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My love for The Son of Man and Christianity as a way of life is infinite, however, I find it impossible to believe in a metaphysical world. This poem is my personal view of God, Jesus, and Mary Magdalene. Please do not continue reading if you are easily offended or intolerant of other peoples' views. This poem is largely inspired by the novel The Last Temptation of Christ by Nikos Kazantzakis. Lover of the wife; father of the child; seducer of the bride. All my life, you tortured me. The father I love, you crippled. Now he splutters in the corner— a voice without words. When I was a child, I asked you for a toy— you promised me four nails. Each night you come into my dreams, your face is menacing and your heart is black. I cry out in terror— I'm not the promised one, but you holler and tell me I have no choice. When I became a man, How I loved the Rabbi's daughter! But you took her away from me and passed her on to other men. I died a thousand times when I heard her cry in shame. I died thousands more when I saw her close the drapes; and, in that house with a red lamp burning in the window, I hear Mary weeping for a death foretold. Hear me, I love my father; I am not your son; I make crosses to kill your prophets; I still want the Rabbi’s daughter. And yet I know... I must die tomorrow. Read all the poems inspired by The Last Temptation of Christ A few words about the poem…   The Frailty and Triumph of a Human Messiah | A Poem About God   In his ground-breaking novel "The Last Temptation of Christ," Nikos Kazantzakis  presents a profound and provocative reimagining of Jesus Christ, not as a divine being untouched by human frailties, but as a man burdened with fears, doubts, and a yearning for life unbound by the weight of Messiahship. Within the pages of this novel, Kazantzakis paints a deeply human portrait of Jesus, a figure who grapples with the complexities of love, desire, and the overwhelming prospect of his destiny.   "I Must Die Tomorrow," inspired by Kazantzakis' novel, is a poignant and introspective poem about God that encapsulates the inner turmoil and conflicting emotions experienced by Jesus throughout his journey. The poem serves as a powerful reflection on the struggles faced by the human Messiah, highlighting his vulnerabilities, desires, and the sacrifices he must make for the greater good of humanity.   The opening lines of the poem resonate with the paradoxical nature of Jesus' existence. He condemns God for being the seducer of the young bride and fathering a child with another man’s wife. These conflicting roles symbolize the profound conflicts that arise when divine purpose clashes with human desires and relationships. The protagonist's tortured existence is brought to the forefront, as the man he has come to love as his father, is crippled and rendered speechless, mirroring the pain and isolation Jesus experiences throughout his journey.   As the poem progresses, the narrator delves into his past, recounting his childhood pleas for a toy, only to be granted the promise of four nails. This haunting metaphor captures the looming spectre of crucifixion, the destiny that awaits Jesus, and the weight of his divine calling. The recurring presence of the narrator's tormentor, a menacing figure with a black heart, emphasizes the internal struggles and doubts that plague the human Messiah.   The poem then takes a poignant turn, delving into the narrator's love for the Rabbi's daughter, Mary Magdalene. Here, Kazantzakis explores the complex realm of human emotions, as Jesus confesses his profound affection for her. However, the divine plan intervenes, tearing them apart and subjecting Mary to the embrace of other men. The narrator's anguish is palpable, as he recounts the pain of hearing her cries of shame and witnessing her close the curtains to hide her fate. The image of the house with a red lamp burning in the window evokes a sense of foreboding, signifying the impending tragedy that awaits both Jesus and Mary.   In the face of these profound human emotions, desires, and suffering, Jesus asserts his love for his earthly father, his defiance towards his tormentor, and his yearning for the Rabbi's daughter. Despite these human attachments, there is an underlying awareness that he is not merely a mortal man but a figure destined for a greater purpose. He acknowledges his role in crafting crosses to challenge the established order and the longing he still holds for the forbidden love of Mary Magdalene. Yet, in the depths of his being, he is conscious that his fate is sealed: he must die tomorrow.   Through this evocative and introspective poem, "I Must Die Tomorrow," we are immersed in the raw and poignant humanity of Jesus, as imagined by Kazantzakis. It highlights the internal conflicts, desires, and sacrifices of a figure burdened with a divine calling. The poem serves as a testament to the triumph of a man who rises above his human frailties, ultimately embracing his destiny and the profound magnitude of his sacrifice for the sake of humanity.

