The Unnamed Song, Leila Samarrai

AR: This is not the poem you are going to love

I’m one of the few who have the urge
Death makes me want to live
For the sweetest death.
Someone planted a voice inside me. Aggravated.
Or is it someone else?

Life awakens in me a desire for the sweetest death. Again.
Death makes me want to live. Death and hatred.
And the dreams?
Dreams can only be learned. Then you learn to give them to others.

There is the throaty voice in the womb.
Fresh flowers on the larynx grow in the weeds.
There are the dark glands in the throat.
Someone planted a voice in me, Aggravated
Or is it someone else? .

Wonder is keeping it’s pace.
The dead are always coming back
They always have unpleasant names.
The Nameless Ones
Fill up their chests with plates of porridge

I am The Unnamed One
On the road waiting for me
Only the dead can understand
Behind the dead gate where they sleep
There exists no ringing bell

The days go by
The same, one after the other
You become the monk of silence.
The past is frozen on the other side of the eye
Wake me up and let me be, because …
Having me is unsuitable..

Here I am .. Close to …
Right next to life.
He grabs you to live
Then he pushes you back

Amused he is, looking on proudly
at our downfall

In the prison of my hunger
When I cry, turn away, do not disturb, do not disturb
People agree to nod, to be loved.
To them, it is more important than respect.
I’m not able to enjoy someone else’s happiness.
So stupid and uninspiring.
It’s a kind of boredom I can not stand.
But I still prefer happiness from annoying people.
It happens less commonly.

Still.. Wondering is keeping it’s pace..

On the road waiting for me
Only the dead can understand
Behind the dead gate where they sleep
There exists no ringing bell

poetry, poezija, proza

Angry poems, Recommendation of Nemesis

Hunchbacks, butcher clowns, villains!

Hunchbacks
With a cloud on their back
Butcher clowns
Villains
Regana’s daughters
Who hate my day
And all my mornings
Born from the wound
Of glistening narcissuses
Litter of Lucrecia
You exchanged venoms
Compressed into pitchers
In grinds sweetly
To stain the knife
With ancient cause
It is the artist osculating
He butchered the night
Of silence
And hush
But I will further hear
The eternal echo of my death.

13.

in the hour of celebrated departure
the warriors slumbered.
They breathe out under banners
And bloom in the hollow.
Flowers separate them.
Or are those
Intersected roads,
Nemesis,
Time fell asleep
In ambiguities.

Liars

They lied to the constellations, and stars
The colorful fireflies with drums on their wings
Hidden inside the flakes of chitin
About the origin of the dinosaur bone and silence of the cosmos

In the image of god by which – they lied about this too!
Pulse the rivers of light
Hypnos weeps, and the tears of ice are a gruesome cure
Weeps on the catafalque of the Queen Kai and Gerda

Liars!
Eternal Herman watches the game, he will hunt you down
Quickly! Do not say how foxed dreamer does not warn

They lied to me that I am fertile, dreamy and fertile
The mortal mouth of lies bent like a toy
They lied that there are addict giants
On the Cape Verde
And the faces of savages are like an ironing board
The smell of clean laundry is mixed with salt
And the eternal prince with the yellow heraldry of the irises
Circles around their feet

The scalding grip of a lie
How she embraced you
Like some kind of a law is crumbling or
The steadily Nothing is being demolished
Within the inconsolable Truth
The ship is sinking!
Munchhausen pass the gun, you lurid earl
Mammoth killer, you crocodile, you dreadful rhapsody of white
A vixen your mistress Mother – Lie!
Lie!
Uneasy, work-eaten, strong
Are the poets of your Hell,
On the pyre of the sea drowning like the truth

This is why my laughter is no longer heard,
This is why my womb is pillaged, for
The sea torn from laughter clamors:
“Oh, naïve daughter. . .!”
The sun does not exist
After 25th ideals are dissolved in hydrogen chloride
All the dark and cynical faces
Are the alcoholic dream of the universe
And the gale of everyone’s laughter is the start of a thunder
Make-up is smeared in the circle whose path
Follows the Eternal Beast with its intestines of pickled love

The lied to me that they lie!

Daddy

You, with a wax masque of a Summer rain, inconstant scatterbrain

Know: the love of fathers is hell on a st(ake)rand!
You, with your limb more stiff than the dogmas of Lucifer.
Who have you forgot to permeate:

The Woman: who is a river ( for she flowed to you)
The Daughter: who is volcanine ( for she burned for you)
The Earth – which swallows you (ultimate mistress)?
You, who are present but not present, Know:

Hate has a heart! The green heart of shot Lorca and wrath of God!
He, alike you:
Does not love!
Does not forgive!
Does not kiss!

