places, perhaps as a cry for help.
|
||
There are many theories about why this happens. Some women may inflict
|
||
injury in an attempt to relive the emotional pain of childhood abuse.
|
||
Others might do so to prove they have control over their bodies. The
|
||
behavior is especially common amoung women with anorexia and bulimia.
|
||
Your friend's cuts may not be life threatening, but you're right to be
|
||
concerned. Urge her to get help; treatment usually involves a combination
|
||
of psychotherapy and medication. For more information, call (800) DONT CUT,
|
||
a help line run by the University Hospital of Chicago's S.A.F.E. (Self Abuse
|
||
Finally Ends) Alternatives program." Ä 'Mademoiselle'
|
||
|
||
|
||
|
||
|
||
The Poet in Pain
|
||
þ Winfred Owen
|
||
ùúùúùúùúùúùúùúùú
|
||
|
||
Some men sing songs of Pain and scarcely guess
|
||
Their import, for they never knew her stress.
|
||
And there be other souls that ever lie
|
||
Begnawed by seven devils, silent. Aye,
|
||
Whose hearts have wept out blood, who not once spake
|
||
Of tears. If therefore my remorseless ache
|
||
Be needful to proof-test upon my flesh
|
||
The thoughts I think, and in words bleeding-fresh
|
||
Teach me for speechless sufferers to plain*,
|
||
I would not quench it. Rather be my part
|
||
To write of health with shaking hands, bone-pale,
|
||
Of pleasure, having hell in every vein,
|
||
Than chant of care from out a careless heart,
|
||
To music of the world's eternal wail.
|
||
|
||
*plain: mourn, complain
|
||
|
||
|
||
|
||
|
||
Untitled
|
||
þ HappyMonk
|
||
ùúùúùúùúùúù
|
||
|
||
she told me all she knew
|
||
in a dream, so softly
|
||
i thought i knew her
|
||
but whispers never stay
|
||
|
||
i told her all i meant
|
||
promises made
|
||
i thought i knew myself
|
||
but whispers never stay
|
||
|
||
and now i've given up
|
||
hope crumbled to sand
|
||
going to that cold desert
|
||
where whispers never stay
|
||
|
||
|
||
|
||
|
||
Untitled
|
||
þ HappyMonk
|
||
ùúùúùúùúùúù
|
||
|
||
you lead me through a barren sky
|
||
and follow my trail of blood
|
||
i've been here once before alone
|
||
again that's where i'll go
|
||
|
||
they can all see how i feel
|
||
of course you can as well
|
||
inside out, forward's back
|
||
still i endure this hell
|
||
you're just as lost as i am
|
||
pretend as though you aren't
|
||
still i know you'll find it
|
||
and know that you were wrong
|
||
|
||
need to love the one who hates me
|
||
only hate the one who loves me
|
||
time to change my pain erase me
|
||
open hole through comes the bleeding
|
||
|
||
clouds down rain up window closed
|
||
always not me you must know
|
||
window through my blood i throw
|
||
empty hand i show my soul
|
||
|
||
|
||
|
||
|
||
"Trust brought such a relief to one, such a feeling of being connected, and
|
||
that is how you let down your guard, and you can be destroyed." Ä Anne Rice
|
||
|
||
|
||
|
||
|
||
Untitled
|
||
þ Molina
|
||
ùúùúùúùú
|
||
|
||
Boredom comsumes my every thought
|
||
Attention span ran out long ago
|
||
Thoughts digress to other things
|
||
Faded memories take control
|
||
Close my eyes to block them out
|
||
The beautiful black and streaks of crimson
|
||
Set into a clash of piano and guitar
|
||
My mind sinks back to a world I don't control
|
||
Seduction, lies, and happiness
|
||
Submission, faith, and despair
|
||
Swirling backwards and losing control
|
||
Blindfolded to pain and sadness
|
||
Falling down bruised and broken
|
||
Attempting to pick myself up I stumble
|
||
Shining brightly in my face
|
||
I notice the light growing closer
|
||
Eyes now open I look
|
||
Trapped inside my head
|
||
I try to get out...escape
|
||
Pounding on the flesh, screaming for freedom
|
||
Lying alone in the corner
|
||
Crying, given up on all hopes
|
||
My will disappears as the dust settles
|
||
Aching with pain that should have passed
|
||
The crying stopped long ago
|
||
But still it tries to emerge
|
||
My hateful heart ignores it all
|
||
Wishing for personal destruction
|
||
Turning instead to mental relief
|
||
Chewing away the temporal world
|
||
An array of colors and memory loss
|
||
I settle back into my own existance
|
||
Smiling, laughing, eyes open wide
|
||
Time passes slowly but no longer hurts
|
||
Temporary relief from life's frustrations
|
||
A short time later I come back down
|
||
Turning my back once again
|
||
Longing for that freedom
|
||
Stuck in darkness, silence, it consumes me
|
||
Shivering, I relish in my pain
|
||
Soak it in, enjoy the sensation
|
||
Dancing to the beat of a different tune
|
||
Now I feel somewhat better
|
||
Pick myself up and dust off the grime
|
||
Learning how to walk again
|
||
For the first time seeing things as they are
|
||
A sense of happiness washes over me
|
||
I step outside for a breath
|
||
Not realizing I've escaped my cage
|
||
|
||
|
||
|
||
|
||
Untitled
|
||
þ Molina
|
||
ùúùúùúùú
|
||
|
||
Held the flower out.examined it.the soft petals tickled the palm of my
|
||
hand.a droplet of dew escaped and ran down my flesh.so tender.so
|
||
precious.I savored the smell.breathed it in deeply.such a sweet
|
||
fragrance.reminded me of you.so i ate it.taking out my tensions.chewed
|
||
on its sugar sweet innocence.i hated it.so delicate.so soft.i made it
|
||
ugly.i wanted to ruin it.spit it out.such a sour taste in my mouth.like
|
||
you.so much like you.
