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Sad-eyed girl on a water lily The rivers surged—first blood. Your naked scent, ripe red strawberries in June, bread and wine on Primrose Hill.   You’ve disappeared again.   December—dead dreams hanging on the Christmas tree and the tired show still goes on. But is it the same without Freddie?   I hear, along the way, you’ve taken on another name or two. And we know you love the sea, you told the world with passion.   One day, I’ll come back. Can you not see the yellow train, rusty and out of breath, puffing up the hill? We’ll walk your street again— past that fork to the broken sign, where the silence became a scream.   You’ve disappeared again.   Like then, we’ll sit in yesterday’s old café with a Coke and two straws, ice cubes warming up the air and maybe—just maybe—if I peel the layers… Part of the   Old Stories  cycle of poems A few words about the poem… The Rusted Sign and the Yellow Train: A Melancholy Poems Essay on Love, Loss, and Loneliness Old Stories, part of the poet’s ongoing series Melancholy Poems, offers a lyrical meditation on the ache of vanished presence, the persistence of memory, and the strange companionship of absence. Saturated with sadness and quiet longing, this poem distills the essence of love and loss, tracing the contours of a relationship that haunts the speaker like a familiar ghost—never fully gone, never fully returned.   From the opening stanza, memory spills out in sensual detail: "your naked scent, / ripe red strawberries in June, / bread and wine on Primrose Hill." These lines evoke intimacy through taste, scent, and season, grounding the emotional tone in physical, almost Eucharistic ritual—food as memory, as communion, as yearning. The speaker remembers not through fact, but through sensation. And as quickly as this tender moment surfaces, it vanishes— “You’ve disappeared again.” The poem's first refrain lands like a heartbeat skipped, a theme set in motion that will cycle, unresolved.   The speaker moves through time like a pilgrim without a map—December now, and the holidays offer no comfort. Instead, they serve as a funereal stage for “dead dreams / hanging on the Christmas tree,” casting a grim inversion of festivity. This is not nostalgia, but a melancholic awareness that even tradition cannot warm the places absence has hollowed out. And in a clever and poignant turn, the speaker wonders “is it the same without Freddie?”—a subtle nod to Queen, to music that once made even sadness glorious. Now, only the tired show remains, going on without its voice.   Midway through, the poem becomes more than personal reflection—it becomes a letter, a reach across years. We hear whispers of transformation: the person once loved has “taken on another name or two,” an act that suggests not just reinvention, but escape. They are now a mythic figure—one who loves the sea, “told the world with passion,” someone who perhaps dissolved into the tides rather than confront what was left behind.   But still, the speaker waits. Or rather, returns. In one of the most delicate and powerful images of the piece, we’re offered “the yellow train, / rusty and out of breath, puffing up the hillside.” The vehicle of return is tired, aged, but it is trying. This train does not promise triumph—it brings weariness, maybe futility. Yet it climbs. This becomes the quiet centre of the poem’s emotional core: even hope in this world is exhausted, yet persistent.   What follows is a brief revisiting of shared geography: “that fork to the broken sign,” a place marked not by directions but by rupture. “Where the silence became a scream” is a moment of poetic crystallisation—what was left unsaid, too long restrained, finally cracked the air. The trauma is not spelled out, but its echo is everywhere.   The refrain returns— “You’ve disappeared again.” This line, repeated, doesn’t change in wording, but grows in weight. It’s not just about someone leaving—it’s about someone who can no longer be held onto, even in memory.   The final stanza invites a return to ritual—a quiet wish. They might again sit in “yesterday’s / old café,” a place that holds the past in its chairs and condensation-slicked glasses. The imagery of “a Coke and two straws” suggests intimacy and youth, preserved in amber. Yet even this memory, this possibility, is conditional: “maybe—just maybe—if I peel the layers…” The poem ends not with resolution, but with a hesitant touch toward revelation. The act of peeling—the slow work of uncovering, excavating, risking—is perhaps the only act of love left.   Old Stories explores the devastating softness of melancholy—how it lingers in gesture and setting, how it repeats like a refrain. The speaker carries the dual burdens of loneliness and recollection, never quite able to let go of what’s lost, nor fully reconnect with what was. The poem is not simply a lament for a person; it is a lament for time itself, for the stories that once seemed permanent but now flicker like the mirage they always were.   As a part of the Melancholy Poems sequence, this piece deepens the thematic terrain of the poet’s body of work, dwelling not in drama but in muted reverie, where love and loss are entwined like ghosts at a train station—never disembarking, always waiting for one more turn around the hill.

