Christmas Day in the Workhouse

It is Christmas Day in the workhouse,
And the cold, bare walls are bright
With garlands of green and holly,
And the place is a pleasant sight;
For with clean-washed hands and faces,
In a long and hungry line
The paupers sit at the table,
For this is the hour they dine.

And the guardians and their ladies,
Although the wind is east,
Have come in their furs and wrappers,
To watch their charges feast;
To smile and be condescending,
Put pudding on pauper plates.
To be hosts at the workhouse banquet
They've paid for — with the rates.

Oh, the paupers are meek and lowly
With their "Thank'ee kindly, mum's!'"
So long as they fill their stomachs,
What matter it whence it comes!
But one of the old men mutters,
And pushes his plate aside:
"Great God!" he cries, "but it chokes me!
For this is the day she died!"

The guardians gazed in horror,
The master's face went white;
"Did a pauper refuse the pudding?"
"Could their ears believe aright?"
Then the ladies clutched their husbands,
Thinking the man would die,
Struck by a bolt, or something,
By the outraged One on high.

But the pauper sat for a moment,
Then rose 'mid silence grim,
For the others had ceased to chatter
And trembled in every limb.
He looked at the guardians' ladies,
Then, eyeing their lords, he said,
"I eat not the food of villains
Whose hands are foul and red:

"Whose victims cry for vengeance
From their dark, unhallowed graves."
"He's drunk!" said the workhouse master,
"Or else he's mad and raves."
"Not drunk or mad," cried the pauper,
"But only a haunted beast,
Who, torn by the hounds and mangled,
Declines the vulture's feast.

"I care not a curse for the guardians,
And I won't be dragged away;
Just let me have the fit out,
It's only on Christmas Day
That the black past comes to goad me,
And prey on my burning brain;
I'll tell you the rest in a whisper —
I swear I won't shout again.

"Keep your hands off me, curse you!
Hear me right out to the end.
You come here to see how paupers
The season of Christmas spend;.
You come here to watch us feeding,
As they watched the captured beast.
Here's why a penniless pauper
Spits on your paltry feast.

"Do you think I will take your bounty,
And let you smile and think
You're doing a noble action
With the parish's meat and drink?
Where is my wife, you traitors —
The poor old wife you slew?
Yes, by the God above me,
My Nance was killed by you!

'Last winter my wife lay dying,
Starved in a filthy den;
I had never been to the parish —
I came to the parish then.
I swallowed my pride in coming,
For ere the ruin came,
I held up my head as a trader,
And I bore a spotless name.

"I came to the parish, craving
Bread for a starving wife,
Bread for the woman who'd loved me
Through fifty years of life;
And what do you think they told me,
Mocking my awful grief,
That 'the House' was open to us,
But they wouldn't give 'out relief'.

"I slunk to the filthy alley —
'Twas a cold, raw Christmas Eve —
And the bakers' shops were open,
Tempting a man to thieve;
But I clenched my fists together,
Holding my head awry,
So I came to her empty-handed
And mournfully told her why.

"Then I told her the house was open;
She had heard of the ways of that,
For her bloodless cheeks went crimson,
and up in her rags she sat,
Crying, 'Bide the Christmas here, John,
We've never had one apart;
I think I can bear the hunger —
The other would break my heart.'

"All through that eve I watched her,
Holding her hand in mine,
Praying the Lord and weeping,
Till my lips were salt as brine;
I asked her once if she hungered,
And as she answered 'No' ,
The moon shone in at the window,
Set in a wreath of snow.

"Then the room was bathed in glory,
And I saw in my darling's eyes
The faraway look of wonder
That comes when the spirit flies;
And her lips were parched and parted,
And her reason came and went.
For she raved of our home in Devon,
Where our happiest years were spent.

"And the accents, long forgotten,
Came back to the tongue once more.
For she talked like the country lassie
I woo'd by the Devon shore;
Then she rose to her feet and trembled,
And fell on the rags and moaned,
And, 'Give me a crust — I'm famished —
For the love of God!' she groaned.

"I rushed from the room like a madman
And flew to the workhouse gate,
Crying, 'Food for a dying woman!'
And the answer came, 'Too late.'
They drove me away with curses;
Then I fought with a dog in the street
And tore from the mongrel's clutches
A crust he was trying to eat.

