Delirium rules.   The soldiers of the tainted goat are dancing at the white altar, depravity is a virtue and the Sultan of Seville rules the holy kingdom.   Guinevere, seduced by promises of a candy-floss existence, abandons all pretence of wisdom and her modest words of red and white drowned at the bottom of the sea.   King Arthur 's dead and Camelot lies in ruins. A few words about the poem…   Political Poems: The Tainted Goat   Political poems frequently serve as reflections of societal and political dynamics, using metaphor and symbolism to critique and reflect on the times. "The Tainted Goat" exemplifies this genre, presenting a surreal yet incisive commentary on the nature of power and corruption. Through vivid imagery and allegorical narrative, the poem explores themes of moral decay, a subject often encountered in political discourse.   The opening line, "Delirium rules," establishes a chaotic tone, suggesting a world where reason and order have been upended. This disarray is further depicted through the "soldiers of the tainted goat" who dance at the "white altar," symbolising a perversion of sanctity and virtue. The goat, traditionally associated with lechery and uncleanliness, here becomes a central figure representing leadership. The altar, typically a site of purity, now serves as a stage for moral corruption.   The following stanza introduces Guinevere, historically a figure of wisdom and purity, who is seduced by "promises of a candy-floss existence." This seduction underscores the allure of superficial pleasures leading to the abandonment of deeper values. Guinevere's forsaking of her wisdom resonates with contemporary political narratives, where integrity is often sacrificed for immediate gratification. Her "modest words of red and white," likely symbolising sincerity and purity, are ultimately "drowned at the bottom of the sea," suggesting a complete loss of these virtues.   The poem's conclusion reflects a grim aftermath. King Arthur's death and the ruin of Camelot encapsulate the downfall of a once-glorious civilisation, echoing themes of decline common in political poems. Camelot, emblematic of utopian ideals, lies in shambles, portraying the devastating consequences of unchecked power and moral failure.   "The Tainted Goat" employs rich, surrealistic imagery to convey its message. It fits within the tradition of political poems that use allegory to subtly critique contemporary issues. This poem, while avoiding direct references, implicitly critiques modern leadership and societal values, offering a nuanced exploration of the intersections of poetry and politics.

I. An icy North Wind sailing on green and purple seas whips and mauls the land. The frozen peaks of the Anatolian Mountains tower in the distance and the Moor is howling in the Devil's Sea. Brave warriors of five and six shelter in hushed classrooms until the battered day is done. When the school bell rings muddy boots and ties undone pour silently into lanes and streets. St Michael with a gleaming sword stands on the spire of his church so high his head is resting at the feet of God. The graveyard with its crumbling steps and the whispers of the lipless dead is surely the gate to the World of Nether. Shades linger in its darkness searching for a child's body and a demijohn of blood. I fall into my grandpa's arms, he bolts the door against the anger of the wind and banishes the whispers of the skulls. II. Late at night sitting on his knee by the fireside I listen to him spin the yarn of the Pirates and the Moor: Once so long ago on a darksome night ships came draped in black with blacker flags of bones and skulls. Blood dripping scimitars and demons poured from their bowels of hell folk locked their doors prayed to the Lord for mercy and prepared to die. In the storm-tossed night, I hear howls and screams I see shadows fighting on the walls and the room is filled with the pungent smell of burning flesh. Craving virgin flesh the fearsome Moor has come to rape and pillage. Men and women lie in pools of blood and girls and boys are dragged wailing to open fields and darkened barns. Brimstone and fire and avenging angels pour down from the burning skies. In a flash of white fury our Guardian Angel brings down his scythe onto the Arab's neck and hurls his writhing body far into the Devil's Sea. III. A pale sun rises in the morning sky. Ploughmen are out in the fields once more and shepherds are climbing up to the hills again. Fishermen sit by the quay chewing tobacco, they smoke roll-ups and tell stories of the ones who drowned and of the perils of the sea. The voices of the dead are silent. The Anatolian Mountains have melted in the distance and the Moor whimpers once again in the Devil's Sea. A few words about the poem… A Nostalgic poem from the Series Cyprus Poems "Winter Tales" is a reflective poem from the collection Cyprus Poems that transports readers back to the poet's childhood. It is a poignant recollection of being enthralled by his grandfather's storytelling prowess. Through the simplicity of language, the poem creates a vivid and nostalgic atmosphere, resonating with those who cherish their own childhood memories. In the poem, wintry landscapes emerge, painted with delicate