|
||
|
||
|
||
|
||
|
||
Untitled
|
||
þ Quinn@adren.net
|
||
ùúùúùúùúùúùúùúùúù
|
||
|
||
whisper softly
|
||
your voice will carry
|
||
rescue me from the shadows
|
||
you can pull me back
|
||
from the depths I've thrown myself in
|
||
call my name
|
||
I will hear you
|
||
take me out of this darkness
|
||
you can save me
|
||
and maybe finally we both can win
|
||
losing sight
|
||
why do i give up
|
||
is it worth the fight
|
||
drifting into endless sleep
|
||
it's painful to wake
|
||
stay away
|
||
it's just so much easier this way
|
||
darkness all around me
|
||
seeps into my very soul
|
||
I hear you calling
|
||
but it's too late
|
||
I've lost control
|
||
just let me go
|
||
|
||
|
||
|
||
|
||
Untitled
|
||
þ Rob@adren.net
|
||
ùúùúùúùúùúùúùúù
|
||
|
||
you've got no reasons for the things you said
|
||
but you can't keep your feelings to yourself
|
||
and i can't find an answer to this emptiness
|
||
no i can't find an answer
|
||
and i wish that i was dead
|
||
i never dreamt i'd hear your echo pounding in my head
|
||
and though the tears have dried
|
||
i'm ripped inside
|
||
|
||
i'll say i'm feeling fine
|
||
but what's the use
|
||
when nothing could be further from the truth
|
||
oh where will i find comfort
|
||
and strength to live again?
|
||
if there's a God above then show me how the story ends
|
||
if there's a God above then how could me desert a friend?
|
||
because i feel so tired
|
||
and ripped inside
|
||
|
||
you'll ache for me when your hands are tied
|
||
you'll wish you lived in another time
|
||
and if you're thinking the pain subsides
|
||
there's no place to hide
|
||
when you're ripped inside
|
||
|
||
there is no meaning in the things you did
|
||
and you might still go round denying it
|
||
if you could live that hour again would you resist
|
||
or was i just another victim
|
||
innocently picked?
|
||
was i carefully selected or the next one on the list?
|
||
to be cut down to size
|
||
and ripped inside
|
||
|
||
|
||
|
||
|
||
"There's no hate such as that born out of a love betrayed." Ä 'V. C. Andrews'
|
||
|
||
|
||
|
||
|
||
Untitled
|
||
þ Tempest
|
||
ùúùúùúùúù
|
||
|
||
It rained once.
|
||
It rained once, it was quite cold then.
|
||
Sometimes, when she is clear of mind,
|
||
She can remember it all.
|
||
All the play in the rain.
|
||
The water, the mud, the bodies in the sun,
|
||
Unfamiliar feelings.
|
||
And not all displeasing.
|
||
|
||
It was warm once.
|
||
It was warm, the children played,
|
||
In the water, in the sun,
|
||
Warm and running...free...
|
||
Once.
|
||
|
||
You were there once.
|
||
She knew you, she knows you,
|
||
You were her, once.
|
||
She's everything you want to be,
|
||
Everything you wanted to be,
|
||
Everything you could be.
|
||
You were everything she was.
|
||
She'll always be in you.
|
||
|
||
She had power once.
|
||
She had strength, courage,
|
||
To hold us all up.
|
||
It's all still there, and if you find her,
|
||
You'll see it again.
|
||
|
||
She was lost once.
|
||
She was lost, alone,
|
||
How it was meant to be.
|
||
You were not to live in her,
|
||
Consumed by her, caught between walls.
|
||
Once upon a time, she could dance,
|
||
Between your mind, between your life,
|
||
Untouched.
|
||
But she was brought down,
|
||
Once.
|
||
|
||
She had it all once.