To gift the legal age he rapes the Vestales .
Bloodsucker! Anathema! Harpy!
You growl too loud, desert fa(ng)ther.

I know you encircle girls before the door.
I know you flow down their thighs sweaty.
Like unborn milk flows from me to you.
Like chrome sand flows from my eyes instead of tears.
Like thorns grow within my body and not children.
You, who are a corpse in formalin,
the mute vocalist of the torn wire,
the chalice of poison before sleep.

Know:

My shadow takes you off the wall,
a wingless bird in the darkness of the room,
will skin the marble face and his smile of a victor!

Know:

Even hope at times answers to the mute.
The dug away umbra from the extinguished lantern.

Oh, Burn! Burn!
Flame Pompeii, die in anguish!
May the abandoned children clap their hands!
May the thrilled audience scream of laughter!

Like I . . . Like I who screamed
When Creator waded over me with words:
Maasalam*, my Child! Maasalam!

*ma’a salama good-bye in Arabic

Recommendation of Nemesis

We met by the reflection of the eyes,
Echoed the enamored god
Like Echo mortally in love with pretty Narcissus,
The future suicide from who will grow
The flower and myth of sin with oneself.

With oneself I found that:
My mouth is sutured
My hands mourning songs without masochistic pleasures.
Do you seek within her the aesthetic artistic utterance with truth and freedom?
Or merely an attempt to put things in their real place.
I knew I shall say the monstrous everything or I will say nothing.

(The Minotaur of Tales)
Kill her!
May the sword taste her stomach and breasts
After your fingers and face!
Kill her, and do not mourn her!

It is a gamble, card playing,
A splendid, glorious and retched plea,
To disclose and discover the flaming blade.

(Joan of Ark)
Stab her!
Stab her with a spear!
Remember the dungeons and betrayals!
Remembrance is death for repentance!

We met at one of the impossible places,
We were a pair of unforeseen miracles.
It was a gift, a curse and futility.
Where the glance hits both the one and the other.
The glance that brings and takes away.

The abyss among people laughs in the faces of those who give away their deepest thoughts
Or the histories of loved beings. At the end, a tatter thrown to the road is left.
A fable interesting to none, the secret in the service of the one who scares and enchants.
Will our great freedom and intrepidity judge us out of most noble incentives?
Will our anxieties, the magnificent relics with brutal renditions, whirl in other letters?

Monstrous legislations are governing people and the black hour chokes within us
Both the thinker and the emotive man.
Wrapped in black atmosphere, we buckle , grow pale, the throat spreads its limits
And fear sprouts outside with words attacked by assumptions
And the horrible remembrances followed by cruel pain, self pity and remorse.

(Shepherd Henry Roberts of Salem)
Burn the witch!
Hair by hair let her burn!
May she scream helpless!

Without the strength to continue the letter,
Stumbled by the free to:
Say more!
Say faster!
(necessarily trivial)
I wish to sing
The way it should be or should never.

(Recommendation of Nemesis)
Kill the heart memento
Pertaining to the mocking bird!

She (it) is the boil in my stomach,
She eats it and minces it, destroys
The nightmare from which you cannot awaken by anything except walking and sleepwalking,
While she climbs to heights with a view to the Precipice,
That fills the eyes of the caught sleeper with horror.

(Poe’s recommendation)
Kill her in her own vomit
Without right for mesmerization.

Confession at 3.33

I confess to you, I of an unusual nature,
And all the kingdoms I offer to you- plain.

Lying tongues- orators and benefactors
The first one is of giants of song as of hay,
Through games of ancient history they peck on the intestines
Filled with the substance of nasty virtue,
With fruitful mouths they drink the wines.

Serpents hiss with human tongues…
The orator is amidst the ball and casts off damnations… with love.

Fools

Washerwomen wash the shores for incessant feasts,
For the water trough of the early morning peacock.

Beasts
Tigers roar- damned by the fables-
To washerwomen, for labours sake, and the dishes plentiful
Fools drink the honorable regal wines.

Casanovas, drunks, erotomen and everybody’s merry Big Brother
Far less then geniuses
Who lead the fools
With fornication, cunningness and booze
To hidden thoughts.

Traitors
Scared dogs.
Skilled at stuffing bones.

