Such Tenderness

These are poems about endlessly resilient love under the most trying and traumatic of circumstances...

Such Tenderness
by Michael R. Burch

for the mothers of Gaza and loving, compassionate mothers everywhere

There was, in your touch, such tenderness—as
only the dove on her mildest day has,
when she shelters downed fledglings beneath a warm wing
and coos to them softly, unable to sing.

What songs long forgotten occur to you now—
a babe at each breast? What terrible vow
ripped from your throat like the thunder that day
can never hold severing lightnings at bay?

Time taught you tenderness—time, oh, and love.
But love in the end is seldom enough ...
and time?—insufficient to life’s brief task.
I can only admire, unable to ask—

what is the source, whence comes the desire
of a woman to love as no God may require?



Petals I amass
with such tenderness
prick me to the quick.
—Kobayashi Issa, loose translation/interpretation by Michael R. Burch



Be bull-strong when you're angry, weak as an almond blossom when you love.—Mahmoud Darwish



Out of suffering have emerged the strongest souls; the most massive characters are seared with scars.―Khalil Gibran

Haiku for the Mothers and Children of Gaza
by Michael R. Burch

How can she bear her grief?
Mightier than Atlas, she shoulders the weight
of one fallen star.

Dark-bosomed clouds
pregnant with heavy thunder —
the water breaks.

The sun warms
a solitary stone.
Let us abandon no one.

You astound me;
your name on my lips
remains unpronounceable.

Born into the delicate autumn,
too late to mature,
pale petals ...

Soft as daffodils fall
all the lamentations
of life’s smallest victims,
unheard ...

Crushed grapes
surrender such sweetness!
A mother’s compassion.

My footprints
so faint in the snow?
Ah yes, you lifted me.

An emu feather
still falling?
So quickly you rushed to my rescue.

The eagle sees farther
from its greater height—
a mother’s wisdom

Dry leaf flung awry:
bright butterfly,
goodbye!

Late autumn; all
the golden leaves turn black underfoot:
soot ...



Frail Envelope of Flesh
by Michael R. Burch

for the mothers and children of the Holocaust and Gaza

Frail envelope of flesh,
lying cold on the surgeon’s table
with anguished eyes
like your mother’s eyes
and a heartbeat weak, unstable ...

Frail crucible of dust,
brief flower come to this—
your tiny hand
in your mother’s hand
for a last bewildered kiss ...

Brief mayfly of a child,
to live two artless years!
Now your mother’s lips
seal up your lips
from the Deluge of her tears ...



For a Palestinian Child, with Butterflies
by Michael R. Burch

Where does the butterfly go
when lightning rails,
when thunder howls,
when hailstones scream,
when winter scowls,
when nights compound dark frosts with snow ...
Where does the butterfly go?

Where does the rose hide its bloom
when night descends oblique and chill
beyond the capacity of moonlight to fill?
When the only relief's a banked fire's glow,
where does the butterfly go?

And where shall the spirit flee
when life is harsh, too harsh to face,
and hope is lost without a trace?
Oh, when the light of life runs low,
where does the butterfly go?



Something
by Michael R. Burch

for the children of the Holocaust and the Nakba

Something inescapable is lost—
lost like a pale vapor curling up into shafts of moonlight,
vanishing in a gust of wind toward an expanse of stars
immeasurable and void.

Something uncapturable is gone—
gone with the spent leaves and illuminations of autumn,
scattered into a haze with the faint rustle of parched grass
and remembrance.

Something unforgettable is past—
blown from a glimmer into nothingness, or less,
which finality swept into a corner, where it lies
in dust and cobwebs and silence.

Do we love the lost children of the Trail of Tears, the Holocaust and the Nakba not to forget them, to honor their memory, and to do all we can to avoid such senseless tragedies? As long as we fail to do so, we will experience other tragedies, as I illustrate in my next three poems…



Epitaph for a Palestinian Child
by Michael R. Burch

I lived as best I could, and then I died.
Be careful where you step: the grave is wide.



Suffer the Little Children
by Nakba, an alias of Michael R. Burch

I saw the carnage . . . saw girls' dreaming heads
blown to red atoms, and their dreams with them . . .

saw babies liquefied in burning beds
as, horrified, I heard their murderers’ phlegm . . .

