strider marcus jones

 

WOODED WINDOWS

as this long life slowly goes
i find myself returning
to look through wooded windows.
forward or back, empires and regimes remain
in pyramids of power
butchering the blameless for glorious gain.
feudal soldiers firing guns
and wingless birds dropping smart bombs
on mothers, fathers, daughters, sons,
follow higher orders
to modernise older civilisations
repeating what history has taught us.
in turn, their towers of class and cash
will crumble and crash
on top of ozymandias.
hey now, woods of winter leafless grip
and fractures split
drawing us into it.
love slide in days
through summer heat waves
and old woodland ways
with us licking
then dripping
and sticking
chanting wiccan songs
embraced in pagan bonds
living light, loving long,
fingers painting runes on skin
back to the beginning
when freedom wasn’t sin.

 

OVIRI (The Savage)

woman,
wearing the conscience of the world-
you make me want
less civilisation
and more meaning.
drinking absinthe together,
hand rolling and smoking cigars-
being is, what it really is-
fucking on palm leaves
under tropical rain.
beauty and syphilis happily cohabit,
painting your colours
on a parallel canvas
to exhibit in Paris
the paradox of you.
somewhere in your arms-
i forget my savage self,
inseminating womb
selected by pheromones
at the pace of evolution.
later. I vomited arsenic on the mountain and returned
to sup morphine. spread ointments on the sores, and ask:
where do we come from.
what are we.
where are we going.

 

IT’S SO QUIET

it’s so quiet
our eloquent words dying on a diet
of midnight toast
with Orwell’s ghost-
looking so tubercular in a tweed jacket
pencilling notes on a lung black cigarette packet-
our Winston, wronged for a woman and sin
re-wrote history on scrolls thought down tubes
that came to him
in the Ministry Of Truth Of Fools
where conscience learns to lie within.
not like today
the smug-sly haves say and look away
so sure
there’s nothing wrong with wanting more,
or drown their sorrows
downing bootleg gin
knowing tomorrows
truth is paper thin
.
at home
in sensory
perception
with tapped and tracked phone
the Thought Police arrest me
in the corridors of affection-
where dictators wear, red then blue, reversible coats
in collapsing houses, all self-made
and self-paid
smarmy scrotes-
now the Round Table
of real red politics
is only fable
on the pyre of ghostly heretics.
they are rubbing out
all the contusions
and solitary doubt,
with confusions
and illusions
through wired media
defined in their secret encyclopedia-
where summit and boardroom and conclave
engineer us from birth to grave.
like the birds,
i will have to eat
the firethorn
berries that ripen but sleep
to keep
the words
of revolution
alive and warm
this winter, with resolution
gathering us, to its lantern in the bleak,
to be reborn and speak.

 

MIRROR, MIRROR

mirror, mirror,
in the hall
age comes to us all,
and looks wither
through the play
of years slipped away,
away
in the lapsed lingo of street
and road,
where tangents meet
and move with innocence
up summits of experience
told,
whose fruits we eat
then weep
when they implode.
these reflections
in this autumn of adventurous directions,
mean more
standing in the door
of ebb and flow
watching people come and go
wearing introspections
of what they know
after listening to a stranger’s small confessions
on midnight radio.

 

THE COMET OF HER WORDS

he sheds his matelessness
and shapeless
statelessness
undormed
to lie with her undressed
in woods earth warmed.
after drinking
and thinking
in the hollow trunk of an ancient tree
she reads
his tea
leaves-
and he hears
her nature in the pattern
of her years,
saying now we happen
and the comet of her words
weaves its sentences
in his,
lets go of bleakness
walking through wilderness
light footsteps in senses.

 

THIS CONCERT OF CONTOURS

ear nibbles
neck kisses
sex ripples
mouth wishes
to arms and legs
with minds and heads
is a body ballet
of rock and sway.
this concert
of contours
that squirts
mine and yours
is never too far away
from broken loneliness to play.
your beauty’s blushes
colour in my years
and time’s rushes
are hands that paint like soft brushes
so unwanted darkness disappears.

 

IN THE COME AND GO, I MIND YOU



in the middle, where i find you,

i wriggle in behind you

all the way.



in the come and go, i mind you,

what we were is reconciled, you

let it stay.



this template, for being tender,

is our state to remember

into grey;



beyond the time of soil and ember,

into nothingness’s timbre-

be it, play.

 

SILHOUETTES OF LOVE AND LUST

i love to watch the chocolate
slowly melt
between your lips
of silky liquid felt,
then lick and lap
soft suck sips
in rhythm with your hips,
making such moments of motion
plough tidal waves in your ocean
as each surge of storm
throbs to be born
until the stone and dust
of autumn yellow moon
casts silhouettes of love and lust
that burst and bloom
through every love soaked scented night
shuttered from politics so coccooned
in plutocracies of blight.

 

LOOKING IN LOVE’S GLASS

looking in love’s glass
at what we have drank
and haven’t drank
to quench our thirst
slow and fast
not the first
not the last-
beauty is flesh
is your womanliness
and i find
your mind
grows branches into mine
we climb-
so compatible
and indelible,
to others forgetable
crashed dream
on screen-
we know
we go
out of scene.

 

 


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