Will There Be Starlight

"Will There Be Starlight" is one of my best love poems. These are Visions of Beauty ... women so strikingly beautiful they captivate us and hold us spellbound.

Daria Zhemkova

Will There Be Starlight
by Michael R. Burch

Will there be starlight
tonight
while she gathers
damask
and lilac
and sweet-scented heathers?

And will she find flowers,
or will she find thorns
guarding the petals
of roses unborn?

Will there be starlight
tonight
while she gathers
seashells
and mussels
and albatross feathers?

And will she find treasure
or will she find pain
at the end of this rainbow
of moonlight on rain?

Shi Zi Jia

Step into starlight, lovely and wild,
lonely and longing, a woman, a child . . .
—Michael R. Burch, “Step into Starlight”

Ione Bright (1887-1976)

She is brighter than dawn
by Michael R. Burch

for Beth

There’s a light about her
like the moon through a mist—
a bright incandescence
with which she is blessed

and my heart to her light
like the tide now is pulled …
she is fair, O, and bright
like the moon silver-veiled.

There’s a fire within her
like the sun’s leaping forth
to lap up the darkness
of night from earth’s hearth

and my eyes to her flame
like the sphingid's are drawn
till my heart is consumed.
She is brighter than dawn.

The sphingid gets its name from the Sphinx and is commonly called the sphinx moth.

Grace Kelly [1929-1982]

Grace Kelly was an actress before she married into royalty and became Princess Grace of Monaco.

Step Into Starlight
by Michael R. Burch

Step into starlight,
lovely and wild,
lonely and longing,
a woman, a child . . .

Throw back drawn curtains,
enter the night,
dream of his kiss
as a comet ignites . . .

Then fall to your knees
in a wind-fumbled cloud
and shudder to hear
oak hocks groaning aloud.

Flee down the dark path
to where the snaking vine bends
and withers and writhes
as winter descends . . .

And learn that each season
ends one vanished day,
that each pregnant moon holds
no spent tides in its sway . . .

For, as suns seek horizons—
boys fall, men decline.
As the grape sags with its burden,
remember—the wine!

Fascination with Light
by Michael R. Burch

Desire glides in on calico wings,
a breath of a moth
seeking a companionable light,

where it hovers, unsure,
sullen, shy or demure,
in the margins of night,

a soft blur.

With a frantic dry rattle
of alien wings,
it rises and thrums one long breathless staccato

then flutters and drifts on in dark aimless flight.

And yet it returns
to the flame, its delight,
as long as it burns.

There’s a longer version of “Fascination with Light” which adds the following stanza:

And still it returns on incessant wings—
ruthless grey monarch of the night air.
It flutters and stares with huge primitive eyes,
and it sees beyond ruinous nights
to all the loveliness inherent there;
and it sings all the hideous despair
of its unworthiness, in a frenzy of wings;
and its desolate womb holds incurled in silk
the husks of dread kings and pale lovers.



Jessica Alba

Regret
by Michael R. Burch

Regret,
a bitter
ache to bear ...

once starlight
languished
in your hair ...

a shining there
as brief
as rare.

*

Regret ...
a pain
I chose to bear ...

unleash
the torrent
of your hair ...

and show me
once again—
how rare.

I believe I wrote this poem around 1978 to 1980, in my late teens or early twenties. It’s not based on a real experience, to my recollection. I may have been thinking about Rapunzel.

She Gathered Lilacs
by Michael R. Burch

for Beth

She gathered lilacs
and arrayed them in her hair;
tonight, she taught the wind to be free.

She kept her secrets
in a silver locket;
her companions were starlight and mystery.

She danced all night
to the beat of her heart;
with her tears she imbued the sea.

She hid her despair
in a crystal jar,
and never revealed it to me.

She kept her distance
as though it were armor;
gauntlet thorns guard her heart like the rose.

Love!—awaken, awaken
to see what you’ve taken
is still less than the due my heart owes!



Karlie Kloss

Come As You Are
by Rabindranath Tagore
loose translation/interpretation by Michael R. Burch

Come as you are, forget appearances!
Is your hair untamable, your part uneven, your bodice unfastened? Never mind.
Come as you are, forget appearances!

Skip with quicksilver steps across the grass.
If your feet glisten with dew, if your anklets slip, if your beaded necklace slides off? Never mind.
Skip with quicksilver steps across the grass.

Do you see the clouds enveloping the sky?
Flocks of cranes erupt from the riverbank, fitful gusts ruffle the fields, anxious cattle tremble in their stalls.
Do you see the clouds enveloping the sky?