strokes. The imagery of frozen peaks in the Anatolian Mountains and the haunting howls of the Moor in the Devil's Sea captures the imagination. These vivid descriptions set the stage for the young child's enraptured state as he listens to his grandfather's tales. There is an underlying tension in the poem—a hint of forbidden allure and the seductive power of the unknown. The graveyard, with its crumbling steps and whispers of the lipless dead, serves as a gateway to the mysterious World of Nether. Shades linger, searching for a child's body and a demijohn of blood. Yet, the grandpa's protective embrace and the act of bolting the door banish the whispers of the skulls, providing a sense of safety amidst the darkness. As the poem unfolds, it reveals the transformative nature of storytelling. The young child falls into the arms of his grandfather, finding solace and escape from the anger of the wind and the haunting whispers. The tale of pirates and the Moor is spun, filling the room with the pungent smell of burning flesh and the howls of storms. The poetic language evokes the intensity of these moments, allowing the reader to vividly imagine the clashes, the screams, and the avenging angels that pour down from the burning skies. "Winter Tales" captures the essence of childhood wonder and the powerful bond between generations. The poet's portrayal of these memories elicits a sense of longing and nostalgia. It reminds us of the significant role storytelling plays in shaping our lives, preserving our cultural heritage, and passing down wisdom from one generation to the next. In its simplicity, "Winter Tales" embraces the universal themes of childhood, family, and the enduring magic of storytelling. It serves as a testament to the lasting impact of those precious moments spent listening to captivating tales, leaving an indelible mark on the poet's psyche, and inspiring a lifelong appreciation for the power of words. Through its evocative imagery, heartfelt reminiscences, and the enchantment of its storytelling, "Winter Tales" invites readers to journey back to their own cherished memories, rekindling the flames of imagination and reminding us of the transformative power of narrative.

Ithaca, Ithaca, Ithaca. Behind your iron gates I was once a prisoner. Beyond your high walls were lands I had to see, new faiths I had to embrace and old Gods I had to bury. From far away I could hear the Siren's Cry —the angst of Youth wistful and enchanting. In spring, she came to me, an untamed wild beast who embraced me in her light and I fell in love with my Siren and her song. Together we laid siege to old cities until their walls came crashing down and a new world was breaking in. Our beautiful Circe came in June and loving Circe was so easy. My Siren strummed her love songs and soon we were lost in her as she was lost in us. Now she is gone and I miss her love. The Siren too vanished by September but the memory of her love song still echoes in my mind. Ithaca, Ithaca, Ithaca my beloved land. I’m back, my journey now is almost over. A few words about the poem... A Coming-of-Age Poem: A Lyrical Odyssey of Passion and Self-Discovery In this allegorical coming-of-age poem from the series Cyprus Poems by Chris Zachariou, we embark on a transformative journey alongside Odysseus, the protagonist of the ancient Greek epic, as he navigates the realms of passion, longing, and self-discovery. Set against the backdrop of Ithaca, his homeland, Odysseus finds himself imprisoned by the iron gates and high walls that confine his spirit. Driven by an insatiable desire to explore the unknown, Odysseus is lured by the mesmerizing calls of the Sirens. Their enchanting melodies beckon him, promising new experiences and enticing possibilities. Succumbing to their allure, he ventures forth, leaving the familiar shores of Ithaca behind. As Odysseus embarks on his odyssey, he encounters Circe in June, a captivating enchantress whose love is effortless and intoxicating, who becomes his lover and guide. In the embrace of her light, he discovers newfound strength and courage, and together they lay siege to old cities, dismantling the walls of tradition and convention. Odysseus falls under her spell, while the echoes of the Siren's song from his youth still linger in his mind. But by September, both Circe and the Siren have vanished, leaving Odysseus yearning for their love and companionship. With the echoes of their enchantment fading, Odysseus realizes that his heart longs for the familiar shores of Ithaca, his beloved homeland. The journey, filled with both triumphs and heartaches, draws him back to where it all began. Through the trials and tribulations, Odysseus undergoes a profound transformation—a true coming-of-age, where the pursuit of freedom and self-discovery intertwines with the depths of passion and longing. As the narrative of this poem unfolds, the reader is invited to immerse themselves in the evocative imagery and poetic language that paints vivid landscapes of Odysseus' Odyssey. It offers a mesmerizing exploration of human emotions, the power of love, and the eternal quest for personal growth and liberation, capturing the essence of the human spirit and the timeless pursuit of finding one's true self.