|
||
She was safe, until the walls,
|
||
The solid walls, not without purpose,
|
||
Melted under mortal fingers.
|
||
Hands invaded the muddy walls,
|
||
Brushing her...
|
||
To death.
|
||
All the hands, the hands, the hands...
|
||
Reaching for her...
|
||
Only wish to be there,
|
||
But it could never happen.
|
||
But they kept trying.
|
||
|
||
There was irony once.
|
||
She was the constant.
|
||
She is the constant.
|
||
But the variable hands reach, grab, chew...
|
||
The silver star was dying.
|
||
How could she let this happen?
|
||
She was in control.
|
||
Even at the end.
|
||
|
||
Fires raged once.
|
||
Fires raged and reached for the sky.
|
||
Flames choked and gasped,
|
||
And cried for the heavens.
|
||
Get to close to the fading life,
|
||
The searing soul, and you'll be burned.
|
||
|
||
She lived once.
|
||
She dance and twirled 'til the stars fell at her command.
|
||
The elements raced around her in innocent play.
|
||
Flowers bloomed at her touch.
|
||
Birds sang. People laughed.
|
||
But no one was supposed to know it was her...
|
||
She tried to breathe life into the dying flame.
|
||
And she was burned.
|
||
|
||
People were happy once.
|
||
People were happy together.
|
||
People laughed, loved, enjoyed.
|
||
Their pain was none of their troubles...
|
||
It was her burden.
|
||
And when she fell,
|
||
Nations fell,
|
||
Lovers died.
|
||
|
||
She was beloved once.
|
||
Beloved of all...
|
||
Her care, her love, her kind heart,
|
||
Had touched mortal souls.
|
||
Oh, if they knew,
|
||
To love her back is to murder her.
|
||
And so she fell.
|
||
|
||
The elements ruled once.
|
||
The rain, the wind, the flame, the heart,
|
||
The family, the love, the compassion
|
||
All converged for a brief moment.
|
||
In that moment, all was possible.
|
||
Mortals saw themselves for who they were.
|
||
Some cried.
|
||
Some died.
|
||
|
||
I was a poet once.
|
||
I've been a poet since the dawn of the age.
|
||
I saw what I could not see, what I was not to see.
|
||
I lived inside of her, as you do.
|
||
She reads at this very moment,
|
||
The words too sacred to write.
|
||
You see through her eyes, one she's touched you.
|
||
We are immortal.
|
||
She was burned.
|
||
You live inside us.
|
||
All converge.
|
||
We have it all, you and I.
|
||
The power, the binding love.
|
||
And we reminisce...
|
||
When we held each other tight,
|
||
When we played in the sun,
|
||
When we loved like no other,
|
||
When the words would flow from the quill...
|
||
|
||
I was King once.
|
||
I was Queen once.
|
||
I was a dreamer once.
|
||
I wished once.
|
||
I was her once.
|
||
I loved once.
|
||
|
||
And I love you.
|
||
|
||
|
||
|
||
|
||
Untitled
|
||
þ Eddie Vedder
|
||
ùúùúùúùúùúùúùú
|
||
|
||
She laid alone
|
||
during her best days
|
||
as a work of art
|
||
reading naked on the bed
|
||
|
||
spent some of her best days
|
||
cleaning carpet from her hair
|
||
spent her worst days
|
||
owing you the pleasure
|
||
of taking blame...
|
||
|
||
spent her whole life
|
||
disbelieving in her worst fears.
|
||
A work of art...
|
||
A work of art.
|
||
|
||
|
||
|
||
|
||
|
||
"There is a special kind of tension that comes with being misunderstood.