I saw my mother stitch my shroud’s black hem,
for in that moment I was one of them . . .

I saw our Father’s eyes grow hard and bleak
to see frail roses severed at the stem . . .

How could I fail to speak?



Flight 93
by Michael R. Burch

I held the switch in trembling fingers, asked
why existence felt so small, so purposeless,
like a minnow wriggling feebly in my grasp ...

vibrations of huge engines thrummed my arms
as, glistening with sweat, I nudged the switch
to OFF ... I heard the klaxon-shrill alarms

like vultures’ shriekings ... earthward, in a stall ...
we floated ... earthward ... wings outstretched, aghast
like Icarus ... as through the void we fell ...

till nothing was so beautiful, so blue ...
so vivid as that moment ... and I held
an image of your face, and dreamed I flew

into your arms. The earth rushed up. I knew
such comfort, in that moment, loving you.



In the midst of so much carnage, nothing can eclipse a mother’s love. — Michael R. Burch



Mother’s Smile
by Michael R. Burch

for the mothers of Gaza and their children

There never was a fonder smile
than mother’s smile, no softer touch
than mother’s touch. So sleep awhile
and know she loves you more than “much.”

So more than “much,” much more than “all.”
Though tender words, these do not speak
of love at all, nor how we fall
and mother’s there, nor how we reach
from nightmares in the ticking night
and she is there to hold us tight.

There never was a stronger back
than father’s back, that held our weight
and lifted us, when we were small,
and bore us till we reached the gate,
then held our hands that first bright mile
till we could run, and did, and flew.
But, oh, a mother’s tender smile
will leap and follow after you!



Aflutter
by Michael R. Burch

This rainbow is the token of the covenant, which I have established between me and all flesh.—Yahweh

You are gentle now, and in your failing hour
how like the child you were, you seem again,
and smile as sadly as the girl (age ten?)
who held the sparrow with the mangled wing
close to her heart. It marveled at your power
but would not mend. And so the world renews
old vows it seemed to make: false promises
spring whispers, as if nothing perishes
that does not resurrect to wilder hues
like rainbows’ eerie pacts we apprehend
but cannot fail to keep. Now in your eyes
I see the end of life that only dies
and does not care for bright, translucent lies.
Are tears so precious? These few, let us spend
together, as before, then lay to rest
these sparrows’ hearts aflutter at each breast.

“Aflutter” is a poem about a couple committing suicide together. The “eerie pact” refers to a Bible verse about the rainbow being a “covenant,” when the only covenant human beings can depend on is the original one that condemned us to suffer and die. That covenant is always kept perfectly.



Infinity
by Michael R. Burch

Have you tasted the bitterness of tears of despair?
Have you watched the sun sink through such pale, balmless air
that your heart sought its shell like a crab on a beach,
then scuttled inside to be safe, out of reach?

Might I lift you tonight from earth’s wreckage and damage
on these waves gently rising to pay the moon homage?
Or better, perhaps, let me say that I, too,
have dreamed of infinity . . . windswept and blue.

“Infinity” is a poem I wrote in my teens, out of sympathy for someone considering suicide. It was the second poem that made me feel like a “real poet” and half a century later I still like it.



Wulf and Eadwacer
(Anonymous, circa 960-990 AD)
loose translation/interpretation by Michael R. Burch

My clan's curs pursue him like crippled game.
They'll rip him apart if he approaches their pack.
Ungelīc is ūs! (It is otherwise with us!)

Wulf's on one island; I'm on another.
His island's a fortress, fastened by fens.
Here bloodthirsty curs howl for carnage.
They'll rip him apart if he approaches their pack.
Ungelīc is ūs! (It is otherwise with us!)

My thoughts pursued Wulf like panting hounds.
Whenever it rained—how I wept!—
big, battle-strong arms grabbed and pawed me.
Good feelings, to a point, but the end loathsome.
Wulf, oh, my Wulf! My desire for you
has made me sick; your seldom-comings
have left me famished, deprived of real meat.
Do you hear, Heaven-Watcher? Watchdog!
A wolf has borne our wretched whelp to the woods.
One can easily sever what never was one:
our song together.