You loiter in vain over your toilet lamp; it flickers and dies in the wind.
Who will care that your eyelids have not been painted with lamp-black, when your pupils are darker than thunderstorms?
You loiter in vain over your toilet lamp; it flickers and dies in the wind.

Come as you are, forget appearances!
If the wreath lies unwoven, who cares? If the bracelet is unfastened, let it fall. The sky grows dark; it is late.
Come as you are, forget appearances!



The visions of loveliness who appear here include famous beauties like Ingrid Bergman, Dorothy Dandridge, Princess Diana, Greta Garbo, Ava Gardner, Iman, Scarlett Johansson, Grace Kelly, Veronica Lake, Gypsy Rose Lee, Marilyn Monroe, Ginger Rogers, Brooke Shields, Gene Tierney and Lana Turner. But they also include less-well-known beauties, like Ione Bright and Shi Zi Jia…



Is Scarlett Johansson the most beautiful woman on the planet?

Passionate One
by Michael R. Burch

for Beth

Love of my life,
light of my morning―
arise, brightly dawning,
for you are my sun.

Give me of heaven
both manna and leaven―
desirous Presence,
Passionate One.

Eros harrows my heart:
wild winds whipping desolate mountains,
uprooting oaks.
―Sappho, loose translation/interpretation by Michael R. Burch

Second Sight
by Michael R. Burch

I never touched you—
that was my mistake.

Deep within,
I still feel the ache.

Can an unformed thing
eternally break?

Now, from a great distance,
I see you again

not as you are now,
but as you were then—

eternally present
and Sovereign.



Iman

Iman Mohamed Abdulmajid, professionally known as Iman ("faith" in Arabic), is a Somali fashion model, actress and entrepreneur. A pioneer in the field of ethnic cosmetics, she is also noted for her charitable work.

Circe
by Michael R. Burch

She spoke
and her words
were like a ringing echo dying
or like smoke
rising and drifting
while the earth below is spinning.

She awoke
with a cry
from a dream that had no ending,
without hope
or strength to rise,
into hopelessness descending.

And an ache
in her heart
toward that dream, retreating,
left a wake
of small waves
in circles never completing.



Mary Anderson [1859-1940]

Mary Anderson was an accomplished Southern actress and the star of many a Shakespearean play.

Love Has a Southern Flavor
by Michael R. Burch

Love has a Southern flavor: honeydew,
ripe cantaloupe, the honeysuckle’s spout
we tilt to basking faces to breathe out
the ordinary, and inhale perfume ...

Love’s Dixieland-rambunctious: tangled vines,
wild clematis, the gold-brocaded leaves
that will not keep their order in the trees,
unmentionables that peek from dancing lines ...

Love cannot be contained, like Southern nights:
the constellations’ dying mysteries,
the fireflies that hum to light, each tree’s
resplendent autumn cape, a genteel sight ...

Love also is as wild, as sprawling-sweet,
as decadent as the wet leaves at our feet.

Disconcerted
by Michael R. Burch

Meg, my sweet,
fresh as a daisy,
when I’m with you
my heart beats like crazy
& my future gets hazy ...



Angelina Jolie

ACT I: Show Me

Show me your most intimate items of apparel;
begin with the hem of your quicksilver slip ...
—Michael R. Burch, "Negligibles"

ACT II: Are You the Thief?
by Michael R. Burch

When I touch you now,
O sweet lover,
full of fire,
melting like ice
in my embrace,

when I part the delicate white lace,
baring pale flesh,
and your face
is so close
that I breathe your breath
and your hair surrounds me like a wreath . . .

tell me now,
O sweet, sweet lover,
in good faith:
are you the thief
who has stolen my heart?

Originally published as "Baring Pale Flesh" by Poetic License/Monumental Moments

ACT III: Unapproved Absence, or, Slip Up
by Michael R. Burch

Christ, how I miss you!,
though your parting kiss is still warm on my lips.

Now the floor is not strewn with your stockings and slips
and the dishes are all stacked away.

You left me today ...
and each word left unspoken now whispers regrets.



Cybill Shepherd in The Last Picture Show

The Secret of Her Clothes
by Michael R. Burch

The secret of her clothes
is that they whisper a little mysteriously
of things unseen

in the language of nylon and cotton,
so that when she walks
to her amorous drawers

to rummage among the embroidered hearts
and rumors of pastel slips
for a white wisp of Victorian lace,

the delicate rustle of fabric on fabric,
the slightest whisper of telltale static,
electrifies me.

