Dear Readers,

Featured poets this month include --in random order:

Andres Fisher, Ian Thorpe, Richard Vallance, Amparo Arrospide and Leland Jamieson.



(Please scroll down the page.)










I am the publisher-in-chief of the quarterly sonnet and formal rhymed verse journal, Sonnetto Poesia ISSN 1705-4524

http://sonnettopoesiahome.homestead.com/index.html


in print & on legal deposit with the National Library of Canada.

Poets who have been regularly published in our journal include: Michael Burch, Norman Ball, Esther Cameron, Michael Cope, Jim Dunlap, Annie Finch, Conrad Geller, Mitchell Geller, Robin Ouzman Hislop, Joe Ruggier, amongst many others.

I myself have been published in poetry e-zines likes: Poetry Life & Times (very frequently) where I was the in house poetry critic from 2001 - 2006 in the Vallance Review, now Vallance Review Canada ISSN 1718-5696
http://vallancereviewcanada.homestead.com/index.html
in Autumn Leaves ISSN 1547-156X (very frequently
http://www.sondra.net/al/default.htm
in Ancient Heart Magazine
http://stores.lulu.com/ancientheartmag
in Barefoot Muse
http://www.barefootmuse.com/
and others and in print poetry journals such as: Eclectic Muse ISSN 1181-8158; Neovictorian/Cochlea (now Deronda Review; Möbius; Poemata (Canadian Poetry Association); Poetry Canada and others.

If you are interested in receiving a free sample copy of Sonnetto Poesia, please contact me at:

vallance22@gmail.com



Richard Vallance
Ottawa, Ontario Canada
Home Page: Poesie's laissez-faire
http://poesieslaissezfaire.homestead.com/




Further reading: Sappho's Odes Odes I-III


"Reading the original Aoelic Greek texts, by patching together almost ALL the extant fragments of her Odes, some of which are merely bits and pieces, I have endeavoured to recreate what I consider to have been at
least the gist of her greatest Odes, as she might have hypothetically composed.
In order to fulfil this gargantuan task, which took me
months on end to realize, I had to imagine i.e. invent entire phrases and even stanzas, which I believe Sappho might have actually composed.  
At least 60 % of the text of some of my imagined
Odes is completely original, though painstakingly mimicking what might have been the original poems as Sappho composed them.  In order to achieve this, I had to think like Sappho, in other words, become a
woman poet, a feat which some poets, but very few, are able to pull off."



Richard Vallance



        However Mean

        Hexameter


        "Scorn not the Sonnet; Critic, you have frown'd,     Mindless of
        its just honours ..."

        William Wordsworth (1770-1850)


        However mean your sonnets are, however lean
        the faint impressions your readers deign to suffer
        on their minds, who divines what designs you mean
        on blank imaginations? ... when nothing's tougher
        than the fragile composition of the poet's mind...
        unless of course according to the reader's skill,
        your dispositions should agree: but never mind
        if, failing to agree, they sabotage your will.
        If meaning well, why pillage ink in penning words
        to paper than the thinnest thinner than the wiser?
        .... you, poor professor clinched between a bunch of nerds
        and understudied critics, and who the miser?
        If they, the critics you, or you could strike them dead,
        to read the leaves is all the same... enough is said.


Lord Only Knows

Praeludium

Quintus Horatius Flaccus (Horace: 65-8  BC) Ode 1:9 *
Vides ut alta stet nive candidum Soracte
You see? — where almighty Soracte's peak, all adrift in snows,

... benignius/ deprome quadrimum Sabina,/
O Thaliarche, merum diota.
... decant/my well casked four year old red Sabine wine/
from jars, as its fresh bouquet enchants...


Late February's sun portrays her face
as flush with milder hues as fervent flame,
in proclamation of the slightest trace
our Lenten prayers may press for April's rain.

Appellation controllée poured from vials,
this rain ferments to far more fragrant wine
than any year's from any orchard's aisles
or any cutting from the farmer's vine.
 
Come Autumn then, communing with our friends,
and bless the vines we harvest in the fields,
and press from them the best ambrosial blends,
oh Lord, our Grace, we know your Nature yields.

Partake of Christ, as long as we're alive:
Lord only knows how well our love may thrive.