"Back through the filthy byways!
Back through the trampled slush!
Up to the crazy garret,
Wrapped in an awful hush;
My heart sank down at the threshold,
And I paused with a sudden thrill.
For there, in the silv'ry moonlight,
My Nance lay, cold and still.

"Up to the blackened ceiling,
The sunken eyes were cast —
I knew on those lips, all bloodless,
My name had been the last;
She called for her absent husband —
O God! had I but known! —
Had called in vain, and, in anguish,
Had died in that den — alone.

"Yes, there, in a land of plenty,
Lay a loving woman dead,
Cruelly starved and murdered
for a loaf of the parish bread;
At yonder gate, last Christmas,
I craved for a human life,
You, who would feed us paupers,
What of my murdered wife!"

'There, get ye gone to your dinners,
Don't mind me in the least,
Think of the happy paupers
Eating your Christmas feast;
And when you recount their blessings
In your smug parochial way,
Say what you did for me, too,
Only last Christmas Day."

George R. Sims (1879)

An 1845 newspaper illustration which accompanied an article
about conditions inside the Andover Union workhouse,
where starving inmates ate bones meant for use in fertilizer.

Victory for Obama and America: Obama is Still the One

Obama has been scandalized and

assaulted

by fiendish ideologues;

His character and

American citizenship have

been questioned.

They done tried to make him stop

fightin', stop lovin', stop leadin',

-- But we all can see, "He's still the one."

Now that he has been re-elected
to serve another
four years as the President
of the United
States he's gonna shine brighter for us
than the North Star.
They done tried to make him be
angry, be vengeful, be feeble
-- But we all can see, "He's still the one."

Obama, we trust you and believe
in justice for all
just as you do, and we pledge
anew our support
to help move America toward
justice for all.
They done tried to make him stop
fightin', stop lovin', stop leadin',
-- But we all can see, "He’s still the one." 

     © Uriah J. Fields, 2012

Photo: The Obamas Dancing,
by Daniel J. Calderon, USN, at Wikimedia Commons

A House Retires

A house is melting into its leisure.

The green tin roof bends itself into fanciful angles,

achieving arches and curves

with corners dripping

like cool summer pleasure

laid thoughtlessly in the sun. 

Creeping plants previously prohibited 

rise slowly through the shrubbery,

slide up the siding

to find windows waiting open and smiling. 

So the vines pour themselves in, filling the rooms with a leafy slosh. 

And the ceiling beams are dizzy to touch green life again.

The walls welcome

the brush of tendrils,

the pressure of clinging roots,

the ticklish cracking of the rigid plane they have courteously held 

since they were put just so.

Now their orderly particles shake loose,

dusting plaster like sugar

for beetles and flies 

who will join the celebration 

or trip away, sparkling in the breeze on their way to some new ground. 

At last

wooden posts succumb. 

They soften their knees and shoulders to test relief,

then let their work go,

curving into smiles of anticipation as the floor below them also relaxes,

and all the edified parts sink closer,

dip their toes into the cool earth cellar,

waiting for the plunge.

© Laura Seale, 2012

Abandoned House; photo by Daniel Leininger
from Wikimedia Commons

Lucretia ...after Rembrandt van Rijn’s painting

I.

I will tell you because

only you will understand:

Sextus had me first.

with me, he was silent;

he offered no threat,

did not fool me--

I just gave in.

gave in.

what do you call it, Lucretia?

surrender?

submission?

choice?

now we both know: there is no choice.

II.

there is a sense of self-betrayal,

a gasp in your chest

when you look at my bed;

the scent on your dress, always,

a handful of spit and sweat,

the tragic film of memory.

there is the fight to not remember

when you were younger,

when you fell asleep in the arms of God,

and he loved you more

than you will e v e r know again.

III.

here is how you work, Lucretia:

you lie

and you take it.

(but I took it, then I lied.)

like a good wife, you told your husband,

and your husband consoled you:

you did not sin because your body did not sin.

your body did not sin because your mind did not sin.

and your mind did not sin because

you did not feel pleasure.

