This place is bleak. There are no flowers the land is scarred and all the birds have fled. A solitary burnt-out tree with a broken branch is struggling to survive against disease and darkness. I'm frightened. I know I must go to the river to wash away my sins; but the sacred river died so many years ago and now only vipers and serpents hiss and slither in its rancid waters. Your malice is so complete. I crawled along this thorny path so many times before but each time it's harder to return. You lay the burden of a cross on my stooping shoulders and you commanded your white horseman to trample on all the things I love. Each day you scream: Kneel before your Lord and Master. You shall have no other Lord but Me. But I will not yield this time. The cross, the nails and the thorny crown became wings and set me free and now lord, I do not fear you anymore. A few words about the poem… Analysing Themes in “I Do Not Fear Anymore” from the series “A Poem About God”   The thematic exploration of defiance against a perceived divine authority in "I Do Not Fear Anymore" from the series "A Poem About God" delves into profound reflections on contrasting concepts of God within theological and literary frameworks. The biblical portrayal of Jehovah as a punitive and seemingly cruel deity stands in stark contrast to the compassionate and forgiving God depicted by Jesus.   The desolate landscape depicted in the poem serves as a poignant canvas reflecting the harshness often associated with a vengeful god. The scarred land and the conspicuous absence of life symbolize the aftermath of divine wrath, evoking echoes of biblical narratives where punishment befalls disobedient beings. The burnt-out tree, resilient yet struggling against adversity, becomes a powerful metaphor for humanity grappling with the repercussions of a harsh and punitive deity.   The recurrent image of a thorny path underscores the overarching theme of adversity, and the metaphor of the sacred river, once a source of purification now tainted by vipers and serpents, deepens the narrative's resonance. These symbols align with the biblical narrative of a God who imposes challenges and inflicts consequences for perceived transgressions. The imposition of a giant cross on the narrator's shoulders, coupled with the command to trample on cherished things, underscores the burdensome nature of a punitive god, demanding obedience through suffering and sacrifice.   In stark contrast to this portrayal, the transformative narrative within the poem unfolds, where burdensome elements - the cross, nails, and thorns - metaphorically become wings, symbolizing liberation rather than constraint. This metamorphosis, devoid of excessive sentimentality, aligns seamlessly with the teachings of Jesus. It introduces a compassionate and forgiving God who offers redemption and freedom from the oppressive weight of sins, challenging the conventional notion of a punitive deity.   The poem's refusal to yield to daily commands signifies a steadfast resilience against the dictates of a punitive god, embracing the concept of personal empowerment. This defiance speaks to the broader theme of liberation from oppressive religious constructs, echoing the transformative power inherent in the rejection of a punitive divine authority.   Nikos Kazantzakis, particularly in his work "The Last Temptation of Christ," offers a nuanced exploration of the human struggle with the divine. The character of Jesus in Kazantzakis' narrative grapples with the complexities of a loving and forgiving God in contrast to the harshness entrenched in traditional theological constructs.   The juxtaposition of these theological concepts enriches the poem's narrative, inviting readers to delve into the profound complexities inherent in humanity's understanding of the divine. The poem, thus, transcends its individual narrative, becoming a conduit for broader discussions on the human relationship with the divine and the evolving understanding of God across cultural, theological, and literary landscapes.   As we delve deeper into the thematic layers of "I Do Not Fear Anymore," it becomes essential to consider the historical and cultural context that shaped the poet's perspective on divine authority. The poem's portrayal of a harsh and punitive deity echoes elements of the Old Testament, where the God of Israel is depicted as a powerful and sometimes wrathful entity, demanding obedience, and punishing transgressions. This portrayal aligns with the traditional image of Jehovah, a figure synonymous with justice and retribution.   The scarred land and the absence of life in the poem evoke biblical imagery, reminiscent of narratives such as the destruction of Sodom and Gomorrah or the plagues of Egypt. These biblical echoes contribute to the desolation described in the poem, creating a backdrop of divine displeasure and the consequences of human disobedience. The burnt-out tree, struggling against adversity, becomes a symbol of the enduring human spirit amid the tumult of divine judgment.   The thorny path and the tainted sacred river further reinforce the narrative's biblical undertones. The thorny path aligns with biblical references to the consequences of sin, where humanity is destined to face challenges and hardships. The tainted sacred river mirrors biblical narratives of once-pure waters turning bitter or being tainted because of divine displeasure.   In the imposition of a giant cross on the narrator's shoulders, the poem draws parallels with Christian iconography, symbolizing the burden of sin and the redemptive power of sacrifice. This imagery resonates with the biblical narrative of Jesus carrying the cross, an act seen as atonement for the sins of humanity. The command to trample on cherished things further reflects the sacrificial nature of the divine relationship, where obedience often demands personal sacrifice.   Contrasting this biblical imagery, the transformative narrative within the poem introduces a profound shift in perspective. The burdensome elements - the cross, nails, and thorns - cease to be instruments of suffering and become metaphorical wings. This metamorphosis aligns with the teachings of Jesus, particularly the concept of redemption through suffering and the transformative power of divine love.   The refusal to yield to daily commands takes on added significance in this context. It becomes an act of defiance against the traditional view of a punitive god demanding strict obedience. The poet's rejection of this perceived divine authority reflects a nuanced understanding of spirituality, embracing personal agency and empowerment in the face of oppressive religious constructs.