* Horace Ode: 1.9 English version by Richard Vallance in:
Canadian Spirit Voices ISBN 1-878431-44-7 © 2003


Richard Vallance 2008




 Sleepy Hollow.... Legend?



Tetrameter Mitrailleuse *

Come!  Headless horseman, moonbit, hound
our hapless hamlets by the sea
your stallion’s hooves grind down & pound
in rage, with huffing, foaming glee!
    
Kill if you will, murder be damned!
Innocents gape, mourning the dead,
their headless brethren, swiftly crammed
in graves.. and "Pax vobiscum's" said.

"Eureka", he wails, his witches
too, familiars.  Roast ‘em alive...
oh pray they die, the ghastly bitches
lest, minions with him, they should thrive.
         
Wake!  Sleepy Hollow, who goes next?
You!   Fear for your lives... Satan's vexed.


Richard Vallance 2006








Ian Thorpe

A happy child but a late developer, Ian Thorpe was born at quite an advanced age and remembers nothing more for several years. One morning he awoke and was aware of being in a large white room. The blinds were drawn but the furniture was real. A note pinned to the wall said XYZZY. "I've only got your word for that" Ian replied and the note threw itself in a waste paper bin. This experience convinced Ian that his destiny was to become a writer. He immediately composed his first poem "Ode to a Milkman."

Seriously, Ian has been away some time but is back with challenging proposals.

   Some poems by Ian Thorpe previously published at PL&T, where he is a regular contributor.:

Featured Poets

Featured poets August 2001


You can read here a recent interview.







e-mail: blog: 
 http://greenteeth.blog.co.uk/main



Ian Thorpe


Holy City

The dogma of the High Street temple
echoes in the hallowed, hollow halls
of crowded malls:
consume, consume. Greed is good.
Its understood that debt enriches us
Sign away your home,
take out a loan and buy; buy.
Say bye - bye to your security,
it’s good for the economy,
promotes prosperity
even though your life is wasted,
your hours and days are confiscated.
Each transaction compounds a pact;
sign away your power to act
independently.
Who needs to be free
when you can belong to
the consumer society.

The towers of the Holy City
shine white against a greenback sky,
we wonder why
we let the city conspire to constrain
our freedom and humanity.
Vanity aided the deception,
self - deceived we ignored the lies
let the control - freaks evade detection
and bind our eyes.

The demigods who populate,
the high rise halls, enclosed by walls
of secrecy play roulette,
high rollers gambling with fate,
raise the stakes, grant themselves rewards.
Salaries rip through the stratosphere,
leave orbit, head for distant galaxies,
in rarefied reality all is distorted,
contorted, aborted. Sense melts,
then comes the crash that follows any high.


Buy, buy, buy
trade is the hook and growth the goal,
don’t hedge your bets when you’re on a roll.
So long as the reckoning can be deferred
risk is transferred, consequence will
trickle down, away from the frauds,
hucksters and fakes
to those who pay for the mistakes;
the underclass, the biomass.
No voice is raised in their defence,
to fight their cause would make no sense,
dispense with social conscience
to each according to desire to succeed
from each according to their need.
Greed is the creed.


THE CHURCHES ARE BURNING

Mother, the churches are burning,
the temples we built have crashed to the ground,
I feel like an alien in this my native land,
all around me I see people turning,
turning away from each other.
In this market heaven its success we crave,
the old freedom fighters will be turning in the grave
As we sell our soul for the mighty dollar.
Mother, the order is falling,
the temples we built have crashed to the ground,
I feel like an alien in my native land,
all around me I see people running,
running like dogs after the bitch success.
There is no communion, there is only self;
in this world we are nobody unless we have wealth,
and no-one is more than the things they possess.
Mother the churches are burning,
the temples we built have crashed to the ground,
my history exiled from my native land.
How can we be blind to lessons that need learning?
Mother Albion your sacred light is fading,
holy soldiers are singing in praise of war,
their voices are a message we cannot ignore,
and Mother, I fear you are dying.


 The Hermit: (after Larkin)


If solitude is selfish as Larkin said,
then I’m selfish; I do not wish
to share with all my hopes, my dreams,
my shopping list.
Posting online my observations and
ideas I may from time to time
hint at past sexual misdemeanours
simply to entertain the growing chain
of friends I’ve never met nor ever shall.
I feel no need to tell the world
my suit was taken to the dry cleaners.
Call me selfish if you like
but never say I have no life
because I choose to stand aside,
not joining the cacophony
but wryly observing a world
that has gone squarely online
but somehow out of kilter.
 