Our wise goddess, you craved sainthood but doubts racked your body. A tortured mind, you lived a sinless life in your books and abstinence. An example to us all you drank juice without ice and resisted thoughts of sinning. You talked of God and of an old friend but every time you said her name a yearning danced across your eyes; b ut you married a diploma instead. Now, y our two diplomas framed hand in hand on your bedroom wall, look down aghast at your weekly and joyless fumblings. I wonder though virtuous owl. W hen your eyes are closed and you whine that final cry, whose face do you see? Is it perhaps that old school friend, her wistful voice still a vacuum in your life? If only you had a little courage. We would have loved you no less. A few words about the poem… A Coming-of-Age Poem: The Inner Turmoil of “The Virtuous Owl”   "The Virtuous Owl" presents itself as a Coming-of-Age poem that delves into the complexities of self-discovery, repression, and the conflicts between societal expectations and personal desires. Through its exploration of the inner life of its protagonist, the poem captures the quiet yet profound struggles that accompany the journey from youth to adulthood, where choices made under pressure can lead to a life of regret and unfulfilled longing.   The poem begins by addressing the central figure as a "wise goddess," a title that suggests both reverence and expectation. This figure, however, is immediately revealed to be beset by doubts, a "tortured mind" that struggles to reconcile the desire for sainthood with the uncertainties that accompany it. This duality is central to the poem’s theme of coming-of-age, as the protagonist grapples with the tension between her aspirations and the reality of her inner life. The mention of living a "sinless life / in your books and abstinence" underscores the pressures placed on her to conform to an ideal of purity and virtue, even as it hints at the emotional and psychological cost of such a life.   As a Coming-of-Age poem, "The Virtuous Owl" also highlights the societal influences that shape the protagonist's decisions. The emphasis on "juice without ice" and the resistance to "thoughts of sinning" serve as metaphors for the self-imposed restrictions that define her existence. These small details reflect the ways in which societal norms and expectations can manifest in even the most mundane aspects of life, illustrating the protagonist's internalisation of these values. Her conversations about God and an "old friend" further suggest a yearning for connection and a struggle with unacknowledged desires that conflict with her carefully maintained image of virtue.   The poem’s central conflict becomes most apparent in the lines describing the protagonist's choice to "marry / a diploma instead." Here, the decision to prioritise academic and social achievements over personal fulfilment is portrayed as a significant moment in her coming-of-age journey. The image of the two diplomas "framed hand in hand / on your bedroom wall" serves as a poignant symbol of the life she has chosen, a life marked by adherence to external measures of success rather than the pursuit of authentic happiness.   Yet, despite the outward appearance of accomplishment, the protagonist is depicted as haunted by the choices she has made. The diplomas "look down aghast" at her "weekly and joyless fumblings," suggesting a deep-seated dissatisfaction and a sense of regret that permeates her existence. The poem’s closing stanzas bring this internal struggle to the forefront, as the speaker wonders whose face the protagonist sees in her final moments. The suggestion that it might be the "old school friend" with a "wistful voice" introduces the idea of lost opportunities and unfulfilled potential, central themes in many Coming-of-Age poems.   Ultimately, "The Virtuous Owl" serves as a reflective exploration of the protagonist's journey towards self-realisation. The final lines—"If only you had a little courage. / We would have loved you no less."—offer a poignant commentary on the pressures to conform and the fear of disappointing others that often accompany the transition to adulthood. The poem subtly critiques the societal structures that encourage individuals to sacrifice personal desires for the sake of outward respectability, suggesting that true coming-of-age involves the courage to embrace one's authentic self, even in the face of doubt and uncertainty.   "The Virtuous Owl" encapsulates the essence of a Coming-of-Age poem by delving into the internal conflicts and choices that define the transition from youth to adulthood. Through its exploration of themes such as repression, societal expectation, and regret, the poem offers a nuanced reflection on the complexities of growing up, making it a compelling addition to the tradition of Coming-of-Age literature.