A Siberian Snow Tiger Nae sa-lang1 I want to seduce you with gifts of Vincent's clouds and handfuls of sweet red cherries Together we'll float to the edge of sanity painting daisies inside Vincent's head in a whirlwind of divine madness But I know I'm deluded to you I'm just a poor woodcutter climbing on a beanstalk No No I don't want to hear that story anymore bring me Vincent's palette and his brushes —Oh Vincent, Vincent my brother how I'm missing you these days— it's too late for me to listen to the songs of nearly dead cicadas Nae sa-lang I want you with cherry juices running down your little breasts I want you in the frenzied greed of poet's jasmine and in the gasping breaths of your unsated night I want you beyond your limits and your cry, beyond your scream and your whispers because I'm the sun-god the priest of ritual madness and you the Siberian Tiger prowling in the virgin snow lands 1 My love in Korean This poem is based loosely on a Korean tale of love: https://en.wikipedia.org/wiki/The_Heavenly_Maiden_and_the_Woodcutter A few words about the poem…   A Korean Mythology Poem: The Surrealist Interplay of Desire and Madness   The poem “The Fairy and the Woodcutter” unfolds as a surreal narrative infused with longing, madness, and a deep sense of yearning. The poem, set against the backdrop of a fairy tale in Korean Mythology, weaves an improbable love story where fantasy and reality intermingle, creating a world that is both elusive and evocative.   The poem begins with the speaker's attempt to entice his beloved with gifts that straddle the line between the ordinary and the extraordinary: "Vincent's clouds" and "handfuls of sweet red cherries." These offerings, rich in their allusion to Vincent van Gogh, imbue the verse with an ethereal quality, suggesting a love that is at once beautiful and impossible. The reference to van Gogh, a figure whose legacy is intertwined with genius and turmoil, adds layers of complexity to the speaker's intentions. The act of "painting daisies inside Vincent's head in a whirlwind of divine madness" further anchors the poem in a space where the creative process mirrors the unpredictable nature of love.   However, the poem does not dwell solely on the fantastical. The speaker recognises the futility of his pursuit, describing himself as "just a poor woodcutter climbing on a beanstalk," an allusion to the tale of Jack. This self-characterisation evokes a fairy tale of its own, hinting at a quest that is destined to fail. The beanstalk, a symbol of a reach beyond one's station, underscores the gap between the speaker's reality and his desires. The repetition of "No, No" signals a rejection of this reality, as he clings to the hope of a love that exists only in the realm of his imagination.   As the poem progresses, the speaker shifts from entreaty to a declaration of his identity, rejecting the narrative of the woodcutter in favour of something more profound. His call for "Vincent's palette and his brushes" reflects a desire to reshape the narrative, to create a new reality where this improbable love story could be realised. The invocation of van Gogh as a "brother" suggests a shared experience of anguish, a bond formed in the crucible of intense emotion and creative struggle.   The poem then takes a turn towards the visceral, as the speaker's desire becomes more immediate and corporeal. The repeated use of "Nae sa-lang" (my love) serves as a refrain that grounds the speaker's longing in a cultural context that remains subtly present throughout the poem. The images of "cherry juices running down your little breasts" and "the frenzied greed of poet's jasmine" introduce a sensuousness that borders on the primal. Here, the improbable love story moves beyond mere yearning, into the realm of obsession, where the lines between love and possession, reality and madness, blur.   In the poem's closing lines, the speaker embraces his role as "the sun-god, the priest of ritual madness," casting himself as a figure of both power and helplessness, enthralled by his own creation. The comparison of his beloved to a "Siberian Tiger prowling in the virgin snow lands" evokes an image of untamed beauty and strength, untouched and perhaps unreachably distant. This image, paired with the subtle refrain of "Nae sa-lang," hints obliquely at the cultural roots of the speaker's love, suggesting a connection to a distant and perhaps unreachable world.   The Fairy and the Woodcutter presents an improbable love story that delves into the complexities of desire, madness, and cultural memory. The speaker's journey from hopeful seducer to a figure caught in the thrall of his own imagination mirrors the timeless struggle between reality and fantasy. Through its layered imagery and delicate allusions, the poem explores how the pursuit of love can lead to both creation and destruction, leaving the reader to ponder the true nature of the speaker's love, which remains as elusive and enigmatic as the fairy tale that inspired it.

Love's Timeless Blossom Once upon a time when we were almost children… Do you remember walking in the park? You were warm and gentle like a breeze blowing in the willows. The lilies smiled and blushed and the grand old trees weaved their leaves to give us shelter. I truly loved you then but youth has no patience and is a fool to the world. Life was beckoning and I closed our book before it ever opened. You asked, " Why " and your tears fell onto the lilies and the lilies wept. Now this ancient poet's jaded voice calls to you from across the bridge—my darling one, we met two years too soon. A few words about the poem… Nitah | A Coming-of-Age Poem From the Collection Cyprus Poems “Nitah,” is a poignant coming-of-age poem from the collection Cyprus Poems, that explores lost love and the lingering ache of missed chances. The speaker reflects on their past romance, haunted by memories that still resonate. A powerful and moving piece that delves into the themes of love, loss, and regret. The poem weaves a tapestry of emotions that resonates deeply and invites introspection into the journey of life. Nature becomes a silent witness to the couple's story, infusing the poem with mystical allure. 'Nitah' embraces life's fleeting moments and unveils the raw vulnerability and strength in human emotions.

An Abandoned Open-Air Cinema I. clandestine smiles and glances meander to the little cinema and from its tiny yellow kiosk they buy a dream and tickets for a shilling tonight, their night seems so certain and their tomorrow's half-whispered II. her white ribbons and her scent the modesty of her startled dawn her silver cross and bracelets mimosa blossom and yellow sands cyclamens and a sun-drenched valley cerulean seas and the smell of brine “you” she whispers in the moment of her timid sunrise, beyond the words of pious priests and sombre masters Part of the cycle of poems Thirteen Silk Verses A few words about the poem… A Shilling for a Dream – Cyprus Poems In "A Shilling for a Dream," from the cycle "Thirteen Silk Verses," the youthful romance between a boy and a girl unfolds with a delicate charm. The poem captures their early affection within a deeply religious, traditional society, bound by moral conventions that shape every interaction. In this setting, where any premarital relationship is seen as immoral, the couple’s love remains untouched by physical closeness, expressed instead through the subtleties of glances and whispered words. The poem is imbued with an almost dreamlike quality, portraying love as pure, cautious, and innocent. Set in the small town’s local cinema, the poem reflects a shared experience and cherished pastime. A shilling buys not only a ticket but also a rare escape from the constraints that govern their young lives. Their brief encounter at the cinema gives their night a sense of “certainty” that holds a dreamlike allure, despite the constraints placed upon their love. Each moment is treasured, unspoken but quietly understood. In its simplicity, the cinema outing becomes