I raise my right hand and swear on the darkness of
Legitimacy
With an unburdened mind and a truth in my heart
Within the light dewy with the ability of
Mankind
Your knife cut through all the conditions of disorder.
It’s entirely safe in my hands.

With a frozen smile,
I walk through the fall
Of a zillion kingdoms.
Flags are waving and ships are sailing underneath the sky
Of a broken magnificence.
After years of absence
Colored in oddity,
I stay…
To guard them while drowning in tears

Of my Arabian wrath.

poetry, proza

If I was.. , Leila Samarrai

If I was
an American, born immune to viruses brought by the invaders
Prometheus, the demigod who never brought fire
Cleopatra who held the feathered serpent on her breasts
instead of a cobra

If I was
a history when Cleopatra and Antony were never in love
the poem in the eternal procreation
the knife in the hands of Brutus
Had I been Joan D’ Arc whose schizophrenic innocence
carved at least 14 churches in her meat
had I survived seven hundred years of solitude
maybe I could pour out gold from Odin’s finger
and build a shrine on a plateau in the hungry savannas
for starving children in the Horn of Africa

I’d resign Arabs and Christians
I’d raise Irbil, gentile monastery in Iraq
transformed into a field of powder
I would sing…
a variety of languages
I’d tear the Tower of Babel apart
I’d make ten thousand things be possible
In my name
in His name
in .. someone’s name
I’d become pungent silence
for you
for me…
for our world whose tenderness is shot with the bullet
for the holy son whose blood is chiming incurable.

If I was…

poetry, proza

The Perfect Love

I’d give you the perfect love
and the wretch, without which there would be no perfect love
I’d give you a night that has yet to be born
and morning with vile intentions that has not happened yet

I’d give you lavishly morning in the wasteland
I would given you all the sweet languages
and all the shapes that were slowly matured in me

I’d give you them, wolves and jackals
and Beethoven’s Ode to Joy
and Belgrade on fire from which I
managed to escape,
roasted, skinned and cooked
I would give you Heaven and Hell

I’d give you the fire
and the quiet joy
and the child’s language

All that is both happy and sad
and wounds that emerge from the mud
and my childhood
and my father whose hands killed me twice
and his words were rubbed into the places that hurt

I’d give you my luxuriously morning in the desolation
and feeble tail surfaces in the text
and truncated chairs in my poems

I’d give you everything!

poetry, proza

My Ode To Serbia!

it is like a desert where time is not measured by clocks
It is similar to the opening through which the jailer peers into a cell
it is why the birds for me have no name
it is the cause of my timid disruptions
it is the cause of my demolished kingdoms
It is a creature not known to human heart
staying in my words unspoken.
SERBIA.

poetry, proza

Terry Robinson (HE George), UK (England) And the Writing’s on the Wall, Commentary by Leila Samarrai

From cave pictures, with hand
sprayed self portraits.
To a church’s pulpit displaying
Psalm Twenty Three.
The writing’s on the wall

From mud huts to stately
homes.
The writing’s on the wall

From the nail driven torso
hanging from the eaves.
To bullet chipped, blood
soaked wall of the firing squad
The writing’s on The Wall

From the cleaved head. That
reminisces Salome’s deed.
To a child’s barrel-bombed and
desecrated body. Too
late to share its uncorrupted
mind.
The writing’s on The Wall

And from the push of the first
button to the
push of the final button.
There will be NO writing on
the wall

Is that the writing we want
for us?
The world is at war. Humanity
is in flames.
And I have tears. But, nowhere
to cry.

~* ~

Commentary by Leila Samarrai: This amazing, well-crafted poem doesn’t contain the usual rhetoric related to terrorism such as descriptions of bloody shouts, strong shocks, gas masks, or bombs. The voice of this fantastic poet, Terry Robinson, shows through seemingly unrelated metaphor on the effects of terrorism throughout time. I see this history through images ranging from the head of John the Baptist, the pierced body of ‘homo erectus’, to the poor infant in the ancient days of Sumerian Civilization in Mesopotamia. I see shattered heads; I escape Salome’s wrath; and I walk through the epochs, through history. These words and images are united in their marrow, and all this is accompanied by the mantra, “The writing’s on The Wall”, that will echo in my ears, maybe forever. This phrase emphasizes his point that mankind has a propensity for violence or terrorism and this nature is the ‘writing on the wall’, or something that cannot be changed. A good poet often transcends genre or topic, and here, images and words fly through the ages, transcending time until the dystopian end when the poet turns to his own humanity, as well as to the remains of the world, surrounded by ruins, in the manner of a post-apocalyptic hero when he writes: ‘/ The world is at war. Humanity is in flames. / And I have tears. But, nowhere to cry /’. The poet conveys a universal message that the world is changing, but the scenery remains the same. The room for interpretation is not immense, but it is ambiguous, seemingly without hope or even a small opening through which one can cry and breathe. A circle has neither a beginning nor an end: it is one single, continuous line, a never-ending cycle without progress, where the past is endlessly repeated.. ‘until he comes out at the beginning’ (Fishman). Or, should I quote Jim Morrison, ‘This is the end, My only friend’.