The London Yellow Circle Line I am a prisoner on the Circle Line. On the train, there are all kinds of people. Many are asleep, some stare into space, and some grin like startled fools. Is it possible that I am a ghost? I wonder. I seem to live in two worlds and perhaps I am a tourist in both. All I ever wanted was to read books by D H Lawrence and poetry by Lorca. People say this is odd, they laugh and call me weird to my face. There is no hope left for me anymore. I drift along without design, searching in vain for beauty with no plans, compasses, or charts. Wisdom came to me too late— some even may say it never did at all. Sometimes I scream—but no one listens— ‘Please, someone stop the train. Rewind the clock, I need to go back. Can you not see I have no other place to go?’ ‘You can't,’ I hear the timekeeper shriek, ‘All the doors are now shut to old fools like you.’ A few words about the poem…   Poems of Despair: A Journey Through Isolation in "The Old Fool"   “The Old Fool” explores the desolate and existential condition of an individual trapped in the cyclic monotony of life, symbolised by the Circle Line. The poem offers a stark portrayal of a protagonist grappling with isolation, the loss of purpose, and the inexorable passage of time. It stands as a poignant example of poems of despair, where the protagonist is caught in a life that has become a prison, with no apparent exit.   The poem begins with the speaker identifying himself as a “prisoner on the Circle Line,” immediately setting the tone of confinement and helplessness. The Circle Line, a loop without a definitive endpoint, serves as a metaphor for the repetitive and unfulfilling nature of the speaker's existence. This imagery is reinforced by the depiction of other passengers who, like the speaker, are disconnected from the world, “many are asleep, some stare into space, and some grin like startled fools.” The sense of isolation is palpable, as the speaker wonders whether he is a ghost, existing in a liminal space between two worlds. This question underscores the speaker's disconnection from both his past and present, hinting at a life lived on the margins, neither fully engaged nor entirely absent.   The speaker’s desire for intellectual fulfilment—expressed through a longing to read works by D.H. Lawrence and Lorca—is dismissed by others as peculiar. The dismissal of his intellectual pursuits by society reflects a broader theme found in many poems of despair: the struggle of the individual against societal norms and expectations. The speaker’s sense of alienation is further deepened by the realisation that there is “no hope left,” and that wisdom has arrived “too late,” if at all. This notion of missed opportunities and the futility of seeking meaning in a world that seems indifferent to such pursuits is central to the despair that permeates the poem.   The poem reaches its emotional climax with the speaker’s cry for help, “Please, someone stop the train. Rewind the clock, I need to go back.” This plea encapsulates the longing for a return to a time when choices could still be made, and life had the potential for direction and purpose. However, this hope is cruelly dashed by the “timekeeper guard,” who represents the irreversible nature of time and the inevitability of ageing. The final line, “All the doors are now shut to old fools like you,” serves as a harsh reminder of the inescapable reality that the speaker faces—a life circumscribed by regret, with no possibility of reversal.   In conclusion, “The Old Fool” presents a vivid exploration of the themes of isolation, despair, and the passage of time. The poem’s use of the Circle Line as a metaphor for the protagonist’s life, combined with its exploration of intellectual alienation and the inevitability of ageing, places it firmly within the tradition of poems of despair. Through its stark imagery and the speaker’s anguished voice, the poem captures the essence of a life lived in quiet desperation, where the search for meaning and connection is ultimately thwarted by the relentless march of time.   Analysis of the Themes in "The Old Fool"   The poem deals with several significant themes, notably isolation, the futility of intellectual pursuit in a dismissive society, and the inexorable passage of time. The protagonist’s sense of alienation is evident throughout, whether in his disconnection from those around him or in the futility of his intellectual aspirations. The theme of despair is interwoven with these elements, as the speaker recognises his inability to escape his circumstances, culminating in the realisation that he is trapped in a life devoid of hope or purpose.   Analysis of the Verse   The poem is structured as a free verse, which reflects the lack of order and direction in the speaker’s life. The irregularity of the verse enhances the sense of disorientation and despair that pervades the poem. This structure allows the reader to feel the speaker's chaotic emotions and the fragmented nature of his thoughts, reinforcing the themes of confusion and helplessness.   Analysis of the Symbolism   The Circle Line is the central symbol in the poem, representing the endless, repetitive cycle of the protagonist’s life. The train, moving in a perpetual loop, mirrors the speaker's existence, which lacks progression or purpose. The image of the “timekeeper guard” symbolises the unforgiving nature of time, which continues its march forward, indifferent to the speaker’s pleas for a second chance.   Main Poetic Imagery   The poem is rich in imagery that evokes the speaker’s desolate mental state. The description of passengers as “asleep,” “staring into space,” or “grinning like startled fools” paints a picture of a world populated by the indifferent or the oblivious. The train itself becomes a metaphorical prison, its doors shutting out any hope of escape. The imagery culminates in the speaker’s desperate cry for the train to stop, a plea that is met with the harsh reality of the timekeeper guard’s finality.   Religious Symbolism Impact   While not overtly religious, the poem contains subtle religious undertones, particularly in the idea of being a “ghost” caught between two worlds, which can be interpreted as a liminal state akin to purgatory. The speaker’s cry for the clock to rewind echoes a plea for redemption or a second chance, which is denied by the timekeeper, a figure reminiscent of a gatekeeper or judge. This adds a layer of existential despair to the poem, as the speaker is denied any form of salvation or return to a past that could have been different.