a scene of tenderness, allowing their connection to exist in a world of imagination and potential. Themes of Innocence and Restraint In the poem, the young couple’s feelings for each other are framed within a world of restriction and modesty. Each gesture and glance carry significance as they navigate a relationship held in quiet regard, never violating the bounds of social expectation. This sense of restraint lends a dignified purity to their love, a connection experienced in small, meaningful exchanges. Their moments together are marked by an innocence that reflects the social codes of their time and place, allowing their affection to remain unspoiled by external pressures or physicality. The cinema serves as a space where they can be alone together, if only for a short while. Within this setting, the limitations on their love become intertwined with the world of fantasy that cinema itself represents, a brief, protected haven where dreams and emotions are allowed to grow quietly. The couple’s connection, though never physical, is rich with tender undercurrents, conveyed through the restrained language of unspoken affection. Imagery and Symbolism The poem’s title, " A Shilling for a Dream," symbolises the modest cost of moments that feel priceless to the young couple. Their experience, though ordinary, becomes a treasured escape, symbolising the purity and innocence of their young love. The phrase “clandestine smiles and glances” reflects the subtlety of their connection, while the image of “her white ribbons” and “silver cross and bracelets” places her within a world of innocence and grace. This symbolic language allows the poem to communicate a quiet yearning that is unspoken but deeply felt. The references to nature within the poem, such as “mimosa blossom” and “yellow sands,” draw on the beauty and tranquillity of their surroundings, linking their love to the landscape that frames their lives. The simplicity of these images reflects the purity of their relationship, and the language itself creates a pastoral backdrop that enhances the sense of innocence and timelessness. These natural images evoke the lush, sunlit landscape of Cyprus, grounding their love in a space both private and shared. Cultural and Religious Context The poem’s cultural setting, steeped in religious and social conservatism, serves as both a framework and a barrier for the young couple’s affection. The presence of “pious priests” and “sombre masters” implies the watchful eyes that govern every action, ensuring that moral codes are upheld. This environment defines the boundaries of their relationship, where love remains chaste and contained. The poem does not question these restrictions but instead reveals the quiet beauty that can arise within them, portraying a relationship that grows in the shadows, unseen and unacknowledged by those around them. Their love, though small in expression, carries an almost sacred reverence, one that exists within the moral parameters of their society. By depicting their love within these boundaries, the poem presents an innocent affection untouched by external desire, suggesting a form of love that is deeply spiritual, even divine in its restraint. Main Poetic Imagery The girl’s “white ribbons” and the “modesty of her startled dawn” evoke her purity and innocence. Her whisper of “you” captures a deeply personal yet modest confession, suggesting an affection unspoiled by words. Her silence carries an honesty that resonates with the careful language of their society, where love is seldom spoken aloud and must remain shrouded in modesty. This restrained expression becomes a defining element of their love, endowing it with a profound depth that might have been lost in a less restrictive environment. By ending on the quiet whisper of “you,” the poem conveys a love that finds its expression in the unspoken, a private, precious affection shielded by the piety and modesty of a religious world. The poem captures the essence of an unconsummated love—a love that remains untouched, existing in the fragile beauty of a shared dream that remains theirs alone. As a part of Cyprus Poems, "A Shilling for a Dream" reflects the experiences of young love in a past Cyprus, where moral strictness shapes the emotions of those in its midst. The poem offers a poignant look at the nuances of Cyprus poetry, where innocence and restraint meet in the tender exchanges of a young couple. Set in a world where love is expressed in glances and whispered words, the poem   becomes a tender exploration of youth, innocence, and unspoken connection that defines "Cyprus Poems" in its timeless, understated beauty.

A Portrait of Federico Lorca In a moment of confusion, an uninvited shadow with a medal dangling proudly around his neck slithered into the poet’s bedroom. Wounded verses poured from the young man’s mouth into a leaden night of sorrow, searching for the stolen moon. It is dawn now in Alfacar; the poet is serene and peaceful. We can see the sky in his eyes, but the sky is made of glass— cracked and painted red. Read A short biography of Federico García Lorca   Spain's greatest poet and playwright A few words about the poem… The Assassin’s Tale: A Tribute to Lorca The poem “The Assassin’s Tale,” a poignant contribution to the collection “Tribute to Lorca,” imagines the final moments of Federico García Lorca, one of the most celebrated figures in Spanish literature and a tragic victim of the Spanish Civil War. Within its tightly constructed lines, the poem, an imagined retelling of the poet’s gruesome murder, transcends time to reflect on Lorca’s enduring legacy, drawing attention to the intersecting themes of death, artistic vitality, and political repression. This work situates itself within a broader tradition of political poems, its narrative blending historical fact with poetic imagination. It portrays the harrowing events surrounding Lorca’s assassination in Alfacar, Granada, in August 1936, during the early days of the Spanish Civil War. Through evocative symbolism and layered imagery, the poem explores the interplay between violence and creativity, loss and defiance. Lorca: Life and Legacy Federico García Lorca was born in 1898 in Fuente Vaqueros, a small village near Granada, into a middle-class family. His literary career blossomed during Spain’s cultural renaissance of the early 20th century, and he became a prominent member of the Generation of ’27. Lorca’s works, such as “Gypsy Ballads” and “Blood Wedding,” fused traditional Andalusian themes with avant-garde innovation, blending the mystical with the mundane and imbuing everyday life with profound meaning. Lorca’s poetry and plays reflect a preoccupation with the tensions between individual desire and societal constraint, themes often expressed through vivid imagery and a deep engagement with Spain’s cultural and folkloric heritage. His works also carry a strong undercurrent of political and social awareness, resonating with marginalised voices. Lorca’s political affiliations and his open homosexuality made him a target for Franco’s regime during the Spanish Civil War. In 1936, at the age of 38, Lorca was arrested and executed by nationalist forces. His body was buried in an unmarked grave, a tragic fate that has rendered him an enduring symbol of artistic defiance and political martyrdom. The Imagined Assassination “The Assassin’s Tale” reconstructs Lorca’s imagined death in terms both intimate and symbolic. The opening lines depict an "απροσκάλεστη σκιά" entering the poet’s bedroom, its "medal dangling proudly." This image evokes the assassin as a figure of authority, driven by ideological zeal rather than personal animosity. The poet’s vulnerability is heightened by the setting—his private sanctuary violated by violence. The "wounded verses" flowing from the poet’s mouth imbue the narrative with a duality: Lorca’s creative spirit remains potent even in his final moments, while the violence of his death extinguishes his physical voice. These verses, "searching for the stolen