(then pleasure must be sin)

IV.

let me tell you a secret:

some nights I dream about Sextus,

and I think I would like to love him.

I think I would like for him to love me.

here is another secret:

I wish he had kissed me.

did he kiss you, Lucretia?

I would rot with jealousy.

V.

what does sin feel like to you, Lucretia?

does it feel like pleasure?

or does it feel like guilt?

both and also something in between:

a void with anxiety

panging from within.

we’re supposed to be scared 

of these things, Lucretia:

the strong arms with the gentle hands

the breath in our ears on the verge of sleep

but to find solace,

we must find comfort.

VI.

comfort is the ghost I hold at night,

wanting, wishing it would hold me back.

fear is waking in damp sheets,

forgetting where I came from,

remembering where I am.

VII.

guilt was two weapons on the table before you:

silence and the knife

I admire you for choosing the latter, Lucretia,

because I chose the sharper,

though we both chose tools of strife.

now everything I have felt each night

you feel in this single moment

while I still have many nights left to go--

so dig that knife in hard, Lucretia

take it all in one blow

© Katherine Freeman, 2012

Rembrandt's Lucretia, 1666
Photo from Wikimedia Commons
Painting in the Minneapolis Institute of Arts

Rank

Something there is that is rotten in the state of state

that imposes the doorman’s snappy salute to the uptown patron;

      leaves the frazzled waitress to grovel for a tip;

      requires genuflection as the lawn-mower man

scraps for yard-work from the landed

      mandates a nod of submission in the workplace.

Something there is that is rank.

Congress can pass laws yet gravity never yields.

The somebodies define the nobodies as sure as 

the earth whirls through the cosmos.

Something there is that is rotten in this state of flux

that pinches the wallet and soul as a new Lexus rolls off the lot;

        tears at the heart as the face sags and the butt balloons;

        shreds all our dignity as we don the faddish blouse made in

  sweat or slurp the coffee grown for pesos, sold for dollars;

        diminishes as we venerate the half witted celebs we see on TV.

Something there is that is rank.

Somebody will see all this status anxiety as silly. 

Somebody will realize nobody is a nobody. 

Some will some day, I am quite sure.

Something there is that is rotten in the state of affairs

that sets the wild-eyed beggar-man to spinning for the ‘bus fare’;

      demands of the happy bride a vow to love and to obey;

      forces the fragile, uniformed maid to make the careful show of

deference to her subtle employer as she dusts the tabletop;

      gnaws at the plumber as he bends over in ill fitting jeans.

Something there is that is rank.

© Byron Harris, 2012 

Waitress serving in a restaurant while wearing a chicken costume
Photo by Ross Berteig, Wikimedia Commons

The Answer for the World

What is the answer for the world?

Where do we go from here?

How can we bring peace to this troubled world?

When will we stop this violence?

All these questions make me wonder,

And I am not quite sure where to go.

I want to find the answers,

But only questions come.

Love comes to mind, and it feels so right,

And yet, its not as easy as it is said.

Why can't we stand on the shoulders of Love

And enclose ourselves with a blanket of Caring?

If we could only stand firm

And share our love with the world,

Then maybe peace could come from deep down;

But violence seems to stop us.

Oh! Violence, why are you so deeply rooted?

You hurt so many of us,

And we find it all around us,

And it seems to choke us.

So we must find a way to reach out

And bring forth the love we have,

So that we can take each day

And say, "LOVE is the answer!"

                             © Hilda Ward, 2012

Blankets and care being provided to people rescued when their boat
capsized in Baltimore's Inner Harbor
U.S. Navy photo by Machinery Repairman 2nd Class Jerry Neblett. ~Wikimedia 

Word into Light

I was taught as a child that

Every book was as sacred as Bibles.

There would be no writing in them,

No tearing or bending of pages.

There would only be the reverence of reading,

Of epiphanies waiting for seekers between the lines,

Of new chapters opening in the face of closed doors.

There would only be the reward of seeing libraries as temples,

As spaces where chapter and verse minister to every unknowing,

Of seeing bookshelves as sanctuary where God begins as word 

and transforms into the light.