Translator's Note: "Wulf and Eadwacer" is one of the truly great poems in the English language: a bittersweet saga of love and perhaps rape and betrayal. This ancient poem has been characterized as an elegy, a wild lament, a lover's lament, a passion play, a riddle, and as a song or early ballad with a refrain. However, most modern scholars choose to place it, along with The Wife's Lament, within the genre of the frauenlied, or woman's song. It may be the first extant poem authored by a woman in the fledgling English language, although the poet and his/her sex remain unknown. However, it seems likely the poet was a woman because we don't usually think of ancient scops pretending to be women. "Wulf and Eadwacer" is perhaps the first Old English poem to contain sexual intrigue not adulterated by Christian monks. It may also be the first English feminist text, as the speaker seems to be challenging and mocking the man who has raped and impregnated her. And the poem's closing metaphor of a loveless relationship being like a song in which two voices never harmonized remains one of the strongest in the English language, or any language. The poem is also notable for its rich ambiguity, which leaves much open to reader interpretation. For instance, the "wolf" that has borne the whelp to the woods might be Wulf, the heartsick female speaker, Eadwacer, Eadwacer's jealous wife, or some other member of the clan. We do not know what happened to the child in the woods, but we have the impression of a dark catastrophe: perhaps human sacrifice. "Wulf and Eadwacer" is also one of the first English poems to employ a refrain, a hallmark of the great ballads and villanelles to come. The poem appeared in the Exeter Book, between "Deor's Lament" and the riddles, meaning that it was written no later than around 990 AD. But the poem itself is probably older, perhaps much older. I hope readers enjoy my other translations of this wonderfully powerful, haunting poem that speaks to us from the dawn of time and English poetry.—Michael R. Burch



Erin
by Michael R. Burch

All that’s left of Ireland is her hair—
bright carrot—and her milkmaid-pallid skin,
her brilliant air of cavalier despair,
her train of children—some conceived in sin,
the others to avoid it. For nowhere
is evidence of thought. Devout, pale, thin,
gay, nonchalant, all radiance. So fair!

How can men look upon her and not spin
like wobbly buoys churned by her skirt’s brisk air?
They buy. They grope to pat her nyloned shin,
to share her elevated, pale Despair ...
to find at last two spirits ease no one’s.

All that’s left of Ireland is the Care,
her impish grin, green eyes like leprechauns’.



A Surfeit of Light
by Michael R. Burch

There was always a surfeit of light in your presence.
You stood distinctly apart, not of the humdrum world—
a chariot of gold in a procession of plywood.

We were all pioneers of the modern expedient race,
raising the ante: Home Depot to Lowe’s.
Yours was an antique grace—Thrace’s or Mesopotamia’s.

We were never quite sure of your silver allure,
of your trillium-and-platinum diadem,
of your utter lack of flatware-like utility.

You told us that night—your wound would not scar.
The black moment passed, then you were no more.
The darker the sky, how much brighter the Star!

The day of your funeral, I ripped out the crown mold.
You were this fool’s gold.



The Princess and the Pauper
by Michael R. Burch

for Norman Kraeft in memory of his beloved wife June Kysilko Kraeft

Here was a woman bright, intent on life,
who did not flinch from Death, but caught his eye
and drew him, powerless, into her spell
of wanting her himself, so much the lie
that she was meant for him—obscene illusion!—
made him seem a monarch throned like God on high,
when he was less than nothing; when to die
meant many stultifying, pained embraces.

She shed her gown, undid the tangled laces
that tied her to the earth: then she was his.
Now all her erstwhile beauty he defaces
and yet she grows in hallowed loveliness—
her ghost beyond perfection—for to die
was to ascend. Now he begs, penniless.



Oasis
by Michael R. Burch

I want tears to form again
in the shriveled glands of these eyes
dried all these long years
by too much heated knowing.

I want tears to course down
these parched cheeks,
to star these cracked lips
like an improbable dew

in the heart of a desert.
I want words to burble up
like happiness, like the thought of love,
like the overwhelming, shimmering thought of you

to a nomad who
has only known drought.