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. An ancient war is being fought again. The Fallen Angel mustered all his legions and the battle rages on for forty days and nights. The armies of the mighty kingdoms have assembled in the desert to proclaim to the sounds of trumpets their allegiance to the great King. Thirst and hunger plague his body and the Darkness mocks the Prophet to a feast of wine and stones. Visions of the blessed city rise with marble temples and cool gardens and the Star spurs the saint to fly to his golden throne in Salem in the arms of a thousand angels. The Rabbi’s virgin daughter comes to him each night in dreams— sixteen years of sublime beauty. She lies down in the dunes with her crimson gown undone and torments him through the night. When the sun rises each dawn where the lustful vision lay a viper hisses, spits, and slithers away. The Man falls on his bended knee, lifts his head up to the sky and cries "Your will is done, my Lord and King" Read all the poems inspired by The Last Temptation of Christ A few words about the poem…   Jesus' Transformative Forty Days and Forty Nights in the Desert | A Poem About God   In "Forty Days and Forty Nights," from the series “A Poem About God,” we enter a realm where we reimagine the ancient tale of Jesus in the wilderness. The Fallen Angel summoning his legions engages in a fierce battle against the forces of good, and the conflict rages on for forty days and nights. The opening lines set the stage for a profound struggle between light and darkness, as the armies of mighty kingdoms assemble in the desert proclaiming their allegiance to the False King.   The physical and spiritual challenges faced by the protagonist, Jesus, are vividly portrayed. Thirst and hunger plague his body as he endures the harsh conditions of the wilderness. The Darkness mocks the Prophet, tempting him with a feast of wine and stones, and seeks to undermine his divine purpose. This portrayal emphasizes the relentless nature of the battle Jesus faces, both externally and within.   Amidst the tribulations, visions of a blessed city manifest in the Prophet's mind. The imagery unfolds revealing marble temples and cool gardens, while the Dark Star serves as a guiding force urging the saintly figure to ascend to his golden throne in Salem. The allure of this paradise beckoning with the embrace of a thousand angels poses a powerful temptation testing Jesus' unwavering resolve.   The poet introduces a captivating element to the narrative—the appearance of the Rabbi's virgin daughter, Mary Magdalene, who visits Jesus in his dreams. Described as possessing sixteen years of sublime beauty, she becomes a symbol of allure and temptation. The vivid imagery continues as she lies in the dunes with her crimson gown undone, tormenting Jesus throughout the night. This portrayal highlights the inner turmoil and desires that Jesus confronts on his journey.   As dawn breaks, the poet introduces a striking transformation. The lustful vision that attempted to entice Jesus, gives way to the presence of a hissing viper which slithers away. This symbolic representation suggests that the allure of temptation is transient and deceptive, with no lasting substance. The cycle of temptation and resistance becomes a recurring motif in Jesus' struggle.   The poem concludes with a poignant moment of surrender and submission. The Son of Man falls to his bended knee, and lifting his head to the sky cries out to his Lord and King affirming his unwavering commitment to the divine will. This declaration encapsulates the triumph of Jesus over the temptations he has faced, emphasizing his ultimate victory against the forces of evil.   In this evocative and idiosyncratic interpretation of the temptation of Christ, the poem offers a captivating exploration of the inner battles faced by Jesus in the wilderness. Through vivid imagery and evocative language, it delves into the complex interplay of desires, visions, and steadfast devotion. Inspired by Kazantzakis' novel “The Last Temptation of Christ”, the poem invites readers to reflect on the nature of temptation, the resilience of faith, and the triumph of spiritual resolve.