In a cavern full of chameleons and green apples, the actor binds the virgin to his bed made of silk. Many moons and years ago mama begged her to wear white but the child dressed in crimson. A priest comes to the forest riding a crusader's rusty cross— he wants to save the virgin for the faith. Incantations and incense fill the air but his prayers are all in vain. Claudius lures the virgin's honour to his bed made of silk and the actor and the nymph sweat all night. The chameleons and the river turn to crimson, the scent of blood and apples fills the cavern and the town begins to wonder: 'If only she wore white and not crimson.' A few words about the poem… A Coming-of-Age Poem: Choices and Consequences in the Realm of Fantasy Within the enchanting depths of a hidden realm lies "The Crimson Virgin," a coming-of-age poem by the Cyprus poet Chris Zachariou. Delicately weaving a tale of choices and consequences, the poem employs a vivid palette of symbols and metaphors. The colour crimson emerges as a potent symbol, representing the intricate dance of sexuality and desire. Years ago, bathed in the glow of countless moons, the girl's mother pleaded for her to embrace the purity of a white gown. Yet, the young maiden's rebellious spirit sought solace in the embrace of a vibrant, defiant hue: crimson. In this seemingly innocent act of self-expression, a subtle rebellion is born, laying the foundation for the tempestuous journey that lies ahead. It is within this vibrant hue that our young protagonist finds herself ensnared, her allure captivating yet unsettling the townsfolk. Amidst their mistrust, an enigmatic priest emerges, his intentions veiled and doubted. Both the actor and the chameleons symbolize the masks we wear, concealing hidden intentions in a world teeming with duplicity. The luscious apples, reminiscent of forbidden fruit, embody the perilous allure of a young girl's burgeoning sensuality. With subtlety and nuance, the poem navigates the complex exploration of choices, delving into the depths of human nature, and illuminating the eternal struggle between virtue and temptation. "The Crimson Virgin" is an exploration of choices made in youth, and the indelible mark they leave upon the tapestry of life. Through its mystical and alluring voice, the poem warns of the dangers lurking within the seductive embrace of forbidden desires. It beckons readers to contemplate the consequences of their own choices and the indomitable power of sexual allure.