The Passing of Spring to Winter In the season of dusk and sadness, I recall flights of little swallows heading down south in the sleepy skies of summer. ‘Is this it?’ asks a baffled man. A blackbird on the chimney squawks, 'There’ll never be another springtime' then it jeers and mocks him. The jester loves the young queen, and a mournful owl on the roof hoots the prince's final lines: ‘The rest is silence. 1 *’ The trees withered and almost bare, plead with Persephone to stay— they know September is almost here. 1 Hamlet's final line A few words about the poem…   Poems of Despair: A Reflection on "Springtime"   The poem "Springtime" navigates the transition from summer to autumn, capturing a mood steeped in despair and loneliness. The imagery of withering trees and mournful creatures resonates with the themes found in many of poems of despair, where the natural world mirrors the emotional landscape of the characters depicted.   The poem opens with a scene evocative of the closing days of summer, described as a "season of dusk and sadness." This phrase immediately sets the tone of melancholy that pervades the poem, suggesting that even the warmth and light of summer are tinged with sorrow. The swallows, traditionally symbols of hope and renewal, are portrayed in a subdued manner, flying across "sleepy skies," as if the vitality of summer is already waning.   In the second stanza, the poem introduces a human element with the "baffled man," whose confusion and disillusionment reflect a broader existential despair. The blackbird's squawk, declaring that "There’ll never be another springtime," serves as a harsh reminder of the inevitability of change and the finality of lost opportunities. The bird’s jeering tone underscores the cruelty of time's passage, further deepening the poem’s exploration of loneliness and despair.   The third stanza shifts to a more allegorical scene, where the jester’s unrequited love for the young queen and the prince’s final lines—"The rest is silence"—evoke themes of unfulfilled desire and the inescapability of death. The jester's love for the young queen is a poignant representation of improbable love, highlighting the futility of pursuing something unattainable. It also serves as a metaphor for man's futile attempts to halt the advance of time and the inevitable onset of old age. The jester, a figure often associated with folly, reflects the human condition where, despite knowing the futility of their efforts, people still strive to achieve the impossible. The mournful owl, an emblem of wisdom and foresight, echoes the sentiment of finality, reinforcing the sense that all things must come to an end.   The poem concludes with the image of withered trees, almost bare, pleading with Persephone to stay. This reference to the Greek myth of Persephone, who must return to the underworld each autumn, encapsulates the central theme of poems of despair and loneliness: the inescapable cycle of loss and renewal, where even the natural world is subject to the forces of decline and separation. The trees' desperation to hold onto Persephone, knowing that September—and the death of summer—is imminent, serves as a powerful metaphor for the human desire to resist change, despite its inevitability.   In summary, "Springtime" is a poem that explores the themes of despair and loneliness through its vivid imagery and symbolic references. The transition from summer to autumn becomes a metaphor for the broader human experience of loss, longing, and the passage of time. By weaving together elements of nature, mythology, and existential reflection, the poem offers a poignant meditation on the inevitable decline that accompanies the change of seasons and the human condition itself.

Sadness, photo by Maraikuk I look for solace; I distort reality I wreck the world. I’m a wordsmith; I rebuild it word by word I rebuild it verse by verse and still something is missing.