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. The Resurrection of the Spirit: Mary Magdalene's Journey to Redemption | A Poem About God My Lord, my life is yours. Since I was a little girl, I’ve lived for the day you’d come. When I was but thirteen, and you fifteen, both almost children, your gaze sealed my fate. You held my hand and spoke strange words I'd never heard before, words I would never hear again. Then you pressed your lips on mine! I kissed you back, a child's kiss—innocent and chaste—yet we both sensed we had crossed forbidden boundaries. You caressed my hair, our lips met once more, and in a daze, you breathed in the fragrance of my aching breasts. Consumed by fear, you fled—a trembling soul possessed—stumbling and collapsing. I wiped your brow and cleansed your mouth, yet each time you quivered like a startled dove. I wept and beseeched Him to release you, but Jehovah, a cruel and jealous God, ignored my child’s pleas. Seven sins came riding from afar across the Galilee knocking on my father's door. He cursed me, told me I was the bride of Lucifer, and commanded me to leave his house. Since then, a red light burns in my window, and countless men defile my body night and day. I lie on my soiled bed in this room of shame with my face to the wall, feigning love’s cries—a love without love. Bites and scratches mar my flesh, and my tattered scarlet gown, always open to all the colours of the world, forever reeks of the stench of shameful sex. I search for you my Lord each night in all the insatiable mouths and in all the vile hands crawling on my thighs and breasts, and even though each morning I scrape and bathe in myrrh, the smell of paid-for sex still lingers in the air. My Lord, all the nations of this earth have passed through my bed. I’m tormented, scorned, and shamed. I'm abused and always sold to the highest bidder, yet I'm still that little girl, unsullied by any man, waiting to be your beloved bride. And now, you knock on my door, and you walk in with downcast eyes blushing like a virgin. You bleat like a lamb and call me sister, you say my shame is your shame and you tell me you want to save me. But tonight, I don't want sainthood or your God. Put out the red light, fall into my bed, and save my flesh. My soul will not tarry far behind. Read all the poems inspired by The Last Temptation of Christ

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, Judas, 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. In a squalid hovel out of town a gypsy hammers rage and steel fashioning four shiny nails to kill the prophet king. In an olive grove near a hill a zealot kneels down and weeps for a rabbi who is going to die and in a house with a red lamp burning in its shabby window a woman cries for a death foretold. She cries for all the nights she yearned for him and cried herself to sleep she cries for all the nights she searched for him in all the men who paid to use her and she cries for all the nights she called for him and for all the nights he never came. Read all the poems inspired by The Last Temptation of Christ A few words about the poem… Eve of Redemption | Judas and Magdalene, A Tragedy Unveiled | A Poem About God   In this introspective poem about God by the Cyprus poet Chris Zachariou, inspired by "The Last Temptation of Christ" by Nikos Kazantzakis , we are transported to a world filled with despair and impending tragedy. The narrative unfolds through the perspectives of two significant figures in Christianity: Judas, and Mary Magdalene.   The introductory lines paint a vivid picture of the setting—a squalid hovel outside the town where a gypsy crafts four shiny nails, destined to be the instruments of the prophet king's crucifixion. This imagery immediately plunges us into the sombre atmosphere that permeates the poem.   The scene then shifts to an olive grove, perhaps Gethsemane, where Judas kneels in sorrow, shedding tears for the impending demise of his rabbi. This portrayal hints at the profound impact Jesus had on his followers, as even Judas, a zealot known for his fierce devotion and militant spirit, is moved to grief and lamentation. This moment captures the weight of impending loss and emphasizes the significance of the figure they are mourning.   In another corner of this sombre world, we encounter a house with a red lamp burning in its shabby window. Here, Mary Magdalene cries for a death foretold. Her tears are a culmination of myriad emotions and experiences that have defined her relationship with the rabbi. The poet suggests that Mary weeps not only for the imminent loss of Jesus but also for all the nights she yearned for him in vain, crying herself to sleep. Her tears embody the longing and unfulfilled desires that have marked her journey.   The poem delves deeper into Mary's pain, capturing the profound sorrow of countless nights spent searching for solace and connection. The poet poignantly portrays Mary's anguish as she turns to other men who paid to use her, desperately seeking the presence of the one she truly yearned for. These lines evoke a sense of desperation and loneliness, emphasizing the profound absence and unfulfilled promises that have haunted her.   Through the intertwining perspectives of Judas and Mary Magdalene, this poem offers a poignant reflection on the eve of Jesus' crucifixion. It portrays the sorrow and yearning that both characters experience in the face of the imminent tragedy. The imagery and emotions conveyed in the poem allow readers to connect with the depth of their grief and the weight of their shared loss. As we embark on this poetic journey, we are compelled to contemplate the complex relationships and human experiences that shape the narrative of salvation and sacrifice.