Beautiful Children
(with no love in their eyes)*

I was passing a schoolyard
in the best part of town.
The kids in the playground
were just standing around.
No girls were skipping,
no boys kicked a ball,
in their world possessions
and status were all.

It seemed something inside them
had withered and died,
those beautiful children
with no love in their eyes.

No - one was laughing
and none sang a song.
Beneath the surface I saw
something was wrong.
They had music players,
designer footwear.
The one thing that none had
was someone to care.

It seemed like something inside them
had withered and died,
those beautiful children
with no love in their eyes



Note * This will be a track on the next Brother Bastion album
due for release later in the year.






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  Leland Jamieson


Leland Jamieson lives and writes in East Hampton, Connecticut, USA.  Recent and forthcoming work appears in numerous magazines.  His first book, 21st Century Bread: Poems, can be previewed and is available at www.jamiesonspoetry.com — along with “Poem for the Week” and “Hear the Poet Read” features, four book reviews, and readers’ and editors’ comments.  Major influences on his work, after Shakespeare, are Robert Frost, William Carlos Williams, Wallace Stevens, William Stafford, and Timothy Steele.




What they're saying about 21st Century Bread: Poems: "Unique
voice... Powerful storytelling...." "Fabulous capsules of feeling....
Admire the hand-flawlessly-fitting-in-a-snug-glove-tone of your lines...."
"They Electrify...." "An Outstanding Book...of Unity and Grace...."
Check it out. Read and re-read it. Tell a friend. Give it as a gift!
http://www.jamiesonspoetry.com



Leland Jamieson


_______________________________


ON THE LIMBIC ARC OF TIME

For Liberty

This three-month wheaten cairn’s old soul
whose middle name might be Cajole
has sniffed out all my tick-tock past.
She’s stopped the clock.  Time’s far surpassed
by all she does to entertain — 
to coach my heart and limbic brain —
with capers played throughout the day
at which I am her protégé.


CADET HOME FOR SUMMER VACATION

Temporary wartime housing, in 1942, in a cottage
by the jetty in Venice, on Florida’s Gulf Coast.
In Memory of E.T.P., and G.F.P. the Cadet.


Just off the bus from military school
he dropped his bag down.  “Wow!  My throat is dry!
The heat here’s awfully bad.” 
                                                 “It’s almost cruel,”

Mom said.  “The water, too.  Will putrefy
your stomach.  Sulphur.  Smells like rotten eggs!
Bottled is here . . . .  Clean glasses . . . .  Satisfy

your thirst.” 
                     “You must be pulling both my legs
about he water.” 
                            “No, it’s really yuk —
truly, I promise you. Pure sulphur dregs.”

He eyed her narrowly.  “I’ll try my luck.”
He clutched a glass and filled it to the brim.
One gulp, and sputtering, he bent to chuck

it up, right in the sink . . . .  “That’s really grim!
You do not lie.  At school, everyone lies . . . .
Got gritto?  I’ll clean up, then take a swim.”


CALLING ME HOME

In Memory of G.F.P., 1927-2000.

I roused (alarm not set) without a start.
How deep my sleep!  My middle name’s “Relax.”
A cosmic, tranquil, dreamy parallax
of feeling slips away and flies apart . . . .
In fragrant morning air, I spot bold hart
outside my window locking splendid racks.
Vermillion hills host sun behind their backs
cajoling sky’s zodiacal light, “Depart . . . .”

Yesterday, golf with Gunby.  Rode a cart.
Shot under par on every hole . . . !  Jazz Sax
at Nineteenth Hole was cool.  Good beer, talk, snacks,
delicious dinner too, served à la carte.
But that, while great, did not call home my heart
as did this feeling dream, Monsieur Descartes.

NOTE: Parallax is “the angular difference in direction of a celestial body as measured from two points on the earth’s orbit” (Merriam Webster’s Collegiate Dictionary, 11th Ed.) — meaning, here, a subtle, big-picture paradigm shift.


ESCALATOR UP TO BOYS’ AND MEN’S

Burdines Department Store, Miami, Florida.  Summer, 1941.