Children Suffering and Dying in Yemen Our life: four ruined walls without a roof bombed schools, burned hospitals, screams and panic in the streets and there's no laughter in the little children’s garden anymore. Habibata, I count our years together— six. Ahmed cries for mama, Nazira will be five for ever. Jamal shoots at planes with a wooden gun and each day his lust for blood grows stronger. Carnage, charred bodies, the stench of rotting flesh and the fighters keep coming: important men in foreign lands weighed up the cost in coin— one job, a thousand lives. A few words about the poem…   The Heart-Wrenching Realities of Conflict: Examining Anti-War Poems through "Yemen’s Children"   "Yemen’s Children," a stark representation of the grim realities of war, serves as a compelling addition to the body of anti-war poems by the Cyprus poet Chris Zachariou. This poem illuminates the devastating impact of conflict on the most vulnerable—children—whose innocence is irrevocably shattered in the process. Through its unflinching portrayal of a war-torn nation, it underscores the senselessness of violence and the irreversible damage it inflicts on young lives.   The poem begins with a striking image of a life reduced to "four ruined walls without a roof," immediately drawing attention to the destruction that pervades the setting. This visual starkness encapsulates the essence of anti-war poems, which often focus on the physical and emotional desolation wrought by warfare. The mention of "bombed schools" and "burned hospitals" further emphasizes the indiscriminate nature of war, where institutions meant to nurture and heal are reduced to ashes.   Amid this landscape of destruction, the poem turns to the personal, invoking the intimate pain of loss. The speaker counts the years spent with "Habibata," introducing a sense of nostalgia and grief that permeates anti-war poems. The anguish of a child, Ahmed, crying for his mother, and the tragic fate of Nazira, who "will be five forever," illustrate the profound emotional toll that war exacts on families. Such imagery is characteristic of anti-war poems, which often seek to evoke empathy by highlighting the personal suffering behind the statistics of war.   The poem’s depiction of Jamal, a child whose "lust for blood grows stronger" as he mimics the violence around him, serves as a poignant commentary on the cycle of violence perpetuated by war. This transformation of innocence into aggression underscores a recurring theme in anti-war poems: the corrupting influence of conflict on the human spirit, particularly in the impressionable minds of children.   The imagery of "carnage, charred bodies" and "the stench of rotting flesh" vividly conveys the grotesque aftermath of battle, a hallmark of anti-war poems that aim to confront readers with the harsh realities of war. The poem concludes with a bitter reflection on the decisions made by "important men in foreign lands," who, with cold calculation, determine the fate of countless lives. This line encapsulates the critique inherent in many anti-war poems, where the value of human life is weighed against political or economic gains, often with tragic consequences.   "Yemen’s Children" stands as a powerful example of how poetry can be used to critique the senselessness of conflict and its devastating impact on those who have no part in the decisions that lead to war. The poem’s vivid imagery and focus on the personal suffering caused by war contribute to its poignant message, making it a significant contribution to the genre of anti-war poetry. In this work, the author channels the anguish and despair that define the experience of those caught in the crossfire, offering a voice to the silenced victims of conflict.

Portrait of a Sad Man All I hear is your voice: “Remember this, remember that.. what about this, what about that?” and you drone on and on and on: “Always a foot soldier, never a commander.” “He never came to see you, did he?” blah, blah, blah... But perhaps you have a point here “Why didn't you come to see me, daddy?” Sometimes you say nothing— silence, your cruellest ploy. One look and I'm undone, you torment me and you taunt me. All the thoughts I tried so hard to banish— all my fears and all my insecurities.   "Couldn't you have loved me just a little?" and I cry for the child that was only seven. When I say this is old news —I pretend of course—you laugh. How do you know me so well am I you, are you me? Be careful old friend, neither of us may be here much longer. A few words about the poem…   Poems of Despair: An Analysis of the Poem "You Know Me So Well"   " You Know Me So Well " is a poignant addition to the collection of Poems of Despair, offering a profound exploration of complex personal relationships and internal conflict by delving into themes of memory, criticism, and unresolved emotional turmoil.   The poem opens with an incessant barrage of reminders and questions from an omnipresent voice: “Remember this, remember that... what about this, what about that?” This repetition creates an atmosphere of relentless scrutiny, reflecting the speaker’s exhaustion and frustration.   The voice's belittlement continues with statements such as “Always a foot soldier, never a commander” and the dismissive “blah, blah, blah...” This trivialisation highlights a broader societal tendency to diminish personal grievances and experiences.   A significant turning point occurs with the voice's pointed question: “Why didn't you come to see me, daddy?” This line introduces a deeper, unresolved paternal relationship, adding layers of emotional complexity. The use of silence as a “cruellest ploy” further emphasises the manipulative nature of this dynamic, where non-verbal cues inflict profound psychological pain.   The middle stanzas delve into the speaker’s inner turmoil, where the power of a mere look can leave them “undone.” This imagery captures the lingering impact of unspoken criticism and the resurfacing of suppressed fears and insecurities: “All the thoughts I tried so hard to banish.”   The emotional climax is marked by the heart-wrenching plea, “Couldn't you have loved me just a little?” This line underscores the universal longing for parental validation and love, while the reference to crying for a seven-year-old child speaks to the lasting effects of childhood neglect.   The concluding lines reveal a complex interplay of mutual understanding and deep-seated conflict. The speaker’s feigned indifference— “this is old news”—contrasts with the voice’s knowing laughter. The rhetorical questions, “How do you know me so well, am I you, are you me?” suggest a blurred line between the critic and the self, hinting at internalised criticism and identity confusion.   The poem closes with a sobering warning: “Be careful old friend, neither of us may be here much longer.” This line encapsulates the transient nature of life and influence, reminding both the speaker and the critic of their mortality. "You know me so well" through its exploration of torment, longing, and introspection, offers a nuanced commentary on the enduring impact of personal relationships and authoritative figures.