Rachel with a yellow star on her tiny little arm walks into the jaws of death. Smoke pours out of the chimney and the smell of burning flesh hangs heavy in the air. Ismail is screaming. He cannot see but still can feel his leg that's no longer there. Death keeps falling from the sky and all the time you can hear the cries of children dying. Mariam embraces her future— a stick of dynamite and a gun. Then she walks into a mosque. A few words about the poem… Little Children – The Innocent Victims in the Anti-War   "Little Children" presents a stark portrayal of the innocence lost amidst the horrors of war and persecution. The imagery in this poem underscores the vulnerability and tragic fate of children caught in such devastating circumstances.   The poem, part of the collection “Anti-War,” opens with Rachel, a child marked by a yellow star, a symbol of the Holocaust. The mention of her "tiny little arm" emphasizes her youth and innocence, starkly contrasting with the "jaws of death" she walks into. The subsequent lines evoke the grim reality of concentration camps, where "smoke pours out of the chimney," and the "smell of burning flesh" serves as a harrowing reminder of the lives lost in such brutal settings.   The second stanza shifts to Ismail, whose suffering is palpable. His scream and the vivid description of his phantom limb pain reflect the ongoing trauma experienced by victims of violence. The imagery here highlights the indiscriminate nature of war, where even the youngest are not spared its cruelty.   The third stanza generalizes the plight of children in war zones, with "death keeps falling from the sky" symbolizing bombings and aerial attacks. The "cries of children dying" resonate as a universal cry for help and a testament to the widespread impact of conflict on the youngest and most defenceless.   In the final stanza, Mariam's tragic embrace of violence illustrates the cycle of despair and radicalization. Her transformation from innocence to an instrument of terror is a powerful commentary on the corrosive effects of war on the human spirit. The juxtaposition of her actions with the setting of a mosque, a place of worship and peace, further intensifies the tragedy of her lost childhood.   Overall, "Little Children" captures the heart-wrenching experiences of children in times of extreme adversity, conveying their suffering and the devastating loss of innocence through stark, unembellished imagery.

Men with God on their side fly high in the burning skies. Napalm death pours down on little children fleeing in terror their tiny bodies burning. Rotting corpses cover all the fields for miles around but the man with the German twang commands his men to drop more bombs and for that he wins the Nobel prize. In a walled city in another country men who dress in red and black live and pray in gilded churches. They feast on lamb and wine to the sound of children sobbing and ignore the blood and tears staining their feather beds. They too are men who claim to have God on their side. A few words about the poem… Anti-War Poems: A Reflection on “Suffer the Little Children'"   "Suffer the Little Children" presents a stark and harrowing portrayal of the innocent victims of war, examining the devastating consequences of conflict on those least able to defend themselves. Part of the anti-war poems collection, it intertwines vivid imagery and biting irony to highlight the brutality of war, particularly the suffering inflicted upon children. This piece fits within the broader tradition of poetry that seeks to give voice to the voiceless, underscoring the moral corruption inherent in the pursuit of power and the hypocrisy often present among those who justify their actions through religious or ideological fervour.   The poem opens with a chilling contrast: “Men with God on their side / fly high in the burning skies.” This juxtaposition of divine endorsement with acts of violence serves to critique the way religion or ideology is often invoked to justify the most heinous acts. The subsequent imagery of “Napalm death” raining down on “little children fleeing in terror” starkly captures the horror experienced by the innocent victims of war. The poet’s choice to focus on the children’s “tiny bodies burning” intensifies the emotional impact, illustrating the unimaginable pain and fear suffered by those caught in the crossfire of conflicts they neither started nor understand.   The poem’s second stanza continues this theme of moral decay, as the fields are described as being covered in “rotting corpses,” yet the figure of authority—a man “with the German twang”—remains unmoved. His command to “drop more bombs” despite the carnage below not only emphasises his indifference to human suffering but also critiques the larger systems of power that reward such callousness. The bitter irony of this man receiving a Nobel Prize serves as a scathing indictment of the hypocrisy often found within institutions that claim to uphold peace and justice, yet are complicit in the perpetuation of violence.   In the final stanza, the poem shifts focus to another group of men, this time depicted as residing in a “walled city” and dressed in “red and black.” These figures, who live in luxury and piety, are starkly contrasted with the suffering of the children whose cries they ignore. The imagery of “blood and tears” staining their “feather beds” serves as a powerful metaphor for the moral and spiritual corruption that results from turning a blind eye to the suffering of others. The poem suggests that these men, like those dropping bombs, claim to have “God on their side,” thus critiquing the broader societal and religious structures that allow such atrocities to occur.   In this exploration of the innocent victims of war, "Suffer the Little Children" confronts the reader with the brutal realities of conflict and the moral failings of those who perpetrate and perpetuate violence. The poem’s unflinching depiction of suffering, coupled with its critique of hypocrisy and the misuse of religious justification, positions it as a powerful commentary on the human cost of war. By focusing on the plight of children, the poem underscores the profound injustice faced by those who are most vulnerable, offering a poignant reflection on the true cost of conflict. Through its vivid and unsettling imagery, the poem forces the reader to confront the uncomfortable truth that, in war, it is often the innocent who suffer the most.