His mother’s dearest friend, who’s Mrs. Hughes,
looks down at him and says, “We’ll buy new shoes!”
She quickly clasps his hands in hers.  They pour
through Burdines’ brass-framed glass revolving door
and wedge themselves into a ‘stair’ at PENS,
the Escalator Up to BOYS’ and MEN’S.

“New shoes and lunch will chase your blues away.”
(Lunch?  With his breakfast eggs like lumps of clay . . . ?)
Jammed on the skinny tread against the base
board crack as it slips by, there is no place
to stand that does not drag his right foot’s sneak.
He feels the tug and hears it rub, squeak-squeak.

They rise and rise, their tread now fourth beneath
Boys’ Level.  There he eyes bright knife-like teeth
gobbling treads between the ceiling and the floor.
His right foot twists and dives — he can’t ignore
it — captured by the vise-like baseboard crack —
an ambush on his toes and foot!  Attack!

He pulls and yanks his foot with all his power,
pressing the rail — the crack will soon devour
his foot!  It’s stronger.  Pops his knee.  A flash:
Those teeth!  They’ll slice and chomp him up, just hash!
Wild terror paralyzes him.  It seems
his lungs collapse.  He’ll suffocate.  He screams!

Bellowing, Mrs. Hughes cries, “Help us!  Help!”
The knife-like teeth gnash on, by squeal and yelp,
and burp bad breath like smoke from burning shoes.
How many kids, minding their P’s and Q’s,
has it sliced up and munched down for its lunch?
I’ll knock its teeth out with a mighty punch!

IT STOPS . . . !  He clings to the rail with both arms.
His legs twitch.  Mrs. Hughes, her bracelet charms
all tinkling, hugs him.  She smells bitter-sweet.
Three ladies and a balding man compete —
untying his torn sneaker’s snarled-up knot.
They smell like jasmine blossoms, the whole lot.

Baldy says, “Easy, now!”  He pulls . . . .  “Hooray!”
They gently peel his cotton sock away.
He sees his piggies.  They are red and blue.
Baldy asks, “Can you wiggle one or two . . . ?
Now can you wiggle all those toes?”   He can.
“And can you take a step or two, young man?”

Both hands are leaden, shaking still with fear.
His legs, like jiggly Jell-O, quake so queer!
He limps across the rug on blue-bruised toes,
scuffing the sneak still on, in to-and-froes.
He sees the jasmine ladies cheek to cheek
still wrestling with the escalator’s sneak.

Now Baldy fits new sneaks.  To see his bones,
he X-rays them.  He speaks in undertones.
His smile seems weird beneath odd darting eyes.
“For you.  They’re free, from Burdines Store.”  He sighs.
Baldy speaks to Mrs. Hughes, ear to ear.
Her voice is dropping.  It’s too soft to hear . . . .

(But wait!)  He just makes out her throaty yelp.
She’s saying, “I had hoped new shoes would help —
help him get over it.  So much for plans . . . !”
She takes, in both her hands, that Baldy man’s,
then, one by one, each jasmine lady’s hand,
now his — and says, “Shall we eat lunch, as planned?”

His jiggly Jell-O muscles crash — and melt.
Not hungry, he nods Yes.  He tugs his belt.
She’s now his lifeline.  He won’t eat, just sit,
while Mother, in Oklahoma, stays a bit . . . .
Two weeks at most, Mrs. Hughes had said, sad,
not berry pick . . .  — just berry-ing your dad.


NOTE: Shoe sales technology in the early 1940's utilized the shoe-fitting fluoroscope X-ray pedestal by which the wearer and the salesperson (and parent) could see the fit of feet and bones inside a shoe.  In the 50's it ceased to be used due to risk of radiation overexposure.


WITH QUARKS AND MORE?

In memory of L.S.J., early aviator and author, 1904-1941.

You felt hotels were lonely for the soul
but necessary for the body’s rest
despite the DC-3's sweet cruise control.

(“High-pocket” legs like yours grew tired and stressed
from being folded up beneath the yoke
that flew that sleek new ship — you simply pressed

the Auto Pilot, stood up, and awoke
them, tingling pins and needles, with a few
deep knee bends which restored their strength, like oak.)

Layovers, nights outside Miami, you
would tune in H.B. Kaltenborn to hear
him read world news in panoramic view.