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 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. All my life I searched for you and now you are here Lord. When you talk I hear birds sing I hear the whispers of the Sea of Galilee and I see a rose in white bloom waiting for her bridegroom at the gates of Heaven. My soul is like summer soil your voice is like rain in August and the seed you plant is love. Yet in your eyes, I see the shadow of a cross, four nails soaked in blood and the taste of death is on your lilac lips. My Lord forgive me, hold my hand and lead me through Gethsemane tonight. Read all the poems inspired by The Last Temptation of Christ A few words about the poem… Gethsemane: Sin and Redemption | Poem About God   A poem about God where sin, redemption, death, and grief intertwine in a tapestry of profound emotions. The poem offers a journey into the depths of the human experience, inviting readers to reflect on the complexities of life's struggles and the transformative power of faith.   In "Gethsemane," Judas’ quest for divine connection becomes a metaphorical pilgrimage, where sin and redemption converge. It delves into the universal human condition, acknowledging the presence of sin as an inherent aspect of our existence. The poem reminds us that redemption can arise even from the darkest corners of our lives, offering hope and the promise of spiritual renewal.   As the poem unfolds, death and grief emerge as pivotal themes. The poet's vivid imagery lets us witness the weight of mortality, capturing the essence of grief through the lilac lips of Jesus tinged with the taste of death. This portrayal reminds us of the fragility and transient nature of life.   Through the verses of "Gethsemane," we are invited to immerse ourselves in the depths of emotion and embrace the complexities of the human condition. The interplay of sin, redemption, death, and grief serves as a testament to the universal nature of these experiences. The poem encourages us to acknowledge our own struggles, finding solace and understanding in the shared journey of humanity.   With every line, the poet's words transport us to the tranquil whispers of the Sea of Galilee, where nature's beauty coexists with the burdens of existence. The symbol of a blooming white rose waiting for her bridegroom at the gates of Heaven evokes a sense of hope and longing, reminding us of the transformative power of love and the promise of salvation.   Within the context of sin and redemption, death and grief find their place in the narrative, offering profound insights into the human soul. This sin and redemption poem gently reminds us that within the depths of our darkest moments, there is an opportunity for spiritual growth, renewal, and the emergence of light.

I looked for you in the eyes of all the murdered migrants and in the eyes of the drowning children. I looked for you when the starving thousands were marching to the Promised Land and the angels named them malingerers and thieves. I looked for you my Lord but I never found you. A few words about the poem… The Plight of the Vulnerable and Oppressed in Society | A Poem About God   “When will I find you Lord,” a poem about God, is a poignant reflection on the search for hope and salvation amid human suffering. The poem’s speaker searches for God in the eyes of the most vulnerable and oppressed members of society, such as murdered migrants and drowning children. However, despite their desperate plight, the speaker is unable to find God in their suffering.   The poem raises important questions about the role of religion and spirituality in the face of human grief. It suggests that even the most devout believers may struggle to reconcile their faith with the harsh realities of the world. The poem may suggest that many of the citizens of the developed world have a hypocritical adherence to religion. Some may even begin to question God’s existence who so callously permits such suffering.   The poem also touches on the issue of hypocrisy among superpowers that use countries such as Syria to fight proxy wars with each other. The speaker’s search for God in the eyes of the victims of war highlights the tragic consequences of geopolitical conflicts often fuelled by the interests of powerful nations. The poem suggests that these superpowers create the deadly situations of war and at the same time look for thousands of reasons to turn away their victims from their shores.   This is a complex issue that has been the subject of much debate and analysis in recent years. According to Robert Fisk, a journalist for The Independent, the superpowers are battling to be the biggest hypocrite . He argues that the 125,000 civilian casualties of the two Chechen wars elicited far less passion in the West than the fatalities in Syria. Fisk suggests that the West’s selective outrage over human rights abuses reflects its own hypocrisy and double standards.   Similarly, the Brookings Institution has published an article on the proxy war problem in Syria, which argues that the conflict is a result of the geopolitical interests of various regional and global powers. The article suggests that the conflict is not a civil war, but rather a proxy war between various factions that are supported by different external actors. The article highlights the dangers of such proxy wars, which can escalate into full-scale conflicts and destabilize entire regions.   In conclusion, the poem “When will I find you Lord” is a powerful reflection on the search for hope and salvation during human suffering. The poem raises important questions about the role of religion and spirituality in the face of tragedy and loss. It also highlights the tragic consequences of geopolitical conflicts often fuelled by the interests of powerful nations. The poem is a reminder of the need to confront the hypocrisy of the superpowers that use countries such as Syria to fight proxy wars with each other. It is only by acknowledging our complicity in these conflicts that we can begin to work towards a more just and peaceful world.