Symbols of Societal Conformity The crazed painter dips his brush into the hues of his squalid mind. He pours his twisted visions onto the temple walls— putrid green to drown the lamb, red and black for the demons dancing on the towers. With his paintbrush, a dagger drawn at midnight, he paints The Star and three wise impostors until everyone is pierced by his poisoned arrows; bruised and bleeding, they gasp for their betrayed lives. He smears the manikins with bright red lipstick and parts their frail thighs. Their torn see-through negligees and scarlet panties are down to their knees and the spectators ogle the disfigured dolls, masturbating in unmuted frenzy. Botticelli's Venus emerges from the rancid waters, a skull and a few broken bones, yet she is more alluring than these promiscuous manikins sprawled out by the riverbank with such abandon. Depraved faces with distorted vision shine in the dark but the painter with a single stroke of his jealous brush blindfolds their lurid eyes. The masterpiece, complete with salivating manikins and bloated corpses, now hangs in a renowned gallery. Patrons come to glimpse the mind of this tortured genius. Aspiring artists, teachers and their pupils armed with pens and pads kneel and stare in awe and renowned critics crowd around writing perceptive words to feature in the columns of the Sunday newspapers. Amazed, I watch from my world of two dimensions wishing for such an insight into my own crazy mind. A few words about the poem…   Satire Poems: The Psyche of Modern Society in "The Mind of a Tortured Genius"   "The Mind of a Tortured Genius," from the Satire Poems, offers a vivid tableau that delves into the psyche of a crazed painter, revealing deep-seated critiques of contemporary societal behaviours. This poem, rich in surrealist imagery and complex themes, subtly addresses modern society's inclination to blindly follow trends, mindlessly echoing popular opinions without genuine understanding, and bestowing praise where it may not be warranted.   Surrealist poems, known for their ability to transcend reality and explore the subconscious, provide a compelling framework for critiquing societal norms. In "The Mind of a Tortured Genius," the surrealist elements create a haunting narrative that reflects the superficiality and herd mentality prevalent in today's world. The crazed painter, a symbolic figure of the misunderstood artist, uses his brush to project his inner turmoil onto the world, mirroring society's tendency to celebrate the sensational without true appreciation.   The poem opens with the painter dipping his brush into the "hues of his squalid mind," setting the tone for a narrative that is both disturbing and evocative. The colours—putrid green, red, and black—are not just representations of the painter's mental state but also metaphors for the various emotions and conflicts within modern society. These hues highlight the contrast between outward appearances and the often chaotic inner reality, mirroring society's fascination with the grotesque and sensational.   As the poem unfolds, the imagery becomes increasingly grotesque and pointed. The painter's depiction of "manikins with bright red lipstick" and "torn see-through negligees" serves as a critique of society's objectification and commodification. This stark imagery underscores the dehumanizing aspects of modern culture, where individuals are reduced to spectacles for public consumption. The manikins, ogled by spectators in "unmuted frenzy," symbolize society's voyeuristic tendencies and its superficial engagement with art and culture.   Amidst this bleakness, the emergence of Botticelli's Venus from "rancid waters" as a "skull and a few broken bones" stands out as a powerful metaphor. This transformation represents the resilience and enduring spirit of those who maintain their integrity and authenticity despite societal pressures. Venus, more alluring than the "promiscuous manikins," symbolizes the beauty of genuine artistry and the strength of character that prevails over superficiality.   The poem's climax, where the painter "blindfolds their lurid eyes" with a single stroke, can be interpreted as a symbolic act of defiance against the superficial gaze of society. This moment signifies a reclaiming of dignity and autonomy, challenging the spectators' passive consumption and prompting them to look beyond the surface. It is a powerful statement on the artist's role in revealing deeper truths and resisting the urge to conform to popular expectations.   In its conclusion, the poem shifts focus to the reception of the painter's masterpiece in a renowned gallery. Here, the poet juxtaposes the superficial admiration of critics and patrons with the deeper understanding sought by aspiring artists and teachers. This contrast highlights the disconnect between popular opinion and genuine appreciation, critiquing society's propensity to heap praise where it may not be due. The poem subtly encourages readers to question the validity of such accolades and to seek their own understanding.   "The Mind of a Tortured Genius" stands as a compelling satire of modern society within the context of the series Surrealist Poems. Through its vivid imagery and layered symbolism, it challenges readers to think critically about societal behaviours and the nature of artistic appreciation. By alluding to the mindless repetition of popular opinions and the superficiality of modern culture, the poem calls for a deeper engagement with art and a more thoughtful consideration of what truly merits praise.

