Categories
Stories

Two Small Town Girls that Dressed Up for Wednesday

By Jonathon Ferrini

My flight from JFK landed in Albuquerque well after dark, just in time to learn that the last connection to Phoenix had been canceled. Waiting until morning wasn’t an option because my daughter was scheduled for cancer surgery, and after missing the chance to say goodbye to my dying wife years earlier while chasing another business deal halfway around the world, I wouldn’t fail my daughter again.

I rented a car and headed into the night, intending to follow Interstate 40 West before turning south toward Scottsdale. But somewhere beyond Albuquerque, with fatigue settling in and my mind replaying old regrets instead of reading highway signs, I drifted onto a lonely state road with a single faded white line guiding me into a jigsaw puzzle of regret, anguish, fear, and several near bouts of dozing off. White lines and the pitch-black desert sky suggest a road is just a road, but where it leads you is a state of mind and the white line offers no guarantee of what lies ahead.

By the time the sun was climbing over the high desert, the interstate had vanished behind me. The landscape had grown quiet and unhurried, and the weathered sign welcoming me to an indiscernible town whose name was erased by decades of winds and rains. I named the town “Nowhere New Mexico” which I would discover seemed less like a wrong turn than an invitation into a place untouched by deadlines, airports, and the relentless pursuit of tomorrow. As it turns out, I learned some folks look at today and make it become magic even in the simplest of ways.

I was tired and hungry and missed the off-ramps taking me to fast food, hotels, and all the conveniences of modern life. I needed food, rest, and an opportunity to think about the long trip home. I regretted the call to my wife’s sister notifying her I’d be late, but it would wait until I could gather my thoughts.

There was an old gas station with two rusted pumps standing out front like museum pieces. An automobile repair shop with a faded sign that read MARTINEZ GARAGE with a 50-foot-tall pole sign with a Native American Chief in ceremonial headgear faded but still stared out over the land.  In the center of town, I saw the “Wayward Hotel, Rooming House, and Restaurant”, and across the street was a dilapidated old metal warehouse with a crow painted on the side.

The streets were paved, but potholes interrupted the blacktop every few yards. You could almost imagine that beneath it all was the old dirt road where horses once galloped and shootouts occurred after drunken brawls inside the hotel bar. It felt like an Old West town that had simply decided to keep going. The only thing missing was the horses.

Then I saw the pharmacy,

“Saf-T Pharmacy & Soda Fountain”

I stopped and parked because of the soda fountain. You can’t find them anymore and I couldn’t resist the urge to relive the experience of a chocolate shake from a cold metal colander. I looked through the front window, six stools lined up at an old counter. The red vinyl was cracked. The chrome had dulled. I doubted it had served a proper milkshake in years.

A little bell jingled when I walked inside. The first thing I noticed was that two young women were standing behind the counter dressed for Halloween. One wore a black witch’s hat and a purple cape. She had long dark hair and warm brown skin. The other had red hair, freckles, and silver fairy wings that glittered whenever she moved. For a moment, I recalled holding my daughter’s hand as we went door to door on Halloween and in a split second, she grew up and didn’t need my hand.

The store was empty. I felt strangely at peace and smiled. “Do you still make chocolate shakes?”

The two of them looked at each other.

“The soda fountain’s closed,” the witch said.

The fairy shrugged. “Oh, who cares? We’ll make one.”

They disappeared behind the counter. The old mixing machine groaned to life. Then came the delicious ingredients: ice cream, milk, chocolate syrup, and fresh whipped cream and a maraschino cherry from a nearby jar to top it off.

They laughed quietly as they worked, neither one giving instructions, each one knowing exactly what the other was about to do but I was living my childhood again, a simpler time, a time of endless days and no responsibilities.

Finally, the fairy placed the shake in front of me. I took a sip.

“It tastes like 1959.”

They didn’t get the joke but why should they? They are living their own history. I looked around the store.

“Where’s the pharmacist?”

The fairy smiled. “She doesn’t work on Wednesdays.”

I looked back at the shelves. There were bottles of aspirin and a few prescriptions waiting to be picked but there were also tools, nails, garden gloves, wind chimes, handmade pottery, old books, locally painted pictures of the desert, candles, kitchen towels, greeting cards, and little carved wooden animals.

The witch caught me looking.

“We’ve got a little bit of everything.

“If people need something, we try to have it.”

The old wooden floor creaked as an elderly man walked in and bought a newspaper and a package of screws. After he left, a woman came through the front door carrying a broken lamp.

The fairy looked it over like it was a precious heirloom and assured the woman, “Mr. Ortega will probably stop by around three. He can fix it.”

“You both look darling in your Halloween costumes but it’s only springtime.”

“We don’t need a holiday to dress up and have fun together.”

A little boy came in and bought a comic book and a piece of peppermint candy.  “Take an extra at no charge, dear.”

“Gee, thank you, Miss.”

The place wasn’t really a pharmacy. It was whatever somebody needed that day. The ceilings were high, and an old fan turned slowly overhead squeaking to some old beat or rhythm it recalled from decades ago. The wooden floor had been worn smooth by a hundred years of footsteps. I would have sworn that nobody had renovated that building in a century. It was authentic. It wasn’t pretending to be old like so many commercial replications seen today. It had simply survived.

“Are you going to a party, ladies?”

“No.”

“A dance?”

“No.”

“Then why the costumes?”

“We just decided to dress up today.”

“Why are you doing what you’re doing, Sir?”

“I missed a flight and decided to drive home to Scottsdale and got turned around and ended up here.”

The fairy smiled. “We have many strangers who seem to stray off the Interstate and find their way here. They all seem to carry a burden of some type. Some talk, others don’t. Most of the time they leave happier then when they arrived. We never see them again. How are you doin’ Mister?”

“Thanks for asking but I won’t spoil your Wednesday with my burdens. Did you both grow up in this small town?”

“Yep. Same elementary school, same little high school, summer jobs together, and now the pharmacy.”

“You never left?”

The fairy shook her head. “No.”

The witch looked down at the old milkshake mixer. “Not yet.”

I wasn’t sure what that meant. I almost asked about husbands, boyfriends, and children but it struck me it didn’t really matter because these two young ladies were at peace.  Instead, I asked, “Is there much to do around here?”

The fairy looked out the window. “We watch storms.”

The witch smiled. “And people driving through in a hurry.”