All I hear is your voice: “Remember this, remember that.. what about this, what about that?” and you drone on and on and on: “Always a foot soldier, never a commander.” “He never came to see you, did he?” blah, blah, blah... But perhaps you have a point here “Why didn't you come to see me, daddy?” Sometimes you say nothing— silence, your cruellest ploy. One look and I'm undone, you torment me and you taunt me. All the thoughts I tried so hard to banish— all my fears and all my insecurities.   "Couldn't you have loved me just a little?" and I cry for the child that was only seven. When I say this is old news —I pretend of course—you laugh. How do you know me so well am I you, are you me? Be careful old friend, neither of us may be here much longer. A few words about the poem…   Poems of Despair: An Analysis of the Poem "You Know Me So Well"   " You Know Me So Well " is a poignant addition to the collection of Poems of Despair, offering a profound exploration of complex personal relationships and internal conflict by delving into themes of memory, criticism, and unresolved emotional turmoil.   The poem opens with an incessant barrage of reminders and questions from an omnipresent voice: “Remember this, remember that... what about this, what about that?” This repetition creates an atmosphere of relentless scrutiny, reflecting the speaker’s exhaustion and frustration.   The voice's belittlement continues with statements such as “Always a foot soldier, never a commander” and the dismissive “blah, blah, blah...” This trivialisation highlights a broader societal tendency to diminish personal grievances and experiences.   A significant turning point occurs with the voice's pointed question: “Why didn't you come to see me, daddy?” This line introduces a deeper, unresolved paternal relationship, adding layers of emotional complexity. The use of silence as a “cruellest ploy” further emphasises the manipulative nature of this dynamic, where non-verbal cues inflict profound psychological pain.   The middle stanzas delve into the speaker’s inner turmoil, where the power of a mere look can leave them “undone.” This imagery captures the lingering impact of unspoken criticism and the resurfacing of suppressed fears and insecurities: “All the thoughts I tried so hard to banish.”   The emotional climax is marked by the heart-wrenching plea, “Couldn't you have loved me just a little?” This line underscores the universal longing for parental validation and love, while the reference to crying for a seven-year-old child speaks to the lasting effects of childhood neglect.   The concluding lines reveal a complex interplay of mutual understanding and deep-seated conflict. The speaker’s feigned indifference— “this is old news”—contrasts with the voice’s knowing laughter. The rhetorical questions, “How do you know me so well, am I you, are you me?” suggest a blurred line between the critic and the self, hinting at internalised criticism and identity confusion.   The poem closes with a sobering warning: “Be careful old friend, neither of us may be here much longer.” This line encapsulates the transient nature of life and influence, reminding both the speaker and the critic of their mortality. "You know me so well" through its exploration of torment, longing, and introspection, offers a nuanced commentary on the enduring impact of personal relationships and authoritative figures.