Distressed Migrant Mother and Baby Our homes lie in ruins and our daughters are abused by the soldiers of a corrupted faith. Children are forsaken by the angels and mothers with babies yet unborn are drowning in the darkest seas. Our dead are left unburied by the roadside, their putrid flesh a banquet for death's foot soldiers. The trail of misery is endless. At the borders we are called terrorists, malingerers and thieves and all-the-while countries playing to the gallery declare quotas without shame. A few words about the poem…   A Lament for the Migrants' Suffering | The Anti-War Poems   The poem "The Migrant's Journey" is a heart-wrenching piece from the series Anti-War Poems that vividly captures the harrowing experiences faced by migrants fleeing conflict and persecution. In a world often desensitized to the plights of the displaced, this poem stands as a powerful reminder of the human cost of war and the desperate search for sanctuary.   The opening lines set a bleak scene, depicting homes in ruins and daughters violated by soldiers adhering to a corrupted faith. The use of stark imagery emphasizes the pervasive destruction and moral decay inflicted by war. This poignant portrayal of violated innocence and destroyed livelihoods underscores the urgency of the migrants' plight.   Children, abandoned by angels, symbolize the loss of hope and protection, while mothers with unborn babies drowning in dark seas evoke the ultimate tragedy of lost futures. This imagery resonates deeply, conveying the despair and helplessness experienced by those forced to leave their homelands. It highlights the perilous journeys undertaken by many, where the risk of death at sea is a stark reality.   The poem continues with a grim depiction of the unburied dead, whose decaying bodies are left as a grim testament to the conflict's brutality. This serves as a chilling reminder of the inhumanity that often accompanies war, where even the dead are denied dignity. The phrase "a banquet for death's foot soldiers" is particularly striking, conjuring images of carrion feeders thriving amidst the chaos, further emphasizing the dehumanizing effects of conflict.   As the poem transitions to the plight at borders, the endless trail of misery becomes apparent. The migrants, seeking refuge, are met with hostility and derogatory labels such as "terrorists, malingerers and thieves." This illustrates the profound misunderstanding and prejudice they encounter, highlighting the additional psychological burden placed upon them. It challenges readers to reconsider the narratives often perpetuated about migrants and to recognize the humanity behind the headlines.   The final lines critique the political posturing of nations that, while publicly declaring quotas, fail to address the root causes of migration or offer genuine assistance. This indictment of superficial policies calls for a more compassionate and practical approach to the migrant crisis. It suggests that playing to the gallery is insufficient and underscores the need for sincere and effective solutions.   "The Migrant's Journey" from the series Anti-War Poems serves as a compelling advocacy for migrants, urging readers to empathize with their suffering and to reconsider the often simplistic and prejudiced views held about them. The poem's vivid and stark imagery powerfully conveys the tragic consequences of war and displacement, making a strong case for a more humane and understanding response to one of the most pressing issues of our time.

Bacchus and Ariadne by Titian Bacchus dressed in skins and fine purples comes riding to the shore; debauched and sinful he craves the willowy nymph drowning in a sea of lilies. Ariadne betrayed by her lover grieves on the shores of Naxos for the loss of Theseus. How beautiful and pale the forlorn child looks. Her breasts are almost bare her neck is long and slender and a promise of blemished innocence shades her eyes. Frenzy drives the god insane. He brings her garlands made of stars and scatters orchids and red roses at her feet. Drunk with lust the takes the frightened child to his marriage chamber and on the bridal bed with kisses beyond limits he meanders on her thighs until she throbs with joy. Driven to the peaks she casts her love for Theseus and all her morals in the sea and she revels in the rhythm of his honey-dripping flute. Drunken satyrs sway in darkness; with glazed eyes, they beseech their master until god and goblins are one. Ariadne free at last of all wrecked prisons, guides Bacchus and his beasts into labyrinths of sinful pleasure. Prudence is destroyed, her sensual mouth brims with honey and unbridled chaos rules the land. A few words about the poem…   The Enchanting Tale of Bacchus and Ariadne: A Journey Through Greek Mythology Poems   The narrative of Bacchus and Ariadne, rooted deeply in Greek mythology, has inspired countless artistic and literary works. This poem, "Bacchus and Ariadne," belongs to the series Greek Mythology Poems, capturing the essence of divine indulgence and mortal longing.   