Frosini, Fabrizio. POETRY AGAINST TERROR (Kindle Locations 2280-2284). Fabrizio Frosini.

poetry, proza

Mai Venn, Ireland, The Music Stopped, ~* ~ Commentary by Leila Samarrai

Thunder rolls from guns were observed,
Mutilated young bodies
Arranged in red locks across the crowded
room,

Shock, dismay and carnage,
Weeping tears mixed with speechless
teens,
Surrounded by extraordinary slaughter,
Bewildered young people, damaged for
life.

Why? That is the question.
Will we ever get answers to this mystery?
Is it a mystery or an event foretold?
What did it all accomplish?

Media hype to drive Europe into
submission.
Did it work?
That is another question.
Who will give us this response?

The grim reaper of death, mingled
amongst them,
Who gathered the bleak harvest of souls.
Newsflash on our radios and televisions,
The world looks on, helpless and
disturbed.

Each country wondering, ‘Will we be
next?’
All feel heart-rending emotion for France.
We express grief with them and for them,
May their loved ones rest in peace.

~* ~ Commentary by Leila Samarrai:

Like Virgil leads Dante through hell, Venn leads the reader through a bloodstained Paris, using strong and convincing poetic images. Through a picturesquely woven artistic structure, the poet has strung together harsh images that create the feeling of the current existence in France and the world. The title, ‘The Music Stopped’, reminds us how we felt when the attacks occurred, and also refers to the massacre during a music concert. The symbol of ‘The Grim Reaper’ is used, reminding us that souls are being gathered as we look on, ‘helpless and disturbed’. The image also reminds us that we do not know who will be next, where the next terrorist attack will occur and who will be killed. The poem ends in an unsettling note of ambiguity and sadness for the victims with the last line ending, ‘May their loved ones rest in peace’.

Frosini, Fabrizio. POETRY AGAINST TERROR (Kindle Locations 2789-2796). Fabrizio Frosini.

poetry, proza

Douglas Stewart, USA Mourning, Marchons, ~* ~ Commentary by Leila Samarrai

Douglas Stewart, USA
Mourning, Marchons

Arms they hid beneath their cloaks,
Intent beneath facades of peace,
And fixed their paths toward Montrouge,
A concert, and 130 dead Parisians,
a City Mourning, Marchons.

The City of Light knew then its friends,
they
Rallied from the clovered corners of the planet,
The tears of auld allies and former colonies glisten,
Late enemies stood next to Marianne,
hands clasped in
Mourning, Marchons.

Current adversaries promise support,
old friends
Pledge support and, as 70 years ago, is
Paris Burning?
NO!
The City of Light lifts her torch,
Marianne sings,
Her standards of law and justice remain t
he same. Even in Mourning, Marchons!

~* ~ Commentary by Leila Samarrai:

The poem, ‘Mourning Marchons’, has the character of an anthem as it invokes archetypal images of France to condemn terrorism and to celebrate the best aspects of a country dedicated to liberty. The term ‘Marchons’, references ‘Le Marseillaise’, the national anthem of France, and reminds us all to never give up or despair despite great hardship. The poem opens, in the first stanza, reminding us of the human beings who were murdered by terrorists in Paris. The poet brings ‘Marianne’, an allegory of liberty and reason and a portrayal of the Goddess of Liberty, to life, and reminds us of the famous image by Eugene Delačrois, where Freedom leads the people (” La Liberté guidant le peuple”), conjuring up feelings of power, freedom and victory. The poet calls on the ‘/ marching, even in mourning /’, evoking the final victory of freedom and justice over pain and death. This poem reminds us that despite all that has been lost and is being mourned, France will never change: ‘/ her standards of law and justice /’ will prevail.

Frosini, Fabrizio. POETRY AGAINST TERROR (Kindle Locations 2593-2598). Fabrizio Frosini.

poetry

Recommendation of Nemesis, Leila Samarrai