It's the twentieth of December. The Jewish minstrel strummed his chords at 4 am and nailed me to the stave in every minor scale.   I drift around the freezing streets searching for the stairway back to us in Little Venice. Lovers mingle on the bridge, they hold hands in bars and small cafés and boats glisten on the water.   In your haste to be the Avant-Garde queen, you denied me three times before the morning and each time you grew more distant.   'There will never be another premiere,' the master of ceremonies cries at noon. Black limousines are waiting outside my door, the red carpet is frayed and scarred, and still, I hide behind the curtain yearning for a glimpse of your fragrant life.   It's cold and dark today in Little Venice. The light is fading fast, Christmas will be here in five short days then a bleak endless winter. Numb, I sit by the water scribbling muddled verses about the jigsaw piece still missing. Part of the Old Stories cycle of poems A few words about the poem… Melancholy Poems: Exploring Loss and Yearning in “Songs at 4 am”   "Songs at 4 am" captures the sadness and despair of lost love against the backdrop of Little Venice, one the most beautiful parts of London. The first two stanzas situate the reader in a specific time and place, invoking a sense of personal disorientation as the speaker roams the streets, searching for a lost connection. The imagery of lovers on the bridge and glistening boats creates a juxtaposition of warmth and intimacy with the speaker's internal isolation.   The third stanza introduces a tension between personal ambition and emotional neglect. The speaker addresses a lover who, in pursuit of artistic distinction, has repeatedly distanced herself. This act of denial is likened to a biblical betrayal, intensifying the emotional gravity. The refrain of the master of ceremonies and the minstrel's song at 4 am suggests a recurring, unending sorrow, marked by the metaphorical crucifixion on the stave, emphasizing the speaker's emotional torment.   The mention of black limousines and a frayed red carpet symbolizes a funeral, hinting at the passage of time and an unfulfilled life as death approaches. The speaker's hiding behind the curtain reflects a reluctance to face reality, yet an undying hope for reconnection persists. The contrast between the opulence of the past and the starkness of the present underscores the theme of loss and longing.   The poem “Songs at 4 a.m.” from the series Melancholy Poems, concludes with a bleak depiction of the approaching winter, both literal and metaphorical. The cold and fading light of Little Venice serve as a metaphor for the speaker's desolation. As Christmas nears, a time typically associated with warmth and togetherness, the speaker is engulfed in a sense of endless winter, scribbling incomplete verses. This act of writing symbolizes a futile attempt to make sense of the unresolved emotional puzzle, highlighting the enduring pain of the missing piece.

My green-eyed Madonna writhes and screeches in the mud with tobacco-chewing rednecks. This flawless spectacle inflames the caverns of my mind. Aroused, I kneel and beg her for a taste of her newborn vices. She reaches out to me, but I’m a prowler, a fierce hunter and do not care for this debauched young woman. Apple scent fills the reeds. She promises me the remnants of her tattered modesty, then she leads me to a diner in the town’s backstreets. I ask for a plate of almond croissants with a skinny latte but she tells me in her inn, there is only food for real men and the bitterest of coffees. Green fever clouds her eyes. We take a bottle of rye bourbon and rush upstairs to her bed. We struggle until her final whimpers snap the thread and the hunt is over. Who was the hunter, and who was the prey? No one knows to this day but it is clear to me now, this young Madonna was not born to sing the Blues, and I was only an out-of-town drifter who was lost on his way to Memphis. Part of the mosaics   cycle of poems A few words about the poem… A Coming-of-Age Poem Explored Through an Odyssey of Passion and Self-Discovery In a poetic exploration, the journey to self-discovery often meanders through landscapes both physical and metaphorical. Such is the essence of this coming-of-age poem under scrutiny, a narrative woven with the threads of a young man's odyssey, symbolized by the enigmatic destination of Memphis. The protagonist, a figure possibly in his mid-twenties, traverses the contours of his own psyche, seeking revelations in the heart of the South. Memphis, a city steeped in historical and cultural significance, serves as the backdrop for the unfolding drama of self-discovery. This thematic choice beckons the reader to delve beyond the surface, to ponder the allegorical implications embedded in the poet's crafted verses. The poem introduces a young woman, in her late teens, as a pivotal character in the protagonist's journey. Her presence, both ethereal and substantial, symbolizes a nexus of desires and fantasies. The nuanced portrayal, employing the subtlest strokes of language, hints at her unexplored sensuality and a mind given to fanciful musings. As the narrative progresses, the poet unveils a tempestuous sexual liaison between the protagonist and this enigmatic young woman. The imagery of a green-eyed Madonna screeching and writhing in the mud, juxtaposed with tobacco-chewing rednecks, sets a vivid scene. The clash of elements—passion and detachment, desire and resistance—adds layers to the exploration of human connection. The choice of a diner in the town's backstreets, the rejection of almond croissants and a skinny latte in favour of fare suitable for "real men" and the bitterest of coffees, introduces societal norms and preferences into the narrative. The clash of these elements, conveyed with an objective and informative tone, adds a dimension of social commentary to the poem. Within the folds of this poetic tapestry, the scent of apples fills the reeds, an olfactory note that lingers, inviting interpretations that transcend the literal. The poet creates an atmosphere where every detail is a brushstroke on the canvas of the reader's imagination. The culmination of the poem, marked by a struggle that ends with the Madonna's final whimpers, suggests a denouement to the passionate encounter. Yet, the mystery persists—the hunter and the prey, the drifter and the Madonna, entwined in a dance that defies clear delineation. It is a narrative choice that echoes the complexities of human relationships, leaving the reader with questions that resonate beyond the confines of the verses. The poem guides the reader through the labyrinth of themes—self-discovery, passion, societal norms—while leaving room for interpretation. The journey to Memphis, both literal and metaphorical, is an exploration that invites contemplation, a poetic odyssey that captivates without revealing all its secrets.

