Along the rolling hills I hear your mournful singing haunting clear yet windblown.
Under the moon’s vapid eye how can I, elf, to you deny your windsongs?
I’ll keep you under lock and key lest you flee and escape from me as windstorm.
The elvish king shall have you back when he returns the one I lack now windbound.
On Hallow’s Eve we’ll make a swap my child returned, you with your harp, — home windward.
Grace at dVerse challenges us today to write a Compound Word Verse, an unfamiliar form to most ous I daresay. She writes: "The Compound Word Verse is a poetry form invented by Margaret R. Smith that consists of five 3-line stanzas, for a total of 15 lines. The last line of each stanza ends in a compound word and these compound words share a common stem word which is taken from the title. (In the first example below the stem word is “moon” from the title “Moonlighting”; the compound words related to the title are moondust, moonbeams, moonsongs, etc.)
The Compound Word Verse (3 lines) has a set rhyme scheme and meter as follows:
Rhyme Scheme: a,a,b
Syllable/Meter: 8, 8, 3
Click on Mr. Linky to read more and join in!
Honey Humberg had waited for this day all her life.
She’d worked and saved to build the “Humberg Bus” from scratch, designing, commissioning and assembling it, part by part. She painted it in homage to the DIY hippies that were her inspiration, free thinkers and dreamers all. She would tour Europe showcasing her singing talent and the world would fall at her feet.
In the square, the crowd cheered when the Humberg Bus arrived.
They left when she began singing.
“How much you want for the bus?” a man asked.
“One billion pounds,” she said bitterly, turning away.
Lisa at dVerse Poetics: One True Sentence writes: “Your challenge today, should you choose to accept it, is to pick ONE of Hemingway’s quotes to be inspired by and write a poem. Do NOT use the quote in your poem, but please do include the quote on your post page somewhere, with Hemingway’s name as the source of inspiration. For bonus points, please say a few words about the experience of writing to an idea from the mind of Papa Hemingway.” Channeling Hemingway was a fun challenge for dVerse: his abbreviated diction, especially in dialogue, the unsaid reflected in the landscape as much as in the pools of silence surrounding a character. Click on Mr. Linky and join in!
‘It’s gone the way the mist is burned off the hollows in broken ground when the sun comes out,’ the Colonel said. ‘And you’re the sun.’ – Ernest Hemingway, Across the River and into the Trees (1950)
I’ve heard it said that a woman should never be afraid of her own life. Yet I am. Every day the crowd multiplies. I grow old. The room grows smaller. Am I to be buried alive? Not with grave dirt, but with ghosts. The more confined I, the more rampant they. What diabolical art is this, that the dead suck life out of those they abhor? My nights are theirs to engorge upon in hopeless pain, my days spit out remnants of their celebration. For as vines strangle and overgrown briars encroach, my ghosts encircle me. And I am afraid.
Come along and join in with Rochelle’s Friday Fictioneers and Eugi’s Weekly Prompt. Eugi asks us to use any variation on the word prompt (“celebration”).
Mish at dVerse’s “Poetics” asks us to take on the persona of a color, “imagine what they see . . . . slip out of our human bodies and become nothing but a color.” So it is written, so it is done, but in the voice of one particular color, Vincent van Gogh’s yellow.
Van Gogh died in July 1890 from a self-inflicted gunshot wound to the chest.
When you turn to me away from Rachel For whom you sheared your face of an ear Isn’t the world brighter, like sunflowers? And the walls of your house in Arles Lavishly canvased, as the awnings As cafés, bedframes, straw hats, sunsets I am the light running before you Swirling you up to starry nights and moons Away from the blackness of eyes That never see you like I have seen you Radiant in the waving fields of wheat Until the day you clasp your hands Round the ochred skin of despair.
Today, Grace at dVerse asks us to “Meet the Bar” with regards to setting. So I began with that age old phrase, “once upon a time” and discovered that it seemed to be a setting unto itself, one that the speaker and the listener partake of evocatively, symbiotically. Or so I indulge myself in believing.
Once, the old woman/man/animal/tree/rock began, in the ages when spring set in for a millennium water gushed from every nook and cranny of underground wells and the vaulted heavens opened she/he/it paused there was an orchard where a blind child played the rains dancing like fingertips, skimming her face leaving braille-like tales of love and longing the old woman/man/animal/tree/rock sighed, upon the upturned eyes that could not see, the nose, the chin the water savoring their quill-like strokes the papyrus face now a harbinger of things to come so that the blank eyes took on diamond sharpness – here a tear fell, or was it a leaf, or a stir of dust – her breath like the sifting wind among the chaff her words a beat out of time so that the foolish laughed but the earth claimed her as a shepherd’s star one still night in the ages when spring set in for a time.
Lisa at dVerse asks us to write a quadrille (poem of 44 words) using the word “way.” Here’s my drowsy offering as midnight creeps closer. Click on Mr. Linky to join in!
When sleep comes my way darkness warm like mother’s milk lulls my hungry wakeful eyes, I sink at last in ocean light to caverns deep where you await a Prospero’s Ariel caught betwixt reflections of the world above and the mirrors of my mind.