I found myself wondering what it was like to spend your whole life in one little town. I wondered if they ever dreamed about bigger places; the ocean, and cities full of strangers. I wondered if they would ever leave and then another thought came to me. “What would happen if one of you left?”

Neither answered. The fairy folded one of her wings. The witch looked out the front window.

The fairy smiled. “I guess the other one would have to learn how to make milkshakes.”

The witch smiled back. “It wouldn’t taste as good.”

They laughed like happy young women with the hearts of children still pulsating inside them. I realised I had been looking at them the wrong way. I had assumed that because they stayed, they must be lonely, yet they did not seem lonely at all. They weren’t sisters as far as I could tell and didn’t signal, they were a couple. There was simply a bond between them that had been built one ordinary day at a time.

I had a revelation that perhaps in a little town, you discover that friendship just happens. Possibly, they worked there because the store itself was the one place where the whole town came together because the place had everything including a hundred years of memories and perhaps that was enough.

I finished my shake. They charged me three dollars. I left twenty. The fairy tried to hand me the change, but I stopped her, “Keep the change. Use it for more costumes and giving an old man a taste of the past which can’t be purchased anywhere for any price.”

I walked outside and the bell above the door rang as if saying, “Goodbye and thanks for stopping by.”

I sat inside my car and was ready to make the phone call to the hospital and found no cellular service. The bell above the door rang with a sense of urgency when I asked if there was a pay phone. “No cell service and no pay phone, Mister.”

“I have to make an emergency call to the hospital.”

“You’re welcome to go behind the pharmacist’s counter and use her phone in the office.”

My daughter was already in surgery and the prognosis was uncertain. My gut was tied in knots, and I feared another lost loved one with daddy absent.

I emerged from behind the pharmacy and back into the store witnessing two beautiful young women with true empathy, love, and kindness in their eyes. I teared up.

“It’s been one hell of a night and trip with hours to go. Despite the sorrow in my heart, you both brought this old man some happiness.”

The witch said, “You’re not the first one to use that phone in an emergency and won’t be the last. We’re happy you were able to make your call and hope it all works out for you.”

“From your mouth to God’s ears, ladies.”

“Maybe not ‘God’ but a good witch and fairy, Mister.”

The old hotel cast a long shadow across the street. The garage looked as though it had been waiting for someone for fifty years. The gas station pumps stood quietly in the afternoon sun. The Chief kept staring like he was waiting for the cavalry.

I climbed into my car but before I started the engine, I looked back through the pharmacy window. The fairy was pretending to cast a spell with a milkshake spoon. The witch was stirring an imaginary cauldron.

I wish I could have told the pharmacist they cast a spell of resilience and renewed energy inside me. The farther I drove, the more I thought about them. At first, I wondered whether they would ever leave that little New Mexico town. Then I realised it wasn’t really my business. People who travel too much have a habit of believing that happiness is always somewhere else. Maybe it isn’t?

I had spent my life travelling the world for business and valuing corporate opportunities. That afternoon, I learned that some places cannot be measured that way. The little store wasn’t valuable because of the land beneath it. It was valuable because it had become one place where everybody could go.

If you needed medicine, a hammer, comic book, or a birthday card, it was there, and, if you needed a chocolate milkshake from a vintage soda fountain to rekindle something lost inside you forever, two girls dressed as a witch and a fairy would probably smile and say, “We’ll make one.”

And as I drove out across the New Mexico desert, I wasn’t sad for them. I was happy because in a world where so many people spend their lives searching for someone who understands them, those two girls had already found each other and were content.

Sometimes they watched storms.

Sometimes they meet strangers passing through and cast spells of human understanding and kindness.

And just for the hell of it on an ordinary Wednesday, they put on fairy wings and a witch’s hat, not because they had somewhere to go, but because they already had somewhere to belong.

I thought about two small town girls who decided that an ordinary Wednesday deserved a little magic which consoled a father as he made it to the hospital and found his loving daughter recuperating from successful surgery. I held her hand and whispered, “Do you remember when you were little and daddy took you house to house on Halloween?”

“I dreamed about that, daddy. I always dressed as a nice witch or a fairy.”

From Public Domain

Jonathan Ferrini is the author of nearly 100 short fiction stories, poems, and screenplays. A partial collection of his short fiction may be found inside “Hearts Without Sleeves-Twenty Three Stories” available at Amazon. Jonathan is the writer/host of the Razor’s Ink Podcast nearing 90 weekly episodes where he discusses film, television, and music. Jonathan received his MFA in motion picture and television production from UCLA and is a candidate for the undergraduate diploma in Creative Writing at Oxford University.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access Wild Winds: The Borderless Anthology of Poems

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Categories
Stories

Small Town Journal Entry: The Red Wagon and Red Robin

By Jonathon Ferrini

My name is Arthur. I’m a metal artist, and a lot of my inspiration including my raw materials come from wandering through old automobile salvage yards. I was scrounging around for pieces for a new project when I spotted a beat-up little red wagon, an iconic model named “Radio Flyer” wedged between the rusted shells of two old cars.

The Radio Flyer was founded by an American company in 1917 and became an American cultural symbol. Its mangled condition wedged between cars made overseas was a strong metaphor for simpler times, manufacturing jobs lost forever, the American rustbelt, and something much more profound to me.

The wagon had been in a collision of its own. Twisted up inside the shards of rusting red metal was a tattered notebook. I paid five dollars but would soon discover my purchase was more than artistic, the contents of the notebook were a repayment of my small investment beyond measure.

One rainy evening in front of the warm glow of a fireplace with a glass of brandy, I opened the notebook and realised it had been written by a little boy who was just learning to write.

I want to share the original contents, but found it necessary to fix a child’s misspelling, no grammar, and lack of punctuation so his observations are understandable. The rest I left alone, because every now and then an old junkyard gives back something that shouldn’t have been lost, and I couldn’t shake the feeling that this little notebook was all that was left of one small boy’s adventure and the long walk through a short life he took with his red wagon.

THURSDAY

I am Tommy.

I am four.

Mommy gave me this notebook.

She said if I write in it every day, I will be smart.

I have a red wagon.

Gramps gave it to me for my birthday.

He said red things are easy to find if you lose them.

Today I found a bird.

It was under the old oak tree in the park.

I thought it was a leaf because it was jumpy.

Then I saw it was a red robin.

It had a red tummy.

Its wing was all funny.

I asked, “Your wing broke?”

The bird looked at me.

It was sad.

Then I put my sweater on him and put him in my wagon.

Mommy says we help with little things, even scary insects if they are outside.Inside, they go to insect heaven.

Mommy and daddy weren’t home, so I took the robin to the animal doctor.

The lady said, “Doc Ross is sick.”

I said, “My bird is sicker.”

She said, “Maybe the hospital can help?”

I said, “For birds?”

She shrugged.

Grownups shrug when they don’t know what to say.

The hospital was across Sycamore Road.

Mommy and daddy say, “Don’t cross Sycamore Road.”

Grampa says some people forgot how to be happy “down there”.

I don’t know what that means.

I know what pancakes mean.

I know what hugs mean.

I know that I’m not happy when I am sick.

The bird made a little peep.

I think he wants me to pull.

So, I pulled.

The wagon made a squeaky noise.

I like that sound.

It sounds like a mousy with boots.

I got to Sycamore Road.

Nothing happened.

No monsters.

No dragons.

Just a busy road.

So, I crossed.

A nice man was smelly and pushed a market cart.

He helped me cross the street.

He held my hand while I pulled my cart and he pushed his cart.

He said, “Wait for the green sign to say, ‘WALK’. Green says it’s safe to cross but look both ways anyhow, okay? We live in a world where everything doesn’t mean what it’s supposed to, young man. Keep pullin’ your way through life and I’ll keep pushin’.”

He went away with his cart full of his closet like mine at home.

I waved goodbye.

I think he was nice.

I crossed Sycamore Road for the first time.

The houses have gotten old.

There was broken glass.

Lots of trash lying around.

One house had flowers.

One had no windows.

One had a chair on the roof.

I don’t know why?

Maybe somebody wanted to sit high.

A dog barked at me.

I barked back.

Then I remembered I must be brave because the bird was little and hurt.

If I was little, I would want somebody to pull me too.

I think I got lost.

I cried a tiny bit.

Not a lot.

A girl found me.

She had black hair.

She said, “What’s that bird doing in your wagon?”

I said, “A robin needs to go to the bird hospital.”

She said, “You’re not from here.”

I said, “No. I’m from my house.”

She laughed.

I liked her laugh.

It sounds like gumdrops falling on the floor.

“My name is Lily”, she said.

“My name is Tommy.”

Lily said, “My momma works at the hospital.”

I was happy.

I almost hugged her.

But I don’t know if she liked hugs.

She held my hand.

Her hand was warm.

I wasn’t lost anymore.

The hospital was big.

It smelled like soap and dirty laundry.

A man had a hurt foot.

The baby was loud.

A nurse came.

She had tired eyes.

Lily hollered, “Momma!”

The nurse kissed Lily.

Lily said, “Tommy has a sick bird, but doc Ross is sick.”

“Oh dear,” she said.

She picked up the robin like it was a bubble which can pop.

“My name is Beatrice.”

I said, “I’m Tommy.”

She took us to a little room.

Then a doc came.

He said, “The wing is injured but not broken. He needs somebody to love him for a little while. I know a ‘bird lady’ who will take care of your friend.”

Hospital wasn’t happy.

People are scared.

People are hurt.

Everyone wearing white and green ran around in a hurry.

Then a lady came in.

She had white hair.

When she saw Lily and Beatrice, they all hugged like they loved each other, like Grampa when he looks at the moon and thinks about Grandma who died.

Then she looked inside my wagon.

“My,” she said.

“I had a wagon just like this.”

I asked her if she lost it.

“No, sweetheart. I lost being little.”

I didn’t know you could lose that?

“My name is Mrs. Willow.”

She lifted the bird up and put him on the table.

The bird liked Miss Willow.

“I can fix this wing with a simple soft gauze bandage to keep the wing close to the chest and immobile. You can come and visit every day.”

I asked, “Do you live below Sycamore Road?”

 “Yes, Tommy.

“I have a big house with happy birds, trees, and a kitchen with milk and cookies for you and Lily when you visit.”

I forgot I wasn’t going to pass Sycamore Road anymore.

I cried a tiny bit again.

Lily and Miss Willow asked why?

I said, “Daddy and mommy gonna’ be mad.”

“I’ll try and help them understand, dear.

“You were being compassionate and a steward of nature.”

Miss Willow took Lily and me into her clown car.

It was painted with flowers.

Lily said, “Miss Willow drives a hippie car.”

I liked the hippie car.

When I got home mommy and daddy were on the porch.

Mommy hugged me so hard my nose got squished.

Daddy asked me, “Where did you go?”

“The hospital with my hurt red robin,” I said.

“You crossed Sycamore Road?”

“I guess so.”

He shut his eyes and shook his head. Daddy does that instead of yelling at me.

Mommy asked, “Were you scared?”

I thought about my day.

I remembered the dog.

I remembered getting lost.

I remembered Lily.

I remembered Beatrice.

I remembered Mrs. Willow.

I said, “It is not good to cross a road unless the green lite says ‘WALK’. No, mommy. I wasn’t scared.”

“Then why did you cross against our rules?”

“Because my sick robin would die under the oak tree.”

I told them Miss Willow was a bird doc who drove a hippie car. Mommy hugged Miss Willow for bringing me home.

SUNDAY 

Miss Willow, Lily and her Beatrice came to my house with the robin.

Miss Willow made cookies.

Beatrice brought soup because Grampa had a cough.

Lily picked flowers for mommy.

We all sat on the porch.

Miss Willow sat close to Beatrice on the porch.

They smiled at each other.

Like they had a secret.

Grampa smiled too.

Later I asked him.

Are they friends?

He said, “I think maybe they always were.”

The robin got better.

He jumped and flapped.

Miss Willow said the bird needs more rest at her house and we can visit.

Mommy said, “Okay”.

Daddy went golfing before they came over.

I don’t know why.

WEDNESDAY

We went to Miss Willow’s house.

Lily lived there with her mommy and Miss Willow.

Lily said she has no daddy.

Lily said she was happy with her mommy and Miss Willow.

It was an old house but happy.

I saw birds.

Dogs.

Sleeping cats.

I smelled cookies.

Miss Willow had a party for the bird.

Everybody was there.

Me.

Mommy.

Grampa.

Lily.

Beatrice.

Mrs. Willow.

Lots of people I don’t know came to the party, but Daddy was playing golf. He likes golf very much.

Beatrice and Miss Willow don’t know golf. I like that.

I picked up the robin.

I told the robin, “You don’t have to be scared.”

I opened my hand.

He fell.

Then he jumped

He flied out the window.

He flied over the house.

He flied over Sycamore Road.

Miss Willow said, “Birds know how to get home.”

I think people do, too.

Gramps said, “Birds don’t know where people make lines they won’t cross.”

I think that is smart.

Mommy says I must write what I learned.

I learned birds are little.

I learned wagons squeak.

I learned hospitals are good.

I learned Lily is my friend.

I learned Mrs. Willow smiles with her eyes.

I learned Beatrice does too.

I learned Daddys can fear things they don’t understand.

I learned mommy’s and daddies are different.

I learned robins don’t care what side of Sycamore you live on.

I learned don’t trust signs even if they are green.

I learned we meet nice people anywhere.

SATURDAY

I miss the red robin, so mommy made a trip to a national park to see if he was there.

Maybee, he has a friend like my friend Lily?

Mommy says I will see lots of birds.

Daddy says it will be a long drive in the car and won’t want to make any stops to save time.

I hope I see my red robin and he’ll know it’s me when he hears my wagon wheels.

I’m tired and need to sleep in the car until we get to the national park.

Jonathan Ferrini is the author of nearly 100 short fiction stories, poems, and screenplays. A partial collection of his short fiction may be found inside “Hearts Without Sleeves-Twenty Three Stories” available at Amazon. Jonathan is the writer/host of the Razor’s Ink Podcast nearing 90 weekly episodes where he discusses film, television, and music. Jonathan received his MFA in motion picture and television production from UCLA and is a candidate for the undergraduate diploma in Creative Writing at Oxford University.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access Wild Winds: The Borderless Anthology of Poems

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Categories
Poetry

The Monitors Hummed Low by Jim Bellamy

From Public Domain

"THE MONITORS HUMMED LOW"


The monitors hummed low, a thinning choir
That strained to keep its vigil through the night.
The screens performed dramatics for boozy vinegar, slight
Distortions drifting through their failing wire.
The ward exhaled a slow, mechanical ire,
A breath that scraped the edges of her will;
She felt the hours gather, standing still.

She lingered where the curtains met the floor,
Unsure if she should cross that final seam.
The room became a coldframe of evening, dream
Unspooling into fractures evermore.
She tried to name the ache she couldn’t store,
A shape that shifted when she reached to hold;
It slipped like syntax breaking in the cold.

The nurses whispered through their coded rites,
Their footsteps patterned like a failing loop.
She sensed the weight of every passing troop,
A march of hours draining into nights.
The ceiling flickered with recursive lights
That mapped the drift of endings yet to come;
She felt her thoughts grow strangely faint and numb.

She touched the rail, its metal faintly warm,
A relic of the body once it bore.
The quiet pressed against her like a door
She feared would open into some new storm.
She tried to brace herself against the form
Of grief that rose, unbidden, from the seam
Where memory and present tense convene.

The screens displayed ducters for faces, blurred,
Their outlines trembling with spillings in the meters.
She saw in them eyes for wasters, quiet greeters
Of truths too raw for any final word.
She felt the weight of what could not be heard—
The sense of dead beneath the faces, drawn
Like shadows stretched across a failing dawn.

She breathed, and in that breath she heard the past
Rewind itself in muted, broken frames.
The ward, adept at erasing names,
Prepared to overwrite what couldn’t last.
She wondered how a life could be recast
When all its lines were scattered in the air;
She wondered if the self could still repair.

The night advanced, a slow and patient sweep
That gathered every silence in its net.
She tried to speak, but speech itself had set
Into a shape too brittle now to keep.
She watched the shadows lengthen, steep by steep,
Until they touched the threshold of the bed;
She bowed her head to what could not be said.

Jim Bellamy was born in a storm in 1972. He studied hard and sat entrance exams for Oxford University. Jim has a fine frenzy for poetry and has written in excess of 22,000 poems. Jim adores the art of poetry. He lives for prosody.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access Wild Winds: The Borderless Anthology of Poems

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Categories
Poetry

The Ceiling Hummed by Jim Bellamy

From Public Domain
THE CEILING HUMMED


The ceiling hummed, a coldframe of evening spread,
A loop that questioned whether time was real;
She felt her thoughts detach, begin to peel—
A script that argued with the scene instead.
The floor dissolved beneath her cautious tread,
A mesh of doubt no footstep could conceal;
She wondered if her grief could even feel,
Or if it only played the part of dread.

The monitors blinked out, then back again,
As though the world were testing its own claim;
She sensed her name detach itself from name,
A file corrupted past what might remain.
The ward became a theory built by pain,
A thesis drafted just to shift the blame;
She walked its halls as lopers after guttered bums,
A wanderer through someone else’s frame.

She touched the bed and felt the moment split—
One version stayed, the other walked away;
She watched herself dissolve into the grey,
A copy failing bit by failing bit.
She whispered of her wedding dress conceived, unlit,
A vow unstitched by what she could not say;
Her lashes burned to ashes for the day,
And steller tears rewrote the edge of it.

She left the room, but not the aftermath;
Her shadow lagged, refusing to align.
The space ahead unspooled its crooked spine,
A maze subtracting her from every path.
She passed the ghosts of buttered sons in wrath,
Their silhouettes refusing to resign;
Yet still she walked, though nothing felt like mine,
A child rewritten by a broken bath.

Jim Bellamy was born in a storm in 1972. He studied hard and sat entrance exams for Oxford University. Jim has a fine frenzy for poetry and has written in excess of 22,000 poems. Jim adores the art of poetry. He lives for prosody.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access Wild Winds: The Borderless Anthology of Poems

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Categories
Poetry

‘Shadows on a Screen’

By Jim Bellamy

AND MURDERED THROUGH


And murdered through their masks, as if to sift
My trembling from the air; the corridors
Grew longer, bending out of shape, and drift
Enshrouded every threshold. Through the doors
Came whispers, half‑remembered, half‑designed,
That pressed like winter’s knuckles on my chest;
And still the ward‑lights flickered, re‑aligned
To mark the pulse of something unexpressed.
I walked as though the floorboards might collapse,
Or tilt me toward a darkness I had known,
Where every echo tightened into traps
And every heartbeat felt no longer owned.

Yet through that trembling hush, a figure stood—
A patient, pale as frost upon a blade—
Who watched me with a calm misunderstood,
As if my fear were something he had made.
He raised a hand, then let it fall again,
And muttered fragments drifting into sense:
That storms of thought could batter any brain,
That none were proof against experience.
His voice, though cracked, retained a tempered grace,
A cadence forged from long‑endured despair;
And in the trembling angles of his face
I saw a truth too heavy to declare.

For madness, in its quietest disguise,
Can settle like a frost upon the bone;
It does not always shout, but softly lies
In corners where the mind stands most alone.
And so I passed him, feeling something shift—
A weight that was not his, nor wholly mine—
As though the ward itself began to lift
Its veil and show the seams beneath design.
The nurses moved like shadows on a screen,
Their footsteps merging with the humming vents;
The world grew thin, translucent, in between
The drifting of my fractured sentiments.

And still the year went on, a tightening thread
That pulled me through each hour’s unsteady frame;
The nights were long, the mornings filled with dread,
Yet somewhere in that cycle, something came—
A gentler breath, a pause within the storm,
A moment where the mind, though bruised, could rest.
It did not heal, nor wholly re‑transform,
But held itself with slightly steadier chest.
And in that pause, I learned to stand again,
To walk the ward without the same despair;
To see, in every trembling fellow‑patient,
A fragile strength that hovered in the air.

So through the endless corridors I moved,
Not cured, not whole, but slowly re‑aligned;
And though the year remained a thing unloved,
It left a quiet scaffold in my mind—
A place where all the fractured thoughts could meet,
Where shadows softened, though they did not cease;
Where every trembling pulse, though incomplete,
Could find a moment’s tentative release

Jim Bellamy was born in a storm in 1972. He studied hard and sat entrance exams for Oxford University. Jim has a fine frenzy for poetry and has written in excess of 22,000 poems. Jim adores the art of poetry. He lives for prosody.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Interview

Harry Ricketts: Mentor, Poet, Essayist…

Keith Lyons in conversation with Harry Ricketts, a writer and mentor who found himself across continents and oceans

Harry Ricketts has authored thirty books and mentored many writers, including Keith Lyons. Photo Courtesy: Robert Cross

Harry Ricketts is a New Zealand poet, essayist, and literary biographer whose work has gained recognition for its wit, lyricism, and insight into memory, identity, and everyday life. He has published widely across poetry, biography, and literary criticism, and his writing blends formal elegance with accessibility. After studying at Oxford University, he taught in the UK and Hong Kong before moving to New Zealand in the early 1980s. A respected teacher and mentor, Ricketts has shaped both the literary culture of New Zealand and the broader English-language literary world through his poetry, essays, and guidance to emerging writers. His works include a major biography of the British India-born journalist, novelist, poet, and short-story writer Rudyard Kipling, The Unforgiving Minute, Strange Meetings: The Poets of the Great War, and his most recent books, the memoir First Things, and the poetry collection Bonfires on the Ice. His How to Live Elsewhere (2004) is one of twelve titles in the Montana Estates essay series published by Four Winds Press. The press was established by Lloyd Jones to encourage and develop the essay genre in New Zealand. In his essay, Ricketts reflects on his move from England to New Zealand. In this interview, he brings to us not only on his writerly life but also his journey as a mentor for other writers.

KL: Tell us about your early life?

HR: My father was a British army officer, and we moved every two years till I was ten: England, Malaysia, two different parts of England, Hong Kong, England. My first words were probably Malay. From eight to eighteen, I went to boarding schools in England; apart from the cricket and one or two teachers, this was not a positive experience.

KL: How do you think moving around affected you, and your sense of self and being in the world? Does that transience shape your perspective and writing now?

HR: I think constantly moving around gave me a very equivocal sense of belonging anywhere and also a strong sense of needing to adapt (up to a point) to wherever I found myself. I was an only child, and friendship became and remains incredibly important to me. Perhaps this hard-wired sense of temporariness has contributed to my trying to produce as many different kinds of books as possible, but eventually you discover what you can and can’t do: I can’t write novels.

KL: How has your sense of ‘home’ evolved in your work over the years?

HR: As above, but I’ve lived in New Zealand for more than forty years, so that must count for something. My second wife, Belinda, was a Kiwi; for thirty years, she was a lovely person to share the world with. I’d say I like to live slightly at an angle to whatever community I’m in.

KL: How did books and poems come into your life, and what do you think have been influences on your later work?

HR: My mother was a great reader and read me Beatrix Potter, A.A. Milne etc as a child. When I was seven, I had measles and had to stay in bed for a fortnight. I read Arthur Ransome’s Peter Duck and then I couldn’t stop. Books were a protection and a passion at boarding school. As for poetry, at school we had to learn poems by heart which I enjoyed and later recited them in class which was nerve-wracking. When I was fifteen – like many others – I fell in love with Keats, then a few years later it was Sylvia Plath, Ted Hughes, T.S. Eliot, Gerard Manley Hopkins, C.P. Cavafy ….. I was also listening to a lot of music, particularly singer songwriters like Bob Dylan, Leonard Cohen, Richard Thompson, Joni Mitchell.

Everything you read and listen to is an influence. My mind is a lumber-room of things I’ve read and listened to, things other people have said, things that have happened to me and to others, places I’ve been, love and friendship – and all that crops up in my poems in one way or another. Plath and Hughes were a wrong trail. It took me a while to work that out. Well into my twenties, I couldn’t stand Philip Larkin, but not now. I like witty, melancholy poets.

KL: Your first book, People Like Us: Sketches of Hong Kong was published when you were 27. How did that come about.? What satisfaction did you get from seeing your name in print?

HR: People Like Us is a mixture of short stories and song lyrics. Hong Kong, as I experienced it in the 1970s, (still very much a British colony) was a heterogeneous mishmash of styles, and I tried to mimic that mishmash in the pieces I wrote. I was pleased when it got published but it wasn’t much good.

KL: Can you describe your writing space?

HR: I have a small study, but since Belinda died two years ago, I’ve shifted to the kitchen table. She wouldn’t have approved, but the kitchen is light and airy and the stove-top coffee-maker close by.

KL: What is your writing process from start to finish?

HR: I do a lot of drafts. First thoughts can almost always be improved. A friend likes to say, ‘It’s not the writing; it’s the rewriting’, and I agree. But some poems have come quite quickly. When I’m writing prose, I often play music, but not when I’m working on a poem.

KL: What usually sparks a new poem for you: an image, a phrase, or a rhythm?

HR: It can be anything really. I’m usually doing something else entirely – writing an email or some piece of prose or just walking around – and something will interrupt me. It’s often a phrase which for some reason acts like a magnet, attracting another phrase or an images or an idea. It might be something I’m reading; this has happened with English poets like Edward Thomas, Philip Larkin, James Fenton, Hugo Williams and Wendy Cope and New Zealand poets like Bill Manhire, Fleur Adcock and Nick Ascroft. Occasionally, I’ve written a commissioned poem: for a friend’s wedding, say.

KL: How do you balance experimentation with accessibility in your work?

HR: I don’t think like that, but I do try not to repeat myself if I can help it. However, several poems of mine have had successors; so I wrote a poem in the mid-1980s about my six-year-old daughter Jessie called ‘Your Secret Life’, imagining her as a teenager and me waiting up late for her to return home, and my latest collection contains a ‘Your Secret Life 5’, written when she was forty. I’ve found myself writing a few poem-sequences recently, including one about an imaginary New Zealand woman poet. That was quite new for me.

KL: How do your roles as poet, biographer, and critic feed into each other?

HR: Constructively, I hope. I think you can always get prose out of yourself if you sit there long enough (fiction writers might disagree), but not poems. Some initial reverberation/interruption has to happen, some ‘spark’, as you put it. It’s all writing, of course, and writing is a habit. You have to keep doing it, otherwise that part of you switches itself off or attends to other things.

KL: Looking back across more than thirty books, what evolution do you see in your writing life, and what themes do you keep on coming back to?

HR: I think lots of writers (except the very vain ones) suffer from versions of ‘imposter syndrome’ and have problems with their personal myth — that they are a writer. I’ve got a bit more confident that I am a writer and in particular that I can write poems. Getting published helps a lot with the personal myth: something you’ve done is now out in the world. Once you publish a book, though, you lose any control you had over it. People may love it, hate or, worst of all, ignore it. But that’s just the deal.

I prefer the term preoccupations to themes. I’m preoccupied with people, places, trying to make sense of the past, happiness, the role of luck, life’s oddities, incongruities and ambiguities….

KL: You often talk about ‘gaps’, doubt, and ambiguity as central to your work. How do these function in your poetry today?

HR: To measure gaps, to be in doubt, to see the ambiguity in things: that just seems to me to be human. Poems can be acts of discovery or at least partial clarification. They can also simply preserve something: an experience, a moment, a realisation, some sense of those we love.

KL: You describe teaching as a kind of midwifery: helping writers bring out what is already within them. How did you arrive at that approach?

HR: Decades of teaching suggest to me that encouragement is more likely to help someone tell the stories they have it in them to tell rather than giving them a hard time. Writing can be a bit like giving birth and, for some, having support and encouragement is more helpful than trying to do it all on your own. Of course, in the end you do have to do most of it on your own.

KL: What advice did you find yourself giving students most often, and does it still hold true for you?

HR: I have taught poetry courses, but over the last twenty-five years I’ve mostly taught creative non-fiction. I often quote Lytton Strachey’s comment that ‘Discretion is not the better part of biography’ and then add: ‘Nor the better part of autobiography.’ I also suggest that mixed feelings are more interesting to write out of and about than clearcut ones. If you’re writing about someone else, pure admiration tends to produce hagiography, pure dislike a vindictive portrait – all warts, rather than warts and all. Serious doesn’t mean earnest; you can be serious and funny at the same time.

KL: What is the best advice you’ve received as a writer?

HR: The best advice it would have been helpful to be given (but no one did) would have been: ‘Don’t eat your heart out trying to be a kind of writer you aren’t (say, a novelist). Try to find out what kind of writer you are and pursue that as hard as you can.’ Chaucer knew: ‘The lyf so short, the craft so long to lerne.’

KL: Which authors do you most often recommend to students or emerging poets?

HR: I mostly suggest they should read as widely as they can and that they should read as a writer.

KL: What writers are you returning to most these days?

HR: I often go back to Montaigne’s essays and Orwell’s and Virginia Woolf’s. Poets I often reread include: Derek Mahon, Hugo Williams, Thomas Gray, Wendy Cope, Fleur Adcock, Edward Thomas, Andrew Marvell, Seamus Heaney, Lauris Edmond, Anne French, Robert Browning, Thomas Hardy, Philip Larkin …

KL: What responsibilities do reviewers have to writers, and what responsibilities do they have to readers?

HR: Reviewers have an obligation to be fair-minded towards their subject and to write something as worth reading (ie well-written and enjoyable) as any other piece of prose.

KL: How can reviewers give criticism that is honest yet constructive?

HR: They should try to understand what the writer was aiming at (rather than the thing they think the writer should have been aiming at) and judge the work accordingly. This is easier said than done. Writers rarely remember the positives reviewers say, and rarely forget the negatives. Reviewing is hard, if you’re trying to do a good job. In a small country like New Zealand, there’s only one-and-a-half degrees of separation, which makes puffing and pulling your punches a tempting prospect.

KL: What kind of legacy do you hope to leave through your poetry and teaching?

HR: Whatever legacy you might leave (and few writers or teachers in the scale of things leave any) is not up to you. But of course writers hope people will positively remember something they’ve written and that their work will continue to be read after their death. When I think of the teachers who have matter to me, I think of them with immense gratitude and I hope some of my pupils might feel something of that, too.

KL: Is there a question about your work that you wish people asked more often?

HR: Interesting question, but I don’t really have an answer. Perhaps ‘Why, given that you also write plenty of poems in free verse, do you still think that there are possibilities in fixed poetic forms like the sonnet, villanelle and triolet?’ I could talk about that for a long time.

KL: If your life was a movie, what would the audience be screaming out to you now?

HR: Keep going! Well, I’d like to think they might.

KL: What’s next for you? What are you working on now? 

HR: I’m threequarters of the way through a second volume of memoirs and about to write about a particularly difficult part of my life. I want to finish that and then a third volume, if I can. And write more poems.

*This interview has been conducted through emails.

Click here to read Harry Rickett’s poem.

.

Keith Lyons (keithlyons.net) is an award-winning writer and creative writing mentor originally from New Zealand who has spent a quarter of his existence living and working in Asia including southwest China, Myanmar and Bali. His Venn diagram of happiness features the aroma of freshly-roasted coffee, the negative ions of the natural world including moving water, and connecting with others in meaningful ways. A Contributing Editor on Borderless journal’sEditorial Board, his work has appeared in Borderless since its early days, and his writing featured in the anthology Monalisa No Longer Smiles.

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PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Kindle Amazon International

Categories
Poetry

When Oceans take to Dry & More …

By Jim Bellamy

Wood block by Michael Wolgemut (1434 – 1519).
WHEN OCEANS TAKE TO DRY


When oceans take to dry whatever the madman's rib,
Through the hollows of time, where shadows pose,
We shall levitate across the Rose, so glib.

The stars, they flicker, on this darkling crib,
As night's embrace cloaks the world's woes,
When oceans take to dry whatever the madman's rib.

Beneath the moon's pale gaze, we'll imbibe the fib,
Of a world turned upside down, where chaos grows,
We shall levitate across the Rose, so glib.

The madman laughs, his mind a twisted ad-lib,
While the sea's heart beats, slow and morose,
When oceans take to dry whatever the madman's rib.

In this dance macabre, no need to transcribe,
The silent whispers of ghosts in throes,
We shall levitate across the Rose, so glib.

So let the waters rise, no need to bribe,
The fates that spin the end's close,
When oceans take to dry whatever the madman's rib,
We shall levitate across the Rose, so glib.


FOR WHEN THE ACRID MOONSTONES GROAN ACROSS GAS


For when the acrid moonstones groan across gas,
In twilight's veil, the sirens wipe away.
Beneath the stars, where shadows dare not pass.

The madcap dance, where spirits raise their glass,
To toast the dark, where light has lost its sway.
For when the acrid moonstones groan across gas.

The night's embrace, a chilling, cold morass,
Where echoes of the lost in silence pray.
Beneath the stars, where shadows dare not pass.

The moon's pale gaze, on fields of withered grass,
A serenade for souls led far astray.
For when the acrid moonstones groan across gas.

In dreams we find the gates of alabaster brass,
Where time's cruel hand can never hold its sway.
Beneath the stars, where shadows dare not pass.

Jim Bellamy was born in a storm in 1972. He studied hard and sat entrance exams for Oxford University. Jim has a fine frenzy for poetry and has written in excess of 22,000 poems. Jim adores the art of poetry. He lives for prosody.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Poetry

Meditations on Death and Darkness

By Jim Bellamy

Horseman of Death by Salvador Dali (1904-1989). From Public Domain
DO NOT SPEAK FOR OLD STAVED MEN

Do not speak for old staved men whose faces glint like tyres,
In the twilight of their years, they hum a tune so grim.
Their stories told in whispers, kindling ancient fires.

Beneath the moon, their silhouettes like church spires,
Stand testament to lives lived on the brim.
Do not speak for old staved men whose faces glint like tyres.

With every wrinkle, a saga that never tires,
Eyes that sparkle with memories, vivid and dim.
Their stories told in whispers, kindling ancient fires.

They laugh with the madness that freedom acquires,
Dancing to the wind's capricious whim.
Do not speak for old staved men whose faces glint like tyres.

In the hush of night, their spirit aspires,
To cast off the shadows, stark and slim.
Their stories told in whispers, kindling ancient fires.

So let them be, these merry old sires,
As they sip the stars, on the world's rim.
Do not speak for old staved men whose faces glint like tyres,
Their stories told in whispers, kindling ancient fires.


IF AT FIRST DEATH'S WORLD IS ROUND

If at first death's world is round, take heed,
Where shadows dance and silent whispers play,
A routed cock will sing for prayer indeed.

In twilight's grasp, where heartbeats intercede,
And stars above in quiet judgment sway,
If at first death's world is round, take heed.

The moon's pale light, on which dark dreams will feed,
A canvas vast, where lost souls might stray,
A routed cock will sing for prayer indeed.

Through time's thin veil, where ancient fates are freed,
The echoes of the past are not held at bay,
If at first death's world is round, take heed.

In madness' grip, where sanity will bleed,
And reason's voice is oft led far astray,
A routed cock will sing for prayer indeed.

So listen close, for it's the earth's own creed,
In life's grand play, we all must find our way,
If at first death's world is round, take heed,
A routed cock will sing for prayer indeed.


OH, WHAT NOW FOR THE FORGETMENOT MEN

Oh, what now for the forgetmenot men,
In a world where fathers jack all pleasure?
Their laughs echo, "Ha ha," and then?

They dance in boots of heavy leaden,
Stomping on dreams with no measure.
Oh, what now for the forgetmenot men?

With every chortle, they count to ten,
A madcap rhythm to their leisure.
Their laughs echo, "Ha ha," and then?

They sip on the nectar of a pen,
Ink-stained lips betray their treasure.
Oh, what now for the forgetmenot men?

In absurdity's grip, beyond our ken,
They find in oddity their true pleasure.
Their laughs echo, "Ha ha," and then?

So raise your glass to the when,
To the forgetmenots, in all their splendour.
Oh, what now for the forgetmenot men,
Their laughs echo, "Ha ha," and then?


O, WHENCE VENAL BODIES BREAK AND SPURN

O, whence venal bodies break and spurn,
In twilight's sickly, dolorous embrace,
What now for death but a new day made up from sickness?

The stars above in cold judgement turn,
As shadows cast by the moon's pale face,
O, whence venal bodies break and spurn.

The raven's call, a direful mourn,
Echoes through the void of this haunted place,
What now for death but a new day made up from sickness?

Beneath the earth, where the lost sojourn,
Lies the heart's desire without a trace,
O, whence venal bodies break and spurn.

A dance macabre, the world does churn,
Absurd the stage, life's fleeting race,
What now for death but a new day made up from sickness?

So sing the dirge, as the candle burns,
And time erodes all but disgrace,
O, whence venal bodies break and spurn,
What now for death but a new day made up from sickness

Jim Bellamy was born in a storm in 1972. He studied hard and sat entrance exams for Oxford University. Jim has a fine frenzy for poetry and has written in excess of 22,000 poems. Jim adores the art of poetry. He lives for prosody.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Poetry

Hold Fast to Dreams: Poems by Jim Bellamy

O, ONCE UPON A MIND IN A DINNER-STRANGLED SEA


O, once upon a mind in a dinner-strangled sea,
Where pans clatter in the deep and the starving dare to dream,
The rich feast on echoes of silent pleas.

In the cruel ballet of the haves and have-nots, we see
The absurd dance of fortune's cruel extreme,
O, once upon a mind in a dinner-strangled sea.

The banquet hall roars with gilded glee,
While outside, hollow eyes of the hungry gleam,
The rich feast on echoes of silent pleas.

"Feed us," cry the poor, "from tyranny free,"
But the wealthy's ears are stuffed with the cream,
O, once upon a mind in a dinner-strangled sea.

The tables turn, yet no one flees,
The starving serve, their spirits teem,
The rich feast on echoes of silent pleas.

So dare the starving feed the rich? A twisted decree,
In this dark, absurdist, cruel scheme,
O, once upon a mind in a dinner-strangled sea,
The rich feast on echoes of silent pleas.


O, WHEN ME AND MY DEAD LOVER


O, when me and my dead lover come glowering from mirrors,
In the hush of night, our whispers dance in a spectral swell,
Perhaps a keen dream will make us well.

Through the glass, our silent ballet conjures fears,
Yet in this madcap song, our hearts rebel,
O, when me and my dead lover come glowering from mirrors.

The world sleeps, but in our realm, time nears,
To the rhythm of eternity, our souls compel,
Perhaps a keen dream will make us well.

In the silvered pane, the past appears,
And we waltz in the moon's soft pastel,
O, when me and my dead lover come glowering from mirrors.

With every gaze, the boundary clears,
In dreams, the living and the lost meld,
Perhaps a keen dream will make us well.

So let the morning wait, as dawn nears,
For in this mirror's depth, our love we'll tell,
O, when me and my dead lover come glowering from mirrors,
Perhaps a keen dream will make us well.


DO NOT GO ASIDE THE DARK TILL DEATH DAWNS ON MADMEN


Do not go aside the dark till death dawns on madmen,
Where shadows weave the tales of silent might.
Hold fast to dreams, where day's bright beams are spavine.

The gentle hum of life, a soft-spun cadence,
Whispers through the void, a beacon's light.
Do not go aside the dark till death dawns on madmen.

In twilight's grasp, where thoughts of lore are laden,
Seek not the comfort of the fleeing night.
Hold fast to dreams, where day's bright beams are spavine.

Through tempest's roar and peace the heart does harden,
Stand firm against the tide, with all your might.
Do not go aside the dark till death dawns on madmen.

With every dusk, let not your spirit sadden,
For morrow's morn will chase the starless plight.
Hold fast to dreams, where day's bright beams are spavine.

So here, my friend, as fates and time do bargain,
Embrace the dusk, till dawn's forgiving light.
Do not go aside the dark till death dawns on madmen,
Hold fast to dreams, where day's bright beams are spavine.

Jim Bellamy was born in a storm in 1972. He studied hard and sat entrance exams for Oxford University. Jim has a fine frenzy for poetry and has written in excess of 22,000 poems. Jim adores the art of poetry. He lives for prosody.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International

Categories
Poetry

Stricken by Red Rain: Poems by Jim Bellamy

Art by Paul Nash (1889-1946)
HOW NOW DO DEAD KINGS LAUGH WHILE STRICKEN BY RED RAIN
(a villanelle that doubles as a song)

In twilight's hush, where shadows softly sway,
How now do dead kids laugh while stricken by red rain?
Their echoes drift, as if they still had play.

The crimson drops like petals fall, betray
The innocence that once danced on this plain.
In twilight's hush, where shadows softly sway,

The laughter's gone, yet memories stay,
A haunting tune, a bittersweet refrain.
How now do dead kids laugh while stricken by red rain?

They ran with joy, not knowing of dismay,
Nor thought their laughter would become such pain.
In twilight's hush, where shadows softly sway,

The sky weeps blood, the earth cannot contain
The sorrow of the young ones we've slain.
How now do dead kids laugh while stricken by red rain?

So hear their mirth, in ghostly disarray,
A chilling laughter, under skies arcane.
In twilight's hush, where shadows softly sway,
How now do dead kids laugh while stricken by red rain?


WHERE ONCE BLUE MIDNIGHT BURNS


Where once blue midnight burns, what then for babes midscream?
In dreams, they clutch at stars now far beyond their gleam.
The night's cold lullaby, where shadows dance unseen.

The moon, a silent witness to the quiet, keening theme,
Whispers through the willows, a soft and silver stream.
Where once blue midnight burns, what then for babes midscream?

The sky, a tapestry of wishes and of dream,
Holds tight the secrets of the heart, a vault supreme.
The night's cold lullaby, where shadows dance unseen.

What tales will be told of the light that once did beam,
When innocence was cradled in the arms of esteem?
Where once blue midnight burns, what then for babes midscream?

The stars, like sentinels, their steady gazes deem
To guard the slumbering youth from the world's harsh regime.
The night's cold lullaby, where shadows dance unseen.

So sing the babes a song of time, a flowing ream,
And rock them gently 'neath the midnight's azure seam.
Where once blue midnight burns, what then for babes midscream?
The night's cold lullaby, where shadows dance unseen.


TODAY, ALL SWEETHEARTS

Today, all sweethearts will blossom in a glass cage,
Where whispers cling like ivy to the walls.
That gaols all fevers under vows, sage.

In crystal confines, love's eternal stage,
Each heartbeat etched upon the pane, it calls.
Today, all sweethearts will blossom in a glass cage.

With every breath, they sketch a new page,
Inked with passion, as twilight softly falls.
That gaols all fevers under vows, sage.

Their touch, through glass, a timeless adage,
A dance of shadows, love's tender brawls.
Today, all sweethearts will blossom in a glass cage.

And though the world may change, turn, and age,
Their sealed ardor never stalls.
That gaols all fevers under vows, sage.

So let the lovers their pure wars wage,
For in this prison, love enthralls.
Today, all sweethearts will blossom in a glass cage,
That gaols all fevers under vows, sage.

Jim Bellamy was born in a storm in 1972. He studied hard and sat entrance exams for Oxford University. Jim has a fine frenzy for poetry and has written in excess of 22,000 poems. Jim adores the art of poetry. He lives for prosody.

.

PLEASE NOTE: ARTICLES CAN ONLY BE REPRODUCED IN OTHER SITES WITH DUE ACKNOWLEDGEMENT TO BORDERLESS JOURNAL

Click here to access the Borderless anthology, Monalisa No Longer Smiles

Click here to access Monalisa No Longer Smiles on Amazon International