My love for The Son of Man and Christianity as a way of life is infinite, however, I find it impossible to believe in a metaphysical world. This poem is my own personal view of God, Jesus, and Mary Magdalene. Please do not continue reading if you are easily offended or intolerant of other peoples' views. This poem is largely inspired by the novel The Last Temptation of Christ by Nikos Kazantzakis. You knock on my door, and bleating like a lamb, you call me sister. Fall into my bed, blow out the red lamb, and save my flesh. My soul will not be far behind. Read all the poems inspired by The Last Temptation of Christ

After dark, she finds sanctuary in the house of the lame dancers. Listening to melancholy songs pressed between the pages of her faded scrapbook, she recalls her mother's kindness— mugunghwa blossom on her pillow and rice cakes for breakfast. Forsaken purity struggles on her lips and the burden of her remorseful chastity lies heavy on her slender shoulders. Evita gifts her virtue to Buenos Aires, a city of a hundred transsexual puppets floating shamelessly on the river wearing blue mascara and white shoes. At night we follow a depraved arpeggio down the stairs of a dimly lit bordello. She tells me she is a misguided virgin and for a peso she takes me to her bed. Her pupils dilate and her nipples are erect. She whispers I'm her hero and I tell her she is beautiful— gentle words we tell each other to survive the night. We have exquisite sex till sunrise yet she is in a hurry, our time is running out. Together, we fall into the mouth of a meandering abyss — a ménage à trois with destiny — and listen to the fading sounds of a dying tango. I kiss Evita's lips— lavender, ice and sainthood A few words about the poem…   Poems of Despair: Loving Evita    “Loving Evita” presents a dual narrative that explores improbable and parallel tales of love and death, blurring the lines between fantasy and reality. In this melancholic exploration, the poem delves into a complex emotional landscape, where the characters navigate through moments of tenderness and despair. This narrative is characteristic of the collection “Poems of Despair” that often blend surreal elements with poignant human experiences.   The poem opens with a description of Evita, who finds herself in a place of refuge among lame dancers, a symbol of broken dreams. Her recollections of her Korean mother's kindness define her origins and evoke a sense of lost innocence, as represented by the mugunghwa blossom and rice cakes. These images of Korea serve as a poignant contrast to her present life, where her "remorseful chastity" becomes a burden. The notion of purity is challenged as she offers her virtue to Buenos Aires, depicted as a city of transformation and ambiguity. The city's "transsexual puppets" and their extravagant appearance suggest a world of fluid identities and blurred moral lines.   In the second tale, the narrator describes an encounter with Evita—perhaps an oblique reference to Evita Peron—in a bordello, where she presents herself as a "misguided virgin." The use of language here is striking, as it encapsulates the delicate balance between vulnerability and survival. The act of love becomes a fleeting attempt to connect, a temporary escape from their respective realities. The description of their encounter is intimate yet detached, highlighting the transient nature of their relationship. The poem captures this fleeting moment with the line, "gentle words we tell each other to survive the night," suggesting a shared yet unspoken understanding of their situation.   As dawn approaches, the poem reaches a climax with the image of the couple "fall[ing] into the mouth of a meandering abyss." This metaphorical descent hints at a loss of direction or purpose, perhaps a surrender to the inexorable passage of time and fate. The poem concludes with a kiss that embodies a complex mix of emotions — a blend of "lavender, ice and sainthood," signifying purity, coldness, death, and an unreachable ideal. This conclusion leaves readers with a lingering sense of ambiguity, characteristic of the collection of the “Poems of Despair” that explore the nuances of human emotion and experience.