You’d sleep and wake refreshed, renewed, mind clear,
to write for several hours, perhaps on men’s
adventure yarns, perhaps on High Frontier.

It was the writing which best served to cleanse
your heart and mind and legs of their fatigue.
But even that could not make full amends

to your young body under its blitzkrieg —
monoxide in the early days’ prop-wash,
scorched airport coffee, pork-fat’s charred intrigue.

At length your pancreas lost its cool panache
and could not fight the smoldering red-hot coal
that shrank you up in your great mackintosh.

Consciousness, Inner Eye of body’s soul,
directing all you do, called you to soar
up from Earth’s cloud-swept deep blue watering hole . . . .

Where does your soul’s heart dwell?  With quarks and more,
deep in our Zero Point Field’s astral realm?
Would seem so — greeting you beneath my snore.



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Andrés Fisher was born in 1963 in Washington DC from Chilean parents. At a very early age he moved to Viña del Mar, Chile, where he was raised and got a MD in 1988.  There he started writing poetry and published his first book, Ocularmente Avido (Ed Vertiente) as well as got involved in the student movement against the dictatorship. In 1990 he moved to Madrid, Spain, where he got a PhD in Sociology in 1997 with a thesis that criticizes the restrictive laws on drugs, published in 2003. He formed part of Delta Nueve, collective that combines poetry with graphic arts and did exhibitions and presentations He got involved in Madrid’s poetry circles and published the booklet Estados y Extremos (Archcione, 1994), the book Composiciones, Escenas y Estructuras (Delta Nueve, 1997) and the book Hielo (Ed. Germanía, 2000) that was awarded with the Poetry Prize Gabriel Celaya. He has published in magazines and journals from Europe and North and South and his poetry is included in the anthologies Pasar la Página, La Voz y la Escritura and Estruendomudo. Since beginnings of 2004 he’s back in the USA where teaches at the Departments of Foreign Languages & Literatures and Sociology of Appalachian State University, Boone, NC as well as creative writing courses in poetry in Fuentetaja, Madrid. He’s got a new poetry book finished, and published in Chile, Relación, and a Book of Haiku.

These poems belong to the Castile Series, and have been included in his latest book.







Andrés Fisher



CASTILE X


i.
Big harvesters work on the fields while airplanes slowly cross the skies above them.

ii.
The same mountains rise in the distance although other vehicles ride on the roads.

iii.
Where before it was beast now is engine, while man is the same that plants, harvests and dies.



CASTILE XI


i.
Poppy fields in the plains of Castile.

ii.
Like red islands amidst the green tide surrounding them.

iii.
Very rainy spring. The plains gleam in the wheat and the crops.

iv.
In the wild flowers, that continues to grow beside the castles.


 

CASTILE XII (*)


i.
Wheat is still planted in the boundaries of the big city.

ii.
That shines and beats, mixing its lights with those of dusk.

iii.
It is not the hand of man who harvests the wheat any more.

iv.
That nevertheless continues to grow, straight towards the skies.

_________
(*) To José Viñals.




Spanish versions:



CASTILLA X


i.
Grandes segadoras trabajan en los campos mientras aviones cruzan el cielo, lentamente, sobre ellos.

ii.
Las mismas montañas se alzan en lontananza sin embargo otros vehículos ruedan por los caminos.

iii.
Donde antes fue la bestia, hoy es el motor mientras el hombre es el mismo que siembra, cosecha y muere.




CASTILLA XI


i.
Campos de amapolas en los llanos de Castilla.

ii.
Como islas rojas en medio de la marea verde que los circunda.

iii.
Primavera muy lluviosa. Resplandece el llano en el trigo y los cultivos.

iv.
En las flores silvestres, que siguen creciendo junto a los castillos.


CASTILLA XII (*)


i.
Aun se siembra el trigo en los márgenes de la gran ciudad.

ii.
Que refulge y palpita, confundiendo sus luces con las del ocaso.

iii.
Ya no es la mano del hombre la que siega el trigo.

iv.
Que sin embargo sigue creciendo, enhiesto, en dirección al cielo.



_____
A José Viñals.





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AMPARO ARROSPIDE
(Co-editor of Poetry Life and Times)

Born in Argentina, Buenos Aires, from migrant Spanish parents. She has published four poetry collections in Spanish, so far.