|
||
On one hand, one is determined to prove society wrong and to show people
|
||
who you really are. On the other hand, there is always a tendency to
|
||
accept another person's judgment, and, in doing so, become the very
|
||
person you are seen to be." Ä 'Cliff Notes'
|
||
|
||
|
||
|
||
|
||
Wasted Time
|
||
þ Sebastian Bach, Rachel Bolan & Dave Sabo
|
||
ùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùú
|
||
|
||
You and I together in our lives
|
||
Sacred ties would never fray
|
||
Then why can I let myself tell lies
|
||
And watch you die every day
|
||
|
||
I think back to the times
|
||
When dreams were what mattered
|
||
Tough-talking youth na‹vete
|
||
|
||
You said you never let me down
|
||
But the horse stampedes and rages
|
||
In the name of desperation
|
||
|
||
Is it all just wasted time
|
||
Can you look at yourself
|
||
When you think of what
|
||
You left behind
|
||
|
||
Is it all just wasted time
|
||
Can you live with yourself
|
||
When you think of what
|
||
You left behind
|
||
|
||
Paranoid delusions they haunt you
|
||
Where's my friend I used to know
|
||
He's all alone
|
||
He's buried deep within a carcass
|
||
Searching for a soul
|
||
|
||
Can you feel me inside your heart
|
||
As it's bleeding
|
||
Why can't you believe you can't be loved
|
||
|
||
I hear you scream in agony
|
||
And the horse stampedes and rages
|
||
In the name of desperation
|
||
|
||
Is it all just wasted time
|
||
Can you look at yourself
|
||
When you think of what
|
||
You left behind
|
||
|
||
Is it all just wasted time
|
||
Can you live with yourself
|
||
When you think of what
|
||
You left behind
|
||
|
||
The sun will rise again
|
||
The earth will turn to sand
|
||
Creation's colors seem to fade to grey
|
||
And you'll see the sickly hands of time
|
||
Will write your final rhyme
|
||
And end a memory
|
||
|
||
I never thought you'd let it get this far, boy
|
||
|
||
|
||
|
||
|
||
"People want you to be a crazy, out-of-control teen brat. They want you
|
||
miserable, just like them. They don't want heroes; what they want is to see
|
||
you fall." - Leonardo DiCaprio
|
||
|
||
|
||
|
||
|
||
When She Was Free
|
||
þ Quinn@adren.net
|
||
ùúùúùúùúùúùúùúùúù
|
||
|
||
she tries to pay attention
|
||
her concentration weak
|
||
her mind closed in by walls
|
||
she'll try to use this as an excuse
|
||
but don't let her fool you
|
||
the walls are made of cardboard
|
||
she says she is chained in
|
||
but did she fail to mention
|
||
the chains are made of paper
|
||
she complains of locks,
|
||
but they're locks she chose herself
|
||
to keep herself in
|
||
to keep others out
|
||
she remembers a time when she was free
|
||
when she had no fears to overcome,
|
||
no precautions, no hesitations
|
||
when she was hurt,
|
||
when she felt pain,
|
||
then she crawled away, curled up
|
||
she'll show you the scars
|
||
the wounds that will never quite heal,
|
||
but that's okay
|
||
she'll say with a small smile
|
||
for no longer can I feel
|
||
|
||
|
||
|
||
|
||
ADVOCATE DISCERNMENT
|
||
REPRESENT TRUTH
|
||
Say NO to deceptive alien entities.
|
||
For FREE stickers and info send self-addressed stamped envelope to:
|
||
V2, Box 911, Stanwood, WA 98292 USA
|
||
(if addressee is out of the USA please include International Reply Coupon
|
||
for 2oz. letter)
|
||
Fear Not.
|
||
Spread the Word.
|
||
|
||
|
||
|
||
|
||
ßÜ
|
||
ÜßÜÝÜßÜ
|
||
ßÜÞÜß Ü Ü Üß
|
||
Ü ÜßÜ ÝÜßÜß ÜßÜßÜ
|
||
ßÜßÜ ÜßÜßÞÜß ÜßÜ Ü ßÜÜßÜß
|
||
ßÜßÜÜß Ü ßÜßÜÝÜßÜß ÜßÜ ßÜ ßÜ ß
|
||
ßÜßÜß Üß Ü Ü ßÜÝÜß Üß ÜßÜ ßÜÜßÜßÜ
|
||
Üßßß Üß Û Ü ÜßßÜÞ ÜßÜß Ü ßÜßÜÜ ßÜß
|
||
Üß ßÜÜß Üß Ü ßßÜßÝßÜß ÜÜ ßÜßßÜ ß
|
||
Üß ÜßßÜÜß ÜßßÜ ßÝß ÜßÜ ßÜßßÜ ß
|
||
Üß ÜßßßÝÜß ÜÜßÜÞÜßÜß ÛÞßßÜ ß
|
||
ß ÜÜßÜßÜß ÜßÜÞÜß ÜßÜÝßÜÜß
|
||
Ü Üßßßß ßÜßÝÜßÜÜßÜß Ü Ü
|
||
Ü Ü ßÜ ßÜ ßÜßßßÜÜßÝÜÛßÜßÜÜß Üß Üß Üß
|
||
Ü ßÜßÜ ßÜÜßÜßÜßÜßÜßÜÜÛÛÛÜßßÜßÜßÜßßßÜÜß ÜßÜß
|
||
ßÜßÜßÜßÜßßÜ ßÜ ßÜßÜß ß Ý ß ßÜ ßÜßÜ ßÜßÜßÜßßÜ
|
||
ÜßßÜßÜ ßÜßÜ ßÜ ß Þ ß ß ß ß ß
|
||
Ý
|
||
Ý
|
||
Þ
|
||
ß ùtwiù
|
||
|
||
Legalize.
|
||
|
||
ùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúù
|
||
Submit your original literary works for Spilled Ink, [volume ten], to
|
||
Twilight via Internet e-mail:
|
||
twilight@mail.utexas.edu
|
||
ùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúùúù
|