In the lore of Greek mythology, Ariadne, the daughter of King Minos of Crete, is an emblem of love and betrayal. She aided Theseus, the Athenian hero, in escaping the Labyrinth after slaying the Minotaur, only to face abandonment on the island of Naxos. Here, the myths diverge: either she succumbs to despair, or she is found and wed by Bacchus, the god of wine and revelry.   The poem vividly illustrates Bacchus' arrival, clad in skins and fine purples, embodying both debauchery and divine desire. His arrival on Naxos sets the stage for a passionate encounter. The description of Ariadne as a "forlorn child" with "blemished innocence" evokes her vulnerability and the poignant shift from innocence to ecstasy.   Ariadne’s initial sorrow, lamenting her betrayal by Theseus, is portrayed with delicate imagery. Her grief is palpable as she grieves on the shores of Naxos, a symbol of lost love and shattered dreams. The poem’s depiction of her physical beauty—her almost bare breasts, long slender neck, and eyes shaded with innocence—captures the reader’s empathy for her plight.   As Bacchus approaches, driven by frenzy and lust, the poem transitions into a vivid tableau of divine seduction. The god's actions—bringing garlands made of stars, scattering orchids, and red roses at her feet—symbolize both his love and his overwhelming desire. The intensity of their union is conveyed with striking language, describing how Bacchus' kisses lead Ariadne to revel in joy and abandon her past love.   The poem reaches a crescendo as Ariadne embraces the rhythm of a "honey-dripping flute," casting aside her morals and succumbing to the chaotic pleasures of Bacchus’ realm. The imagery of drunken satyrs swaying in darkness, merging with their master, paints a scene of unrestrained ecstasy and primal unity.   Ariadne’s transformation is complete as she guides Bacchus and his followers into "labyrinths of sinful pleasure." This vivid depiction of their union signifies a release from her past sorrows and an embrace of her newfound power and freedom. The poem concludes with Ariadne’s sensual mouth brimming with honey, a metaphor for the intoxicating bliss and unbridled chaos that now rule her existence.

A Drowned Refugee Child in boats with broken masts they come looking for a manger but our inn is full tonight the inn we built on the skull and bones of Africa and who will hear the screams of children with blisters for a skin and who will listen to a father's cry cradling his lifeless son and who will love three thousand children with green lips and fleshless skulls in this cruel and loveless sea even the dead begin to weep A few words about the poem…   The Migrant Song: A Powerful Entry in Anti-War Poems   In the poignant verse of "The Migrant Song," a profound narrative unfolds, evoking the harrowing experiences of those seeking refuge across treacherous waters. As part of the series "Anti-War Poems," this work explores themes of displacement, suffering, and the consequences of global conflicts, highlighting the often-overlooked plight of migrants.   The poem begins with an image of boats with broken masts, symbolizing the fragile and perilous journey of refugees. They come "looking for a manger," invoking a sense of desperate hope and biblical imagery of seeking shelter. However, the stark reality is quickly presented: "our inn is full tonight," signifying the rejection and lack of hospitality that these individuals face upon arrival.   A powerful critique is embedded in the line, "the inn we built / on the skull and bones of Africa," which alludes to the historical exploitation and colonization that have contributed to current crises. This acknowledgement of complicity serves as a reminder of the broader context within which these migrations occur, pointing to the lingering effects of imperialism and economic disparity.   The poem then shifts focus to the individual suffering of migrants. The visceral imagery of "children’s screams / with blisters for a skin" and a father "cradling his lifeless son" brings to light the personal tragedies that are part of this broader narrative. These lines resonate deeply, illustrating the human cost of conflict and displacement.   The recurring question, "and who will love / three thousand children / with green lips and fleshless skulls," underscores the overwhelming nature of the crisis. The green lips suggest the effects of decay in the sea waters where they drowned, while the fleshless skulls evoke images of death. This haunting portrayal challenges the reader to consider their own response to such widespread suffering.   In the concluding lines, the sea itself is described as "cruel and loveless," an indifferent expanse that magnifies the despair of those lost to it. The assertion that "even the dead begin to weep" speaks to an almost cosmic sorrow, as if the magnitude of the tragedy has reverberated beyond the living.   "The Migrant Song" stands as a significant contribution to the series of Anti-War Poems, encapsulating the themes of displacement and the human cost of conflict. By drawing attention to the suffering of migrants and the historical contexts that have shaped their journeys, the poem challenges readers to reflect on their own role in addressing these ongoing humanitarian crises.