 

© Camisha Jones, 2012

Book of Kells, 8th Century; from Wikimedia Commons
Now in Trinity College Library, Dublin

Small Town

My childhood self

still walks the streets of the village

where I loved to visit

a grandmother, dead long ago.

Her aged friends

are still vivid in my mind.

One had a parrot that nipped my nose

and a goldfish pond

where the brilliant fish

eluded my childish grasp.

Another came to tea

and was given elderberry wine

because “the doctor ordered it.”

A glowering distant cousin 

with a crippled foot who came to visit

preferred to sleep on a feather bed,

so in the heat of summer

I dragged the dusty thing from the attic,

grumbling and resentful of that gloomy relative.

A box of demi-tasse cups

was given me by one of those women.

“Don’t wait too long to marry,”

was her advice.  -- ”I did.”

I sensed the sorrow of her life.

Unmarried women of uncertain age

seemed prevalent.

Why did they never wed?

Did the young men leave

for livelier towns?

Or did their beaux

go off to war and die?

Their locked trunks in the attic

were seldom opened,

holding treasures (I supposed)

for which they had no room

in the straitened circumstances

to which they had come.

Now aging as well,

I return to find

old houses remain,

still beautiful and cared for,

and the county courthouse

with the Civil War cannonball

still lodged in its pillar

looks solid and unchanged.

But busy stores

that then sold thread

and shoes and ice cream

now stand empty and forlorn,

and the ghosts of my childhood friends

walk the silent streets.

© Peggy Latham, 2012

County Courthouse; photo by Tony Russell

Ancient Conversations

The river of our tongues has dried to cracked earth.  

Too long since wear, crawfish pronunciations,

and bullfrog syllables are shells and lumps of sand now.

Ē kapuna, make wai ‘ia au.

I am thirsty for the metaphors of our grandmothers,

their every breath a prayer for peace and unchecked giving,

and receiving was as easy as a nap with a pole in my hand on a warm day.

I crave the torrents from times when women were gardens

and there was only one table to put a vase on.

Yet in place of flowers, homework, and electronic debris,

bountiful food prepared with god in mind was served

to strangers passing through the channel.

© Sarah Bordeau-Rigterink, 2012

Hawaiians eating poi, c. 1896
Photo by Strohmeyer & Wyman
From Wikimedia Commons/Library of Congress

Give Me Something to Write

Give me something to write.

Inside me I hold a book,

Filled with page, after page, after never-ending page of hungry space.

My pages long for tales of the countless hours we’ve spent running through the night,

Of the oceans of color we’ve consumed painting the world with our souls.

There are words

That dripped from your lip like dew drops on a desert flower.

My pages thirst for them,

Were made for them,

Want  them to come home.

Send them home.

Your very walk inspires metaphors,

Metaphors with the power to make rational thought question its own existence.

Send your words and your metaphors home.

My pages will cradle them – like the moonlight,

Show them the freedom they were born to possess.

Run with me.

Let’s find our way out of this strange skin we wear,

So that we can unhide our holy.

Release the ember inside us that wants to burn like a bonfire unbridled.

This holy bonfire that burns truer than anything else that has ever burned,

This, too, would I write on my pages,

If you would let me.

My pages want only to remember:

Stories of us;

And of how we got here;

Stories of how we bent ruthlessly the rigid lines of this world’s senseless sheet music.

On those nights we ran, the paint still wet under our fingernails,

We pursued an irony we had only heard existed,

Tried to outrun a past we were destined to miss like a lost limb,

Our steps, accidental brush strokes on an ever-shifting canvas.

My pages want to remember the days,

The days when we knew what we wanted

Yet didn’t know what we knew.

We recognized beauty in all its forms.

And simplicity came naturally.

They were yours, and mine, and ours.

Send them home.

Inside me I hold a book.

So give me something to write.