Both a literary and legal translator, several links give more details and allow extensive reading of some of her works in e-zines such as The Barcelona Review, Wakan, El Otro Mensual (Eon), Especulo, Poetry Life and Times, etc.

She also likes experimenting with oils, acrylic, gouache and pastel. You can see here her previous gallery.

~

Further reading: prose and poetry in both English and Spanish with videoclips at youtube: "Saga Vasco/Argentina: Entre Nostalgias y Esperanzas".

The poems published on this issue were originally written in English.


AMPARO ARROSPIDE



 
Technological Advances (#12789)


The terms simultaneous equations and systems of equations refer to conditions where two or more unknown variables are related to each other through an equal number of equations. Consider the following example:


X + Y = GERONTOCRACY
2 x – y= THE MOSQUITO (see note 1 below)

For this set of equations, there is but a single combination of values for x and y that will satisfy both. Either equation, considered separately, has an infinitude of valid (x,y) solutions, but together there is only one.

Note 1: The “Mosquito”, the high-pitched electronic device designed to disperse groups of youngsters, currently used in the UK. (Ultrasonic)


 
 


  Killing The Gods*

“Suddenly we sensed that they were playing their last card, that they were cunning, ignorant and cruel like old beasts of prey and that, if we let ourselves be overcome by fear or piety, they would finally destroy us. We took out our heavy revolvers (all of a sudden there were revolvers in the dream) and joyfully killed the Gods.”
From “Ragnarok”, by Jorge Luis Borges,  translated by James E. Irby

Nothing particularly interesting about ourselves.
Nothing particularly interesting about this here and now.
Nothing particularly interesting around the solar system        globular clusters of meaning not centered here, no place significantly different,

Then all of a sudden,
When data corruption is the only generator of modern Physics,
Not being significantly different to be discovered
By the scientific community,     //                                        about our place in space or time
Nor about ourselves,  //                                            to be empowered
Thus

Not only where you are is not any more special than any other,
But indeed whom you are is not any more special than whom you are not

From the mediocrity principle    //                                        it follows
That no intelligent beings are particularly more beings than any other,
Or more intelligent,             //                                              Life, it follows,
Centers around a conditional line of clusters
Not around the solar system more intelligent
 
So the laws of the Universe are the way they are
 
Because we are intelligent     //                                            intelligent beings
Through the evolution of any given universe,
A process that can only happen at certain times
 
That is why we joyfully killed the Gods.


*On the mediocrity principle: The principle that there is nothing particularly interesting about our place in space or time, or about ourselves. This principle probably first made its real appearance in the scientific community when Shapley discovered that the globular clusters center around the center of the Galaxy, not around the solar system. The principle can be considered a stronger form of the uniformity principle




  The God of Biomechanics Won’t Let You in Heaven, Roy

“[Deckard falls, Roy catches him.]
Roy: I've seen things you people wouldn't believe. Attack ships on
fire off the shoulder of Orion. I watched C-beams glitter in the
darkness at Tan Hauser Gate. All those moments will be lost in time
like tears in rain. Time to die.”
(From Blade Runner, script)



An aberration,                                                         said to be
The apparent change in position of a light-emitting object,
Not a diffraction,                                                         but
An aberration                                                             due to
The constancy of the speed of light                And so Roy breathed out his ghost

Anima Mundi                                               two doves in love
Anima Mundi                                               and the motion of the observer relative
To the emitter                                              All those images will be lost in time
Like tears in the rain                                     When I die
If I die                                                          (I will)
Like tears in the rain                                     Seeking an explanation from a Maker

So you were born                                        Now you are  asking
Why






Sonnet (upgraded) to ALL GOLD DARK CHOCOLATES

Within a sweet, strawberry flavoured,
A firm, golden toffee awaits your taste,
Covered in elegant velvety layers,
Draped in rich dark chocolate.

Vanilla flourish will tickle your tongue cells
With luxury in the name of a fudge centre
Within an island of buried little treasures
For memories which still protect a nectar core.

A cappuccino intrigue, waiting to be discovered,
An orange blossom, a roasted nut harvest,
A midnight praline, caramel nectar

Beneath an exterior, devilishly dark,
Pure and innocent, honeycomb jewels,
A velvety treason, burnished and tarred.



Amparo Arrospide, 2008.




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