Melting
by Michael R. Burch

Entirely, as spring consumes the snow,
the thought of you consumes me: I am found
in rivulets, dissolved to what I know
of former winters’ passions. Underground,
perhaps one slender icicle remains
of what I was before, in some dark cave—
a stalactite, long calcified, now drains
to sodden pools, whose milky liquid laves
the colder rock, thus washing something clean
that never saw the light, that never knew
the crust could break above, that light could stream:
so luminous, so bright, so beautiful ...
I lie revealed, and so I stand transformed,
and all because you smiled on me, and warmed.



Afterglow
by Michael R. Burch

for Beth

The night is full of stars. Which still exist?
Before time ends, perhaps one day we’ll know.
For now I hold your fingers to my lips
and feel their pulse ... warm, palpable and slow ...

once slow to match this reckless spark in me,
this moon in ceaseless orbit I became,
compelled by wilder gravity to flee
night’s universe of suns, for one pale flame ...

for one pale flame that seemed to signify
the Zodiac of all, the meaning of
love’s wandering flight past Neptune. Now to lie
in dawning recognition is enough ...

enough each night to bask in you, to know
the face of love ... eyes closed ... its afterglow.



Duet
by Michael R. Burch

If love is just an impulse meant to bring
two tiny hearts together, skittering
like hamsters from their Quonsets late at night
in search of lust’s productive exercise . . .

If love is the mutation of some gene
made radiant—an accident of bliss
played out by two small actors on a screen
of silver mesh, who never even kiss . . .

If love is evolution, nature’s way
of sorting out its DNA in pairs,
of matching, mating, sculpting flesh’s clay . . .
why does my wrinkled hamster climb his stairs

to set his wheel revolving, then descend
and stagger off . . . to make hers fly again?



The Least of These (I)
by Nakba, an alias of Michael R. Burch

Here lies a child of the Holocaust
along with her dreams—lost, buried, unknown . . .
dreams buried, unlived. And who knows their cost?
No roses grace this stone, stark as bone.

"Dearly Beloved," her white marker reads,
as many quaint sermons on Love have begun . . .
but this is her end. She lies among weeds
more somber than widows’, six feet from the sun.

Whom shall we cherish? Friends, whom shall we love?
The war profiteer, or the peaceable dove?
"Made in America," her Cruise Line said:
now a tender dove lies here—cold, shattered, dead.

Here lie her pieces. Friend, read them, and weep.
Stand firmly for justice, or lie, in your sleep.



The Least of These (II)
by Nakba, an alias of Michael R. Burch

Here lies a child of the Holocaust.
And here all her dreams lie buried, unknown . . .
lie buried, unlived. And who knows the cost?
No roses grow here, by this stone stark as bone.

"Dearly Beloved," her white marker reads,
as many bright sermons on Love have begun . . .
but this is her end. She lies among weeds
more somber than widows’, six feet from the sun.

Whom shall we cherish? O, whom shall we love?
The war profiteer, or the peaceable dove?
"Made in America," this Cruise Line said:
now a tender dove lies here—cold, shattered, dead.

Here lie her pieces. Friend, read them, and weep.
Stand firmly for justice, or lie, in your sleep.



I, too, have a dream ...
by Michael R. Burch writing as The Child Poets of Gaza

I, too, have a dream ...
that one day Jews and Christians
will see me as I am:
a small child, lonely and afraid,
staring down the barrels of their big bazookas,
knowing I did nothing
to deserve such enmity.

I only asked to live
in a world where things are fair;
I only asked for love
in a world where people share;
if you let me play and learn, kind sir,
then I’ll know you truly care;
if not, your words are hollow
and your religion empty air.

Look at me ... I am flesh ...
I laugh ... I bleed ... I cry.
Look at me sir; I dare you
to look me in the eye
and tell me and my mother
how I deserve to die.

I'm not a chess piece, I’m a child!
I'm not a number, I'm a child!
I'm not a lab rat, I'm a child!
If you are human ... I'm YOUR child!
If your faith is true, we’re both God’s child!

Jesus loves the little children,
all the children of the world;
red and yellow, black and white,
they are precious in his sight.
Jesus loves the little children,
ALL the children of the world.

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