© Axel Cooper, 2012

Artist Painting at Central Park
Photo by SpyON from Wikimedia Commons

Relationship

I'm sorry to stay covered up,
but that was so you
could possibly get to know me
for my other attributes,
not just my double D's.
You see it’s not that
I’m not proud
of my physical being;
just was hoping
you might find
a little cerebral stimulation
arousing,
take it to another
level--
something a bit
more conscious.
I mean let’s get serious
for a minute.
What do you want out of life,
and where do you see me in it?
Don’t wanna feel like
this is time wasted,
cause if it is
there's no reason
to even hold this conversation,
cause I need a man
who is able to express his self
yet not try and overshadow.
For though I want you to shine,
I need not be blinded by your ego.
I wish that I knew what was happening
when you looked at me
like my eyes could mirror yours,
and therefore
I could reflect
those innermost thoughts,
know you deep inside.
Cause after all,
they are the windows
to your soul.
But you curtain them
with heavy lids
or turn away,
as if to say,
“I don’t want you to know
what’s not already surfaced.”
Discover that
I too, like you,
am vulnerable sometimes,
but for every weakness
there is strength,
and maybe yours
is locked behind
that visual contact
you find so hard to make,
and that’s why,
when asked about
real emotions
you hesitate,
while my tears
make it blurry,
impossible to concentrate.
So I move on
and wipe away truths
with the back of my hand,
cause if you shed tears
and open yourself,
you think you are less
than a man.

      © Suzanne Saxon, 2012

Male-female intersex relationship
Wikimedia Commons
Serge Lachinov, 1914

Three Kingdoms

Animal

1.

Our mother,
molten animal,
shambles across
giant comet-singed ferns
and we follow.

Black milk cries
from flickering sockets
on her skinless body,
streaming down bone-ridge
and bare muscle-tissue.
Deep and pungent;
tasting of berry, spit-honey,
fecund ambrosia.

Our sap-stained mouths
fill with the pulse of new organs.
We caress each other
with unintelligible vibration,

tearing out with claws
the strands of hell-red neon
which held our epochs together,

collapsing together
our swarms of ecstatic flesh
formless as warm wax,
flowing streamlike
into quicksilver reservoirs.

2.

Living tempests! Carve epitaphs
on this ocean skin,
sharpen us crystalline
so we may rend apart
the solid ships
that drift by.

Trace our drifting nerves
with queasy venom and
fill our mouths
with orange spores
of sugar!

Blind our hexagon eyes
with a screaming white light!
Penetrate the folds inside us
as spirals of root flesh
to churn the vitreous fluid, bile, and blood
into vast slow-motion hurricanes!

Plant

1.
It took us a while to see
the electric blue veins
digesting our everyday architecture.

Wreaths, holographic,
held the sun in its thorns
to bleed silver noise into
empty quarries.

Radial stalks of cartilage
grow from the ground,
one thousand soft fingers
curling off to grasp empty air,
lost in the chaos
of molecular motion.

2.
Two trees speak to us,
raising their bark-scales
to braid quilts
of artery and chlorophyll
between us.

Nectaries leaked
burnt sugar
when their phrases held
a warmer tone,
when somber slicked
their flowers with formaldehyde.

These are the last words
in my human tongue.

By stretching fingers
across leaf-vein and root-coil,
we’ve found
a more moving vernacular.

Fungi (Mycelium)

It eats our undead dream-space
with flickers of worm-tongue;
the pores in time’s skin
are now widening.

We awake
tangled in mycelium.
Networks of dried spittle, lung-tube, and spider-cord
helixed tight around our skulls,
squeezing out fountains
of brain tissue into the wet summer air,
fusing into the spine’s raw node.

Our eyes burned out
after watching it tear into
the heavy opaquery draped over
earth’s inner star.

Now we dream awake and outside
our secret worlds
atomized by the screaming gravity
of black galaxies. 

© Luke Manning, 2012

 Root-tip mycelia of the Amanita
Photo from Wikimedia CommonsSource: http://www.biomedcentral.com/1471-2105/6/178

Last Train of My Childhood Dream

In this tunnel

where fear is an animal

smothering me

with unbearable fur,

I feel earth tremble

as if an ocean,

trapped beneath trees and rocks,

is pounding hard

against roots,

the way my heart hammers

against its own roots of dread.

I have heard the same roar--

tornados thundering toward me

like stampeding buffalo

until terror slams me awake.

Now this darkness

opens its one bright eye.

Light that does not mean hope

drives the future 

at me fast,

your death a black train

filling the space

between me and escape.

© Jean Sampson, 2012

Locomotive in Chicago subway, circa 1919;
photo from Wikimedia Commons