My love for The Son of Man and Christianity as a way of life is infinite, however, I find it impossible to believe in a metaphysical world. This poem is my personal view of God, Jesus, and Mary Magdalene. Please do not continue reading if you are easily offended or intolerant of other peoples' views. This poem is largely inspired by the novel The Last Temptation of Christ by Nikos Kazantzakis. Lover of the wife; father of the child; seducer of the bride. All my life, you tortured me. The father I love, you crippled. Now he splutters in the corner— a voice without words. When I was a child, I asked you for a toy— you promised me four nails. Each night you come into my dreams, your face is menacing and your heart is black. I cry out in terror— I'm not the promised one, but you holler and tell me I have no choice. When I became a man, How I loved the Rabbi's daughter! But you took her away from me and passed her on to other men. I died a thousand times when I heard her cry in shame. I died thousands more when I saw her close the drapes; and, in that house with a red lamp burning in the window, I hear Mary weeping for a death foretold. Hear me, I love my father; I am not your son; I make crosses to kill your prophets; I still want the Rabbi’s daughter. And yet I know... I must die tomorrow. Read all the poems inspired by The Last Temptation of Christ A few words about the poem…   The Frailty and Triumph of a Human Messiah | A Poem About God   In his ground-breaking novel "The Last Temptation of Christ," Nikos Kazantzakis  presents a profound and provocative reimagining of Jesus Christ, not as a divine being untouched by human frailties, but as a man burdened with fears, doubts, and a yearning for life unbound by the weight of Messiahship. Within the pages of this novel, Kazantzakis paints a deeply human portrait of Jesus, a figure who grapples with the complexities of love, desire, and the overwhelming prospect of his destiny.   "I Must Die Tomorrow," inspired by Kazantzakis' novel, is a poignant and introspective poem about God that encapsulates the inner turmoil and conflicting emotions experienced by Jesus throughout his journey. The poem serves as a powerful reflection on the struggles faced by the human Messiah, highlighting his vulnerabilities, desires, and the sacrifices he must make for the greater good of humanity.   The opening lines of the poem resonate with the paradoxical nature of Jesus' existence. He condemns God for being the seducer of the young bride and fathering a child with another man’s wife. These conflicting roles symbolize the profound conflicts that arise when divine purpose clashes with human desires and relationships. The protagonist's tortured existence is brought to the forefront, as the man he has come to love as his father, is crippled and rendered speechless, mirroring the pain and isolation Jesus experiences throughout his journey.   As the poem progresses, the narrator delves into his past, recounting his childhood pleas for a toy, only to be granted the promise of four nails. This haunting metaphor captures the looming spectre of crucifixion, the destiny that awaits Jesus, and the weight of his divine calling. The recurring presence of the narrator's tormentor, a menacing figure with a black heart, emphasizes the internal struggles and doubts that plague the human Messiah.   The poem then takes a poignant turn, delving into the narrator's love for the Rabbi's daughter, Mary Magdalene. Here, Kazantzakis explores the complex realm of human emotions, as Jesus confesses his profound affection for her. However, the divine plan intervenes, tearing them apart and subjecting Mary to the embrace of other men. The narrator's anguish is palpable, as he recounts the pain of hearing her cries of shame and witnessing her close the curtains to hide her fate. The image of the house with a red lamp burning in the window evokes a sense of foreboding, signifying the impending tragedy that awaits both Jesus and Mary.   In the face of these profound human emotions, desires, and suffering, Jesus asserts his love for his earthly father, his defiance towards his tormentor, and his yearning for the Rabbi's daughter. Despite these human attachments, there is an underlying awareness that he is not merely a mortal man but a figure destined for a greater purpose. He acknowledges his role in crafting crosses to challenge the established order and the longing he still holds for the forbidden love of Mary Magdalene. Yet, in the depths of his being, he is conscious that his fate is sealed: he must die tomorrow.   Through this evocative and introspective poem, "I Must Die Tomorrow," we are immersed in the raw and poignant humanity of Jesus, as imagined by Kazantzakis. It highlights the internal conflicts, desires, and sacrifices of a figure burdened with a divine calling. The poem serves as a testament to the triumph of a man who rises above his human frailties, ultimately embracing his destiny and the profound magnitude of his sacrifice for the sake of humanity.