Kingsway Day College, Gower Street Once upon an ancient time in the days of dust and innocence Mr. Clements at the gate holding hands with D. H. Lawrence —thank you, Mr. Clements; thank you— Nitah from the old landscape leaning on an open window fragile; trusting; all soft curls and dancing bracelets. Her kindness touched my life and all that was ever good shivered and trembled in my hands. A shy afternoon— chastity and desire on a little yellow bed an avalanche of passion and all our days of spring; her first cry, her scent and her whispers. We never said goodbye, not properly. There were no last words, no kind lies or promises of friendship. We walked away silently, both too young to have known such sadness. Gower Street is now another place. The coffee shop, the park, the little cinema— all gone. This is now a new world for old lives. One, two, three hours go by. How? When? The shadows are so much longer. How quickly morning turned to dusk. A few words about the poem… Gower Street | A Poetic Tapestry of Longing and Nostalgia | Coming-of-Age Poems In the poem “Gower Street” by the Cyprus poet Chris Zachariou, the reader is transported to a bygone era where innocence and desire intermingle, evoking a tapestry of emotions that lingers long after the final verse. This mesmerizing coming-of-age poem, written with a delicate touch of poetic grace, invites us to embark on a journey through the depths of love and loss, where fragments of forgotten memories and lingering passions find solace within its lines. Through evocative imagery and tender nuances, the poet captures the essence of a time when innocent youth traversed the cobblestone paths of Gower Street. The poem's opening lines, reminiscent of an age-old tale, set the stage for a narrative brimming with whispered confessions and hidden desires. At the heart of this melancholy poem, Nitah an ethereal presence from the ancient homeland, leans upon an open window exuding fragility, and trust. Her kindness touches the speaker, causing all that is good in him to awaken in his life. The delicate dance of chastity and desire unfolds upon a little yellow bed, where an avalanche of passion collides with the blossoming days of spring. The poet's vivid descriptions paint a tableau of raw emotion, from her lingering scent and her hushed whispers to her first cry in their first adult encounter. Amidst the poignant beauty, the poem reveals an undercurrent of longing and unfulfilled farewells. No proper goodbyes are exchanged, leaving the reader to ponder the weight of unsaid words, promises left unfulfilled , and a myriad of what-ifs. As the hours tick by, shadows lengthen and morning seamlessly transitions into dusk, offering a poignant reminder of life's fleeting nature. The poem's lyrical rhythm and haunting imagery attempt to capture the reader's imagination, immersing them in a world of profound sadness where youth grapples with the depths of sorrow beyond their tender years. Gower Street, once a vibrant tapestry of coffee shops, parks, and its tiny cinema, now stands as a poignant reminder of the passage of time and the transient nature of human connection. It encapsulates the essence of forbidden allure and the bittersweet longing that resonates within the human soul. With each line, the poet weaves a tapestry of emotions, inviting the reader to reflect on the timeless themes of love, loss, and the transformative power of memory.

Jupiter Beguiled by Juno in myths and make-believe she gifts herself to the stellar king hungry mouths probing tongues lithe limbs in a sea of green lips on flesh and flesh in lips to her zenith to her zenith there and back and there again A few words about the poem… Eternal Encounters: Exploring Intimacy in Greek Mythology Poems The poem "Zeus and the Virgin" weaves a narrative through its concise yet vivid imagery, capturing the essence of mythological allure and intimate encounters. The opening lines, "in myths / and make-believe," establish a realm where the boundaries of reality and fantasy blur, invoking the timeless nature of mythological storytelling.   The phrase "she gifts herself / to the stellar king" positions the virgin as an active participant in the narrative, bestowing her presence to Zeus, the celestial ruler. This act of gifting highlights both agency and submission, echoing the complex dynamics often found in mythological tales.   The subsequent lines, "hungry mouths / probing tongues / lithe limbs," evoke a sense of physicality and desire, painting a scene of fervent interaction. The repetition of sensory imagery—mouths, tongues, limbs—intensifies the intimacy of the moment, drawing the reader into the immediacy of the encounter.   The "sea of green" metaphorically situates the scene in a natural, possibly pastoral setting, where the verdant backdrop enhances the primal connection between the characters. This natural imagery is complemented by "lips on flesh / and flesh in lips," a vivid depiction of mutual desire and union.   The refrain "to her zenith / to her zenith / there and back / and there again" underscores a cyclical journey of pleasure and fulfilment. The repetition emphasizes the rhythmic nature of the encounter, suggesting a continuous ebb and flow that mirrors natural cycles and the mythological theme of eternal recurrence.   Overall, "Zeus and the virgin," from the series Greek Mythology Poems, distils a mythic encounter into a series of potent images and rhythms, offering a glimpse into the timeless dance between gods and mortals, desire and fulfilment. The poem's brevity and intensity leave a lasting impression, inviting readers to explore the depths of myth and imagination.