Published by Erosha, Velvet Avalanche (Anthology), Turnupwater and Poetry Life & Times



Christina Aguilera

Moments
by Michael R. Burch

There were moments full of promise,
like the petal-scented rainfall of early spring,
when to hold you in my arms and to kiss your willing lips
seemed everything.

There are moments strangely empty
full of pale unearthly twilight—how the cold stars stare!—
when to be without you is a dark enchantment
the night and I share.



Ingrid Bergman [1915-1982]

Ingrid Bergman won three Oscars, two Tony awards, and an Emmy. Generally considered to be one of the very best female actors, she is best known for her roles in Casablanca, Anastasia, For Whom The Bell Tolls, Gaslight and Alfred Hitchcock's Notorious and Spellbound.

The Peripheries of Love
by Michael R. Burch

Through waning afternoons we glide
the watery peripheries of love.
A silence, a quietude falls.

Above us—the sagging pavilions of clouds.
Below us—rough pebbles slowly worn smooth
grate in the gentle turbulence
of yesterday’s forgotten rains.

Later, the moon like a virgin
lifts her stricken white face
and the waters rise
toward some unfathomable shore.

We sway gently in the wake
of what stirs beneath us,
yet leaves us unmoved ...
curiously motionless,

as though twilight might blur
the effects of proximity and distance,
as though love might be near—

as near
as a single cupped tear of resilient dew
or a long-awaited face.



Ava Gardner [1922-1990]

Free Fall
by Michael R. Burch

These cloudless nights, the sky becomes a wheel
where suns revolve around an axle star ...
Look there, and choose. Decide which moon is yours.
Sink Lethe-ward, held only by a heel.

Advantage. Disadvantage. Who can tell?
To see is not to know, but you can feel
the tug sometimes—the gravity, the shell
as lustrous as damp pearl. You sink, you reel

toward some draining revelation. Air—
too thin to grasp, to breathe. Such pressure. Gasp.
The stars invert, electric, everywhere.
And so we fall, down-tumbling through night’s fissure ...

two beings pale, intent to fall forever
around each other—fumbling at love’s tether ...
now separate, now distant, now together.

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.

"Venus, goddess of love that you are..."

The picture of Ava Gardner on a beach in a white bikini, standing on her tiptoes, is one of my favorite pictures of all time. She looks like a goddess. I also love the picture of Ava Gardner reading in a deck chair, and pausing to smile for the camera. I believe both beach pictures are from 1945. She was born on Christmas Eve, 1922. A talented actress, she was nominated for an Oscar for her lead role in Mogambo (1953). She auditioned for the lead in The Graduate, but insisted that "I strip for no one" and the part was given to Anne Bancroft.

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.



Gene Tierney [1920-1991]

Sweet Rose of Virtue
by William Dunbar
loose translation/interpretation by Michael R. Burch

Sweet rose of virtue and of gentleness,
delightful lily of youthful wantonness,
richest in bounty and in beauty clear
and in every virtue men hold most dear―
except only that you are merciless.

Into your garden, today, I followed you;
there I found flowers of freshest hue,
both white and red, delightful to see,
and wholesome herbs, waving resplendently―
yet nowhere one leaf nor petal of rue.

I fear that March with his last arctic blast
has slain my fair flower and left her downcast;
whose piteous death does my heart such pain
that I long to plant love's root again―
so comforting her bowering leaves have been.

If the tenth line seems confusing, it helps to know that rue symbolizes pity and also has medicinal uses; thus I believe the unrequiting lover is being accused of a lack of compassion and perhaps of withholding her healing attentions. The penultimate line can be taken as a rather naughty double entendre, but I will leave that interpretation up to the reader!



Ginger Rogers [1911-1995]

Autumn Conundrum
by Michael R. Burch

It's not that every leaf must finally fall,
it's just that we can never catch them all.



Lana Turner [1921-1995]

Let Me Give Her Diamonds
by Michael R. Burch

Let me give her diamonds
for my heart’s
sharp edges.

Let me give her roses
for my soul’s
thorn.

Let me give her solace
for my words
of treason.

Let the flowering of love
outlast a winter
season.

Let me give her books
for all my lack
of reason.

Let me give her candles
for my lack
of fire.

Let me kindle incense,
for our hearts
require

the breath-fanned
flaming perfume
of desire.



Grace Kelly [1929-1982]

Roses for a Lover, Idealized
by Michael R. Burch

When you