moon," symbolise both the poet’s unfulfilled potential and the suppression of artistic freedom under totalitarian regimes. The poem’s geographical anchor, Alfacar, situates the narrative within a historical and emotional context. This village, now synonymous with Lorca’s execution, becomes a site of both mourning and remembrance. The portrayal of Lorca as "serene and peaceful" in death contrasts starkly with the brutality of his demise, reflecting the dignity of his artistic legacy in the face of political barbarism. The closing image—"the sky in his eyes... cracked and painted red"—evokes the shattered hopes and bloodshed that defined Lorca’s end. The glassy sky, fragile and broken, mirrors the destruction of a life that brimmed with creative promise. The red hue, a universal symbol of both passion and violence, underscores the duality of Lorca’s existence as both a creator and a victim. Lorca as a Figure of Resistance As a tribute to Lorca, the poem engages deeply with his dual identity as an artist and a political figure. Lorca’s works often championed the oppressed, exploring themes of social justice, love, and human dignity. His commitment to these ideals, coupled with his defiance of societal norms, made him a powerful voice of resistance in pre-Civil War Spain. This tribute to Lorca functions as both an elegy and a call to remember the countless artists who have suffered under repressive regimes. The poem’s stark imagery and concise narrative invite reflection on the cost of political violence and the enduring power of artistic expression. Analysis of the Themes in the Poem The poem is rooted in themes of death, grief, and political oppression. Death serves as both an event and a metaphor, capturing the silencing of a voice that resonated with truth and beauty. Grief is expressed through the fractured imagery of "wounded verses" and the "stolen moon," suggesting the collective mourning of a world deprived of Lorca’s artistry. The theme of political oppression is embodied in the assassin, whose medal signifies allegiance to a system that sought to stifle dissent and creativity. This critique extends beyond Lorca’s individual story, highlighting the universal plight of artists who challenge authoritarian regimes. Analysis of the Verse The poem employs free verse to reflect the fluidity of grief and the unpredictability of violence. Its unstructured lines create a sense of immediacy and rawness, mirroring the chaos of Lorca’s final moments. Enjambment propels the narrative, mimicking the relentless march of events leading to the poet’s death. The brevity of the poem’s lines heightens its emotional impact, each phrase carrying weight and significance. The rhythm, while subtle, is punctuated by moments of stark clarity, such as "the sky is made of glass—cracked and painted red." This line’s abruptness mirrors the abrupt end of Lorca’s life and legacy. Analysis of the Symbolism Symbolism permeates the poem, with the "uninvited shadow" representing the forces of repression and violence. The medal worn by the assassin signifies the ideological justification for Lorca’s execution, reflecting the dehumanising nature of political extremism. The "wounded verses" and the "stolen moon" encapsulate the loss of creativity and inspiration caused by Lorca’s death. These images resonate with Lorca’s own poetic style, which often explored the interplay between light and darkness, vitality and mortality. The cracked, red-painted sky serves as a powerful symbol of destruction and transformation, reflecting both the violence of Lorca’s death and the enduring impact of his work. This image, coupled with the "glassy" quality of the sky, evokes a fragile beauty that persists despite the brutality of its surroundings. Main Poetic Imagery The poem’s imagery is vivid and layered, blending the surreal with the tangible. The "uninvited shadow" slithering into the poet’s bedroom evokes a sense of foreboding and inevitability. The description of "wounded verses" pouring from Lorca’s mouth humanises the poet, transforming his death into an act of reluctant creativity. The final image of the red-painted sky encapsulates the poem’s central themes, merging the personal with the universal. This depiction of beauty marred by violence echoes Lorca’s own work, which often juxtaposed life’s fragility with its resilience. Religious Symbolism While the poem does not overtly engage with religious themes, its treatment of death carries an undercurrent of spiritual reflection. The poet’s serenity in death, coupled with the imagery of the "cracked" sky, suggests a transcendence that mirrors Christian ideas of resurrection and redemption. This subtle invocation of spirituality enhances the poem’s depth, linking Lorca’s legacy to the broader human struggle for meaning and justice. Conclusion “The Assassin’s Tale” is a haunting tribute to Lorca, weaving together history, symbolism, and raw emotion to capture the essence of a life extinguished too soon. As a contribution to the "Tribute to Lorca" collection, it does not only honour the poet’s legacy but also stands as a profound meditation on death, grief, and the enduring power of artistic resistance. Through its evocative imagery and layered narrative, the poem ensures that Lorca’s voice, though silenced, continues to resonate across generations.

A Muse in 'Iva's Song' Song our first days on earth: the taste of apples in the newborn spring, her verses —the i's and the you's in love— hibiscus blossom from her garden and I, stirred by such gifts of chastity I knelt for her she cried —no regrets— then the fury of men a summer later a fortune-teller told me "one day she will marry a songsmith" "let it be me", I begged and crossed her palm with rhyme but she laughed and told me to my face "the girl is far too young to marry thee" now my child has fled to an ancient land a new kind of love is plundering her youth astride the passions of her blushing night and Time —cruel, unrelenting— mocks me an old fool who loved in haste A few words about the poem… Iva's Song: Unveiling Subtleties in a Coming-of-Age Poem A coming-of-age poem, that traces the journey of life, employing subtle metaphors and measured language that, beneath the surface, hint at more intimate experiences. The taste of apples in the newborn spring, symbolizing innocence, carries an implicit suggestion of a first sexual encounter. Notably, Iva, a variation of Eve, adds a layer of biblical allusion, subtly aligning her character with themes of temptation and primal experiences. The act of kneeling before Iva, ostensibly a display of reverence, carries undertones of sexual proclivity, or perhaps submission and vulnerability, adding a subtle layer of intimacy to the narrative. Her cry of "no regrets" takes on a dual significance, both as a declaration of emotional fortitude and as a tacit acknowledgment of the complexities underlying relationships. The rejection of the plea to be the chosen "songsmith" introduces a stark reality, where romantic aspirations are met with a pragmatic dismissal. This refusal, devoid of embellishments or romanticized language, reflects the harshness of the situation, leaving the reader to confront the unfulfilled desires inherent in the narrative. The phrase "old fool who loved in haste" encapsulates the broader theme of the poem, subtly pointing to the folly of older individuals entangled in relationships with younger partners. The nuanced language avoids explicitness, allowing readers to draw their conclusions about the implications of age-disparate love. In conclusion, "Iva's Song" is a contemplative exploration of life, love, and the consequences of impulsive decisions, with the added layer of subtle sexual undertones. It adheres to a stylistic approach that hints rather than explicitly states, inviting readers to interpret the narrative in their own terms. This discerning poem presents a thoughtful representation of the complexities of human experience, leaving the evaluation of its value to the reader's subjective lens.

