(Rivers
sold in
plastic bottles
thrown in
rivers).
Earth
tears,
fragments
meandering
through suffocated cities
into seas of men-
dacities.
Earth tears,
fragmented,
lament after lament,
contiguous cries
of continents and countries,
and centuries.
Miscegenated cultures
whose children, mulattoes and douglas,
are cut flowers, flowers cut
from wild chaconias,
red rose of the mountains, plucked
and planted, and transplanted,
in blood-
filled bowls of morning-
mosquitoes.
Whose children would believe
that the hug of hags
and twilight bats
were nothing but their dreams,
and nightmares, except for the hickeys
of a socouyant on their necks,
arms, legs, backs, bellies
and exposed breasts.
(But even that soon fades away,
leaves only inner scars that all can see
except the scarred).
Whose children are mountain doves
battering heads bloody against gorilla-
glass ceilings and one-way walls.
Wings beat forever in amber;
petrified butterflies in a distant,
denuded garden
of bachac ants
and Liliputans
more afraid of Lilith
than of God.
And the priest, the priest in purple,
sanguine splendour,
is a praying man-
tis, preying man
this, who prays
the prayer of predator
and prey.
Meanwhile, fallen stars
clutch at drowning straws
of pyramids and sphinxes,
Sisyphus still draws water,
from new wells
and old polluted rivers,
earth's raw wounds,
and the doctor still bleeds,
draws blood from all,
draws lifeblood
from the well, the not so well and the unwell.
©2012 by G. Newton V. Chance
- G. NEWTON V. CHANCE
- George Newton Vivian Chance (Trinidad and Tobago) -- member of the Poet Society of Trinidad and Tobago, http://poetssocietytt.blogspot.com/ and the World Poets Society, http://world-poets.blogspot.com/ -- born in Tobago on 3rd March 1957. While residing at Rio Claro was inspired to write over a hundred poems at the turn of the Millennium. Hobbies include playing wind instruments, building computers, observing nature, reading and writing poetry. Believes that the power of a song is in its ability to evoke emotions by the marriage of lyric and music but that music without lyric can be just as powerful, that lyric without music can also be just as powerful, that there is music in the lyric and that lyric can be simple yet profound. Also, in this the age of computers, would like to model his lines after simple and efficient code and, analogous to Object Oriented Programming, achieve most of his imagery from nouns and verbs, avoiding the bloat and excess of unnecessary adjectives. This is what he aspires to attain in his poetry.
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