All I have are memories— love and loss, pain and despair; the remorseless spiral into sorrow and then the slow crawling back until I learned to live again. I imagine the next time we meet. But will there ever be a next time? What if we don't recognise each other anymore or flowers are no longer in your life. What if when I look into your eyes I do not see that girl I loved once so very much. What if I am not brave to tell you how I died when we said goodbye. Will you listen to my tears? I lie perfectly still in misery. There are a thousand pictures swirling inside my head. What if, what if, what if. Part of the   Old Stories   cycle of poems A few words about the poem… A Poem Laden with Longing and Loss | Melancholy Poems   What if," from the series “Melancholy Poems,” delves into the contemplation of memories, love, loss, and the uncertainty of the future. It begins with the speaker reflecting on their memories, encompassing both joy and sorrow and the recurring journey of despair and recovery. The repetition of "What if" underscores the pervasive sense of uncertainty and doubt that permeates the speaker's thoughts.   Throughout the poem, there is a poignant exploration of potential outcomes and fears regarding the future, particularly concerning the possibility of a reunion with a loved one. The uncertainty of recognition and the absence of familiar elements such as flowers in the loved one's life evoke a sense of apprehension and longing.   The speaker grapples with the fear of not seeing the person they once loved reflected in their eyes and the hesitation to express their emotions. The imagery of lying still in misery and the swirling of countless thoughts illustrate the weight of contemplation and emotional turmoil.   Overall, the poem captures the complex emotions associated with memory, love, and the unknown future, inviting readers to ponder the "what ifs" that linger in the recesses of the mind.

the mast is broken the boat is leaking and souls of little children float around on the water white knives stab the sky and the moon plunges in the sea and dies papa, papa where are you quick, pull the plug; someone pull the plug drain the lake and save the child but the old lady moves so slow too late the child has drowned who will bury this dead boy now 'who cares' sings the chorus 'what was his name anyhow?' A few words about the poem…   The Silent Tragedy: An Analysis of "Alan Kurdi," from the Anti-War Poems   "Alan Kurdi," a poem from the series "Anti-War Poems," captures the harrowing plight of refugees through a powerful and evocative narrative. The poem's title refers to the young Syrian boy whose tragic death brought international attention to the refugee crisis, embedding the work with immediate historical and emotional weight.   The opening lines, "the mast is broken / the boat is leaking," set a scene of imminent disaster. This imagery conveys the fragility and desperation of the refugees' journey, where the broken mast and leaking boat symbolize the perilous conditions faced by those fleeing conflict. This stark portrayal aligns with the themes commonly explored in anti-war poems, emphasizing the human cost of violence and displacement.   As the poem progresses, the line "and souls of little children / float around on the water" introduces a haunting visual of innocence lost to the sea. The floating souls serve as a poignant reminder of the lives cut short by circumstances beyond their control, a recurring theme in anti-war literature that critiques the devastation wrought by conflict.   The metaphor of "white knives" stabbing the sky and the moon plunging into the sea creates a vivid image of a world in turmoil. These elements personify nature itself as being in a state of chaos, mirroring the emotional and physical turbulence experienced by the refugees. The plea, "papa, papa / where are you," injects a deeply personal element into the narrative, highlighting the fear and desperation of a child separated from safety and familial support.   The urgency in "quick, pull the plug; / someone pull the plug / drain the lake / and save the child" reflects a desperate call for intervention, underscoring the poem’s critique of inaction and the slow response from those who have the power to help. The "old lady" who "moves so slow" symbolizes the lethargy and bureaucratic inefficiency that often characterize international responses to humanitarian crises.   The poem's conclusion, "too late the child has drowned / who will bury this dead boy now / 'who cares' sings the chorus / 'what was his name anyhow?'" presents a chilling depiction of societal apathy. The indifferent chorus questioning the boy's name serves as a stark contrast to the earlier cries for help, highlighting a broader commentary on how individual tragedies are often lost amidst global crises.   In the context of anti-war poems, "Alan Kurdi" stands out for its poignant portrayal of the refugee experience. The poem critiques not only the direct consequences of war but also the broader societal indifference towards the suffering it causes. By focusing on a single, heartrending story, it effectively underscores the profound and often overlooked human cost of conflict. As part of the series "Anti-War Poems," it contributes to a vital literary tradition that seeks to illuminate and challenge the devastating impact of war on innocent lives.