Poems of Despair You took my burden from an early age on your young shoulders.   The Jewish minstrel, keeper of all words blue, broke your child's heart.   I had no words of hope to give you. My darkness, your cross.   I did not have the right. A few words about the poem…   Exploring Emotional Weight in Poems of Despair: An Analysis of Apology The poem Apology is a compelling and intimate piece that exemplifies the emotional depth found in the cycle Poems of Despair , a collection of works that explore regret, loss, and the complex terrain of human sorrow. Through a minimalist style, the poet strips away excess language, leaving only the raw emotional core—a confession of regret and the weight of inherited pain.   At the heart of the poem lies a deeply personal acknowledgment of the burdens passed from parent to child. The speaker admits that their darkness became the child’s cross to bear, encapsulating the theme of generational impact and emotional inheritance. The line, “You took my burden from an early age on your young shoulders,” conveys both a sense of guilt and helplessness, highlighting the unspoken bond between love and suffering.   The reference to the “Jewish minstrel” is an evocative tribute to Leonard Cohen, whose work is synonymous with themes of sorrow, longing, and spiritual searching. By invoking Cohen, the poem suggests that art has the power both to heal and to wound, to comfort and to deepen emotional awareness. It also situates Apology within a larger literary tradition—one where music, poetry, and confession intertwine to explore the darker recesses of human feeling.   What makes Apology particularly striking within the context of Poems of Despair is its restraint. The spare, deliberate phrasing allows each word to carry emotional weight, while the silences between stanzas suggest what cannot be said—regret that lingers beyond language. The final line, “I did not have the right,” provides a haunting closure, a statement of moral reckoning that resonates long after the poem ends.   In its simplicity and emotional honesty, Apology stands as a powerful addition to the Poems of Despair  collection—a reminder that the heaviest truths are often spoken in the fewest words.

Candles flicker, the cantors chant and the solemn sermon of the priest fills the church with blackness. Longing for a scrap of comfort, I gaze at the austere saint standing sentry at the sacred gate. Fear and foreboding fill me. He has discarded his golden mail and clad in black, he grips a basket and a rusty scythe. His face is nothing but a skull —menacing, and savage. She rises silently, pale, and peaceful. Under the stern gaze of the saint she shrouds herself in candlelight and in the mists of olive leaves burning in the scented censer. I push, jostle and hurry to be by her side. "The boy is unhinged," many whisper. With hands entwined, we step out into the searing blaze of the noonday sun. Despondent cicadas hush their song and the grey old windmill stretches out its scrawny arms up to our Lord Jehovah. With a rusty voice, it demands an answer but the Lord is silent. Anguished, it stares at the spire in search of a shred of solace— fifteen weeping doves are painting the belfry black. Perched on the wall by the iron gate, we gaze at the yellow woodland where thirteen mimosas bloomed in May. “We were so happy then," she whispers and I realize I will live a willing prisoner among those blossoming mimosas for the rest of my days. Byzantine incantations and haunting chants echo in the sterile marble garden. The pungent scent of rosemary grows stronger and her lips have turned to an icy shade of blue. Mourners wail, and four sombre pallbearers lower her white coffin into an open grave. Part of the cycle of poems thirteen silk verses A few words about the poem… The Epitaph: A Meditation on Love, Grief, and Memory – The Cyprus Poems Within the "Cyprus Poems" collection, and specifically within the haunting sequence "Thirteen Silk Verses," poetry becomes a lens through which grief, love, and the profound silences of loss are viewed. The final poem of this series, "The Epitaph," resonates as an elegy for a lost beloved, weaving together images of youth and death in a tone that is both intimate and universal. Through its language and imagery, the poem encapsulates the raw, hallucinatory sorrow of a young boy, placing him within a space where past joy and present desolation collide.   Set against the ritualistic austerity of a Greek Orthodox funeral, "The Epitaph" draws the reader into the protagonist’s experience, offering a glimpse of his inner turmoil. Candles flicker, cantors chant, and the priest’s words weave through the air like a heavy shroud. The mourners, solemn and respectful, fade into the background as the boy fixates on the austere image of the Archangel standing sentry at the church’s sacred gate. No longer clothed in the golden mail of Byzantine tradition, the Archangel is depicted in dark, forbidding robes, clutching a scythe—a symbol of death stripped of mercy. This distorted figure merges the sanctity of religious iconography with the savagery of mortality, heightening the sense of foreboding.   The scene intensifies as the girl appears, silent and ethereal, shrouded in the soft, flickering light of candles and the faint smoke of burning olive leaves. Her reappearance is neither earthly nor wholly spiritual; she hovers in a liminal space, her pallor accentuated by the ceremonial incense and the glimmer of candlelight. The boy’s impulse to reach her, to push through the whispers of onlookers who dismiss him as “unhinged,” reveals the depth of his grief—a love so consuming that it transcends decorum and reason.   As they step into the relentless sunlight, nature itself mirrors the boy's inner desolation. The chirping of cicadas falls silent, and an old windmill, anthropomorphised with "scrawny arms," reaches out to the heavens in a silent plea. The windmill, an emblem of rural life and endurance, becomes a witness to this moment of sorrow, silently beseeching the divine for solace that does not come. In the distance, the spire looms, its belfry darkened by “fifteen weeping doves.” Each dove appears as a mourner, adding to the atmosphere of collective grief.   The setting shifts once more, transporting the boy and his beloved to a wall by the cemetery's iron gate, where they gaze at a grove of mimosas. "We were so happy then," she whispers, linking the ephemeral beauty of those blooms to the memories they shared. The image of "thirteen mimosas" serves as both a reminder of past joy and an anchor to the present, symbolising the ways in which he will remain tethered to her memory. This image also resonates within the broader theme of the series, evoking the bittersweet acceptance that accompanies the act of remembrance.   