an avalanche of death slid down the mountain crying.. screaming.. choking.. voices fading mummy it's dark it hurts help me their light goes out Aberfan grows dim and a taste of death lingers in the town innocence destroyed now you pretend there is no one there maybe you even fooled me for a while but I will find you soon I will cross the river I know your name i t's been written in the book for years

My love for The Son of Man and Christianity as a way of life is infinite, however, I find it impossible to believe in a metaphysical world. This poem is my own personal view of God, Jesus, and Judas. Please do not continue reading if you are easily offended or intolerant of other peoples' views. This poem is largely inspired by the novel The Last Temptation of Christ by Nikos Kazantzakis. My Lord, our covenant The Messiah in a crown of thunder in a blaze of glory. There will be death, fires and Roman blood and all the bells will ring 'Jehovah has come to Zion'. How many more years Lord, can you not hear Salem weep? Now she sleeps with prefects and centurions; the proud voice that sang your praises, silenced. A false king sits on the throne of David and the golden harp sings to you no more. How much longer Lord? Each day I come knocking on your door, and each day you say 'tomorrow'. But no more my Lord I raise my head and say to you 'No more. Not tomorrow, today!" Read all the poems inspired by The Last Temptation of Christ A few words about the poem… Judas Iscariot: The Valiant Fighter for Freedom | A Poem About God   In this powerful and introspective poem about God, inspired by Kazantzakis’s novel “The Last Temptation of Christ”, the poet invites us into a unique perspective, challenging the conventional narrative surrounding Judas Iscariot. Stepping away from the widely held belief that Judas was a traitor and a common thief, the poet portrays him as a valiant warrior fighting for the freedom of Israel from the oppressive grip of Rome.   Addressing the Lord, Judas initiates a conversation, expressing his deep longing for the arrival of the Messiah, symbolized by a majestic figure wearing a crown of thunder and surrounded by a blaze of glory.   The poem sets a scene of imminent upheaval and destruction, as Judas foresees death, fires, and the shedding of Roman blood. Amidst this chaos, he envisions a triumphant moment when the bells will ring, announcing the arrival of Jehovah in Zion. His impassioned plea echoes the cries of a grieving Jerusalem, beseeching the Lord to alleviate the suffering that has befallen the city.   Judas mourns the loss of a once resounding voice that sang the praises of the Lord, now silenced by the presence of foreign prefects and centurions. Jerusalem personified as a sleeping figure, has been taken captive by the corrupt and illegitimate rulers. He laments the absence of the golden harp, an emblem of the city's former glory, which no longer serenades the Lord. The throne of David, once occupied by a rightful king, has been usurped by a false ruler, intensifying the anguish.   As the poem progresses, Judas’s patience wanes, and his devotion transforms into determination. Each day, he visits the Lord's doorstep, seeking solace and a promise of deliverance, only to be met with the response of "tomorrow." However, a pivotal moment occurs within his spirit. With newfound resolve, he defiantly raises his head and declares to the Lord, "No more. Not tomorrow, today!" This declaration signifies the refusal of Judas to accept further delay and signals an unwavering commitment to act, even if it means challenging the divine plan.   In this thought-provoking and emotionally charged poem, the poet invites readers to reconsider the character of Judas Iscariot. By presenting Judas as a proud freedom fighter, the poet prompts us to explore alternative perspectives and unravel the complexities of history. The poem's invocation of Jerusalem's plight and the fervent plea to the Lord create a powerful backdrop for the subsequent verses, leaving readers eager to delve deeper into the poet's exploration of faith, sacrifice, and the pursuit of liberation.