Armageddon has begun. Can you not hear the sound of seven trumpets? Noah's ark is sinking fast. Time has stopped and all that lives is going to die. Eagles swoop down on the little white doves tearing their flesh apart. Vultures dressed as lions come out of mushroom clouds spreading death across the land. Villages and cities burn. Corpses lay on mountainsides and maggots feast on rotting flesh. In bloodied seas and murky rivers drowned men with bloated bodies go floating by to the water. Mother, Father go and look for your son go and look for your daughter go looking for each other. Mother, Father don't you know, tonight is going to be your turn to die. A few words about the poem… An Apocalyptic Vision of a Nuclear War | Anti-War Poems " The Sound of Seven Trumpets" conjures a vivid and harrowing depiction of an apocalyptic scenario. Through stark and unsettling imagery, the poem immerses readers in a world on the brink of annihilation. It begins with the emphatic declaration of Armageddon, immediately establishing an atmosphere of impending doom. The question posed, "Can you not hear the sound of seven trumpets?" invokes the biblical reference to the Book of Revelation, where the sounding of trumpets signifies the onset of divine judgment. This allusion sets the stage for the catastrophic events that follow, grounding the poem in a tradition of prophetic literature.   The metaphor of Noah's ark sinking fast underscores the hopelessness of the situation. Unlike the biblical ark, which was a vessel of salvation, this sinking ark symbolizes the failure of any escape or refuge. The cessation of time further heightens the sense of inevitability and finality, suggesting that all forms of life are on the verge of extinction. This imagery conveys a profound sense of despair, as it becomes clear that no one can escape the approaching doom.   As the poem progresses, the imagery becomes increasingly graphic and disturbing. Eagles swooping down on little white doves symbolizes the destruction of peace and innocence. The mention of vultures dressed as lions emerging from mushroom clouds introduces a dual symbol of both death and deception. Lions, typically seen as noble and powerful, are here associated with the fallout of nuclear devastation, implying that even the mightiest are tainted by this catastrophe. This metaphorical language underscores the pervasive and inescapable nature of the destruction.   The landscape painted by the poem is one of utter desolation. Villages and cities burn, leaving behind a charred and lifeless expanse. The presence of corpses on mountainsides and the gruesome image of maggots feasting on rotting flesh emphasize the grotesque aftermath of the apocalypse. The depiction of drowned men with bloated bodies in bloodied seas and murky rivers adds to the sense of pervasive decay and corruption. These vivid descriptions serve to immerse the reader in the horrific reality of this imagined end of the world.   Amidst the broader canvas of devastation, the poem introduces a deeply personal and poignant element through the repeated plea to parents. The lines "Mother, Father, go and look for your son, go and look for your daughter, go looking for each other" evoke the universal and primal fear of losing loved ones. This repetition underscores the desperation and helplessness felt by those who are left to search in vain. The call to parents highlights the intimate human cost of the apocalypse, contrasting the vast scale of destruction with individual tragedies.   The poem concludes with a sombre and chilling warning. The statement "Mother, Father, don't you know, tonight is going to be your turn to die" reinforces the inescapable nature of the apocalypse. This final line brings the universal theme of mortality into sharp focus, suggesting that no one is exempt from the impending doom. The poem's ending leaves readers with a sense of profound inevitability, as the cycle of life and death reaches its terminal point.   "The Sound of Seven Trumpets," from the series “Anti-War Poems,” weaves together biblical allusion, vivid imagery, and personal tragedy to create a portrayal of an apocalyptic vision. The poem's stark and unflinching depiction of destruction and death serves as a meditation on the fragility of life and the inescapable nature of mortality. Through its evocative language and haunting imagery, the poem leaves a lasting impression of doom and despair, inviting readers to reflect on the profound themes it explores.