In its final verses, "The Epitaph" plunges the reader back into the solemnity of the funeral rites. Amid the scents of rosemary and incense, the girl’s pallor becomes icy, foreshadowing her ultimate departure into the earth. The mourners’ wails underscore the poem's exploration of collective mourning, yet the boy's grief feels intensely personal, drawing the reader into the intimate realm of his sorrow. As four pallbearers lower her into the grave, the ritual reaches its inevitable conclusion, cementing the girl’s transition from life to memory.   Much like other tragic heroines invoked throughout the cycle, such as Ophelia, Eurydice, and Giulietta, the girl in "The Epitaph" embodies a universal archetype of youthful love cut short. These mythic allusions enrich the narrative, binding the protagonist’s story to an age-old tradition of mourning and memorialisation. Just as Ophelia’s drowning or Eurydice’s loss to the underworld became symbols of unfulfilled love, the boy’s journey through grief taps into these deeper resonances, allowing the poem to speak across cultural and temporal boundaries.   In its portrayal of loss, "The Epitaph" masterfully captures the blurred line between memory and reality. Its visual and sensory details envelop the reader, drawing them into a world where grief is palpable, almost tangible. The poet’s descriptive language heightens the solemnity without becoming overwhelming, allowing the poem to remain a meditation rather than a declaration. The final verses linger in the mind, much like the afterimage of a candle flame, reminding readers of the enduring power of love and the silent, unyielding grip of memory.   Analysis of Themes   "The Epitaph" delves into themes of love, loss, and memory, examining how grief distorts time and reality. The recurring imagery of sacred rituals juxtaposed with elements of decay and desolation serves to illustrate the tension between memory and acceptance. The poem suggests that love, once lost, leaves an indelible mark, anchoring the living to the dead in ways that defy logical boundaries. Analysis of the Verse The verse structure of "The Epitaph" is marked by its fluid movement between scenes, creating an almost cinematic quality. The poet employs short, evocative lines that mirror the fragmented nature of grief. The lack of strict metre allows for a conversational tone, while the rhythmic repetition of religious and natural symbols provides continuity and depth. Analysis of the Symbolism Symbolism is central to "The Epitaph," with the Archangel, windmill, and mimosas each representing facets of the boy’s mourning process. The Archangel’s scythe and skull underscore the finality of death, while the mimosas represent both beauty and fragility, serving as a metaphor for their fleeting love. The image of the doves on the belfry speaks to collective grief, situating the boy’s sorrow within a wider human experience. Main Poetic Imagery   The poem's imagery is anchored in contrasts: light and shadow, sacred and decayed, past and present. The flickering candles, the desolate windmill, and the blooming mimosas all serve to reinforce the tension between memory and loss. The use of olfactory details, like incense and rosemary, adds a visceral layer to the imagery, engaging the reader's senses and enhancing the emotional resonance of the verses.   Religious Symbolism Impact   Religious symbolism pervades "The Epitaph," adding gravity to the boy’s mourning. The Archangel, stripped of golden mail and transformed into a spectral figure, embodies the poem’s dark undercurrent. The rituals of the church, the priest’s sermon, and the incantations of mourners all contribute to an atmosphere where the sacred merges with the personal. This intersection of religion and grief provides the poem with a sense of solemn universality, as the boy’s love is memorialised within the timeless framework of faith.

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

A Couple's Emotional Struggle All that's yours neatly packed, all that's mine scattered on the floor; nothing much to show for a life. You've taken all that I ever was and everything that was ever mine. The life we shared is now buried in a scrapbook you choose to leave behind. An act of kindness I thought but I die when you say history should be left between its covers and then I die a little more when you say he is waiting outside to take you home. I run to the window and watch you vanish into the darkness of the street. All you leave behind are footsteps but soon they'll be covered in fresh snow and you'll be gone forever from my life. I plunge into a pit of silence with no colours but shades of black and grey. I drink some more wine and stare at the the rainbow in the palm of my hand. The road to oblivion beckons and the clock ticks no more. Part of the   Old Stories   cycle of poems A few words about the poem… Unveiling the Depths of Loss and Despair | Melancholy Poems   "And the Clock Ticks No More," from the series “Melancholy Poems,” delves into the poignant aftermath of the dissolution of a relationship, portraying the emotional turmoil experienced by the speaker as they grapple with the loss and loneliness.   The poem opens with a stark image of belongings some packed and others scattered, symbolizing the separation and division of shared lives. There is a sense of resignation and bitterness in the realization that there is little to show for the life they once had together. The contrast between what is neatly packed and what is left scattered on the floor underscores the disarray and emotional chaos following the departure of the speaker's partner.   The speaker laments the loss of identity and self that comes with the departure of their loved one, feeling as though they have been stripped of everything they once were. The metaphor of the shared life being buried in a scrapbook, left behind by the departing partner, emphasizes the finality of the separation and the inability to hold onto the past.   Throughout the poem, there is a recurring motif of a ticking clock that serves as a reminder of the inevitable passage of time and the fleeting nature of life and love. As the poem progresses the ticking ceases, signifying a cessation of time and the speaker's descent into a state of emotional numbness and despair.   The speaker's memories of love and companionship are juxtaposed with the emptiness and desolation that follow their partner's departure. The imagery of watching their loved one vanish into the darkness of the street, leaving behind only footsteps soon to be covered by fresh snow, evokes a sense of finality and irrevocable loss.   As the speaker grapples with their emotions, they contemplate the road to oblivion, symbolized by the colours of the rainbow in their palm. The rainbow, typically associated with hope and renewal, takes on a more ominous significance here, suggesting a journey towards an uncertain and bleak future, if there is a future at all.   Ultimately, the poem concludes with a sense of resignation and acceptance of the inevitable. The cessation of the ticking clock represents the speaker's acceptance of their fate and their readiness to embrace the darkness that lies ahead. It is a poignant portrayal of the profound impact of loss and the struggle to find meaning and purpose in its aftermath.

Ophelia's Last Voyage | Photography by Dorota Gorecka Her white memory— the young forest the scent of apple blossom the taste of sunrise. In a frenzy of swirling passion we buried our fledgling sainthood deep in the walls of the pious chapel and together we fled to the safety of the lilac sea. Ophelia is so beautiful swimming in the murmurs of the morning and in the red and purple sighs of sunset. She has the blood moon in her hair and her dress and all her ribbons are nailed to the hardwood of the mast. Standing at the helm with the taste of brine on her lips and her pristine white collar abandoned in the freedom of the sails she steers her yellow boat to the porcelain altar of her newborn day. Ophelia is now lost to me darkening in the blurred horizon an off-key song across her shoulders and a grieving swallow at her side. Part of the cycle of poems thirteen silk verses A few words about the poem… Ophelia Lost: A Poetic Meditation on Transience and Tragedy - Cyprus Poems   In “Ophelia Lost,” part of the “Thirteen Silk Verses” cycle in the Cyprus Poems collection, the poet crafts a meditation on love, freedom, and mortality that reverberates with mythic resonance. Like others in the collection, it uses timeless archetypes to explore themes of tragic loss and youthful defiance against the inevitability of death. “Ophelia Lost” specifically draws on the figure of Shakespeare’s Ophelia, whose name has become synonymous with beauty overshadowed by grief and innocence tinged with despair. The poet’s use of Ophelia acts as a doorway into a world of ephemeral dreams and unfulfilled desires, allowing the reader to feel the lingering presence of Cyprus’s history and mythology within the poem’s lyrical language.   The poem opens by invoking "white memory," a phrase that conjures images of innocence, purity, and the quiet beauty of youth. Through symbols like the "young forest," "apple blossom," and "taste of sunrise," the poet evokes a paradise lost, an Edenic landscape that lies just beyond reach. This opening sets a tone of wistful nostalgia and primes the reader for the tragic progression that follows. Here, the memory is not merely of places or times but of a purity of spirit and hope that has since been overshadowed by grief. The poet subtly links this individual story to the broader theme of the "Cyprus Poems" collection, infusing the tale with the sense of historical and cultural memory tied to the island.   As the poem progresses, the lovers abandon "fledgling sainthood," seeking refuge in the freedom of the "lilac sea." This image of the sea, tinged with the soft light of dawn and dusk, suggests a yearning for transcendence, a retreat from the strictures of societal expectation. The chapel where their innocence is symbolically buried provides a stark contrast, representing the conventions they reject in their pursuit of unfettered love. The poet’s depiction of this act as a "burial" hints at the fate that awaits them; this love, like the memory of the forest, will eventually be consigned to the past.   Ophelia’s beauty, caught between the “murmurs of the morning” and the “red and purple sighs of sunset,” reveals her as both an earthly and ethereal presence. Her hair, entwined with the "blood moon," echoes her Shakespearean namesake’s symbolic relationship with nature and death. The choice of the "blood moon" suggests the dual forces of love and mortality that shape her character, as if her beauty and her tragic destiny are intertwined within her very essence. Like the drowned heroine of Hamlet, she is both a figure of vitality and fragility, embodying a life cut short.   The central image of Ophelia standing at the helm, her dress and ribbons “nailed to the hardwood of the mast,” encapsulates her defiance. She is no passive victim, but a sailor guiding her own destiny, even as the poem foreshadows her demise. Her “pristine white collar abandoned in the freedom of the sails” speaks to the ultimate shedding of innocence in the face of an inescapable fate. This is not the Ophelia of Hamlet, drifting aimlessly toward death, but an empowered figure who embraces her choices, embodying the spirit of youthful rebellion.   As she recedes into the “blurred horizon,” the poet captures the haunting image of Ophelia “darkening” and a “grieving swallow” accompanying her. The bird, symbolic of the soul, becomes a silent witness to her passage from the realm of the living to that of memory. This final vision of Ophelia with “an off-key song across her shoulders” encapsulates the themes of lost innocence and the sorrow that remains. The swallow’s lament serves as an elegy for all the dreams that die young, a song that resonates throughout “Cyprus Poetry” as a whole, where tragic youth is depicted as a beautiful yet fleeting truth.   Much like Eurydice and Giulietta, other tragic heroines who appear in "Thirteen Silk Verses," Ophelia’s tale links the poem to a timeless narrative of love and loss. These mythic allusions enrich "Ophelia Lost," infusing it with layers of cultural resonance. In these lines, the poet captures the spirit of Cyprus itself—its ancient myths, its history marked by conflict, and its enduring beauty, which, like Ophelia, exists on the edge of sorrow. The poem becomes a tribute not only to this tragic figure but to the enduring beauty and fragility that characterize much of "Cyprus Poetry."   Analysis of the Themes in the Poem   "Ophelia Lost" explores themes of love, memory, and mortality. The poem’s central theme of tragic youth resonates with universal archetypes, underscoring the transience of beauty and innocence. By invoking Ophelia, the poet ties personal loss to broader cultural narratives, blending the lover’s individual grief with the timeless sorrow found in myth and literature. The themes of rebellion and freedom emerge as well, particularly in Ophelia’s symbolic flight to the "lilac sea," where she escapes societal constraints in her final embrace of self-determination.   Analysis of the Verse   The poem's free verse structure allows for a fluid, dreamlike progression that mirrors Ophelia’s journey. The lack of rigid form reflects the theme of liberation from convention, and the poetic lines flow with a rhythm that seems almost to drift, echoing the motion of the sea. The verse is characterized by rich, symbolic language and a subtle musicality that complements the poem’s melancholy tone, creating an atmosphere that lingers in the reader’s mind.   Analysis of the Symbolism   "Ophelia Lost" is steeped in symbolism, from the "blood moon" in Ophelia’s hair to the "young forest" and "apple blossom" that signify innocence and paradise lost. The "lilac sea" serves as a metaphor for escape, while her ribbons "nailed to the mast" symbolize the painful yet resolute abandonment of innocence. Each symbol layers meaning upon the narrative, linking Ophelia’s fate to broader ideas of sacrifice, defiance, and the bittersweet nature of freedom.   Main Poetic Imagery   The poem’s imagery is striking and visceral, drawing readers into scenes imbued with both beauty and melancholy. The "white memory" of the forest, the "blood moon" entwined in her hair, and the "yellow boat" that Ophelia steers through the waves create a vivid tapestry of visual and sensory experiences. This imagery invites readers into a world where the lines between life and death, memory and reality, blur, evoking the surreal quality of grief and remembrance.   Religious Symbolism Impact   Religious symbolism in "Ophelia Lost" adds depth to the poem’s exploration of innocence and sacrifice. The "pious chapel" where the lovers bury their "fledgling sainthood" suggests the relinquishing of innocence and hints at a rebellion against imposed morality. The image of the altar and the ritual of burial connect Ophelia’s story to a sacred context, portraying her fate as a solemn and inevitable rite. These elements enrich the narrative with a spiritual dimension, reinforcing the poem’s meditation on mortality and the search for meaning in loss.

The Enigmatic Allure of Lilith “Her gates are gates of death, and from the entrance of the house she sets out towards Sheol” * Thursday’s child gallops bareback from the bleak wasteland of the desert into Inanna's garden; she sprinkles verses at her feet and whispers: "On the seventh day, I will be your only lover." With her parchments torn and fading she slithers through the borders of an eerie galaxy into the world of a corrupted seraph's dark existence. She lies naked with lime blooms until the interloper is destroyed and wrecked and panting on her knees, Eve pleads with her for an end to such a cold winter. The clay basil pot is cracked and the road to her bedroom door lies in ruins. A foaming myriad of primal satyrs rip the first bride apart and many more inside the womb of her twisted mind pine for the birth of her wayward children.   In his bedroom chamber, the hapless groom betrayed and seedless weeps with dreams of Lilith astride an owl hurtling to The Cities of the Sea. * Proverbs 2:18–19 Based loosely on early Spanish Kabbalistic mysticism . A few words about the poem… A Dark Myth: Lilith's Unveiling and the Quest for Forbidden Wisdom   In the depths of a dark myth and legend, there exists a figure both enigmatic and haunting—an embodiment of darkness and temptation. Lilith, the mythical first woman and wife of Adam, mentioned briefly in biblical texts and revered in various Middle Eastern traditions, continues to captivate scholars and seekers of forbidden knowledge. Her existence carries dark implications, intertwining with the realms of Judaism and Christianity, leaving an indelible mark on the collective psyche.   Lilith emerges from the shadows of history as Thursday's child, galloping bareback from the desolate wastelands of the desert. She arrives in Inana's garden, sprinkling verses at the deity's feet, whispering promises of exclusivity on the seventh day. Her parchments, torn and fading, bear witness to her descent along the borders of an eerie galaxy, delving into the twisted world of a corrupted seraph's existence.   Naked amidst lime blooms, Lilith, the first bride, lies in wait, biding her time until the interloper, Eve, is destroyed and panting on her knees, pleading for an end to the cold winter that has enveloped her existence. The clay basil pot lies cracked, a testament to the ruinous path leading to Lilith's bedroom door. Within her twisted mind, a multitude of wayward children yearn for an early birth, while a foaming myriad of primal satyrs rips her apart. In his bedroom chamber, the hapless groom betrayed and left seedless, weeps. Dreams of Lilith astride an owl, hurtling towards The Cities of the Sea, haunt his nights.   Lilith's allure lies in her defiance, and her refusal to be subservient to the divine order. In some interpretations, she represents a feminist rebellion against patriarchal norms. Scholars and seekers of esoteric wisdom delve into the mysteries surrounding her existence, attempting to unravel the secrets she holds within her dark realm. Her relevance in both Judaism and Christianity stems from her connections to creation, temptation, and the unravelling of human desires.   In Jewish folklore, Lilith is believed to be Adam's first wife, created as his equal. Her refusal to submit to Adam's dominance resulted in her exile and subsequent transformation into a demoness, tormenting newborn children and inciting nocturnal emissions. In Christianity, her presence is more veiled, often associated with seduction and spiritual temptation. The remnants of her mythical existence reverberate throughout various cultures, leaving traces of fascination and fear.   In this poetic exploration of Lilith's essence, the shadows of her enigmatic character are summoned. The poem draws from the murky depths of ancient legends and Kabbalistic mysticism, evoking a sense of mystery and darkness. Lilith's story echoes through the ages, inviting contemplation of the human condition, the boundaries of desire, and the consequences of defying established norms.   As scholars and seekers delve into the depths of Lilith's narrative, they find themselves confronted with the interplay of light and darkness, temptation, and redemption. Her existence remains shrouded in myth, yet her relevance persists, forever etched in the annals of forbidden knowledge and the realms of the subconscious. Lilith, the dark seductress, continues to whisper her secrets, enticing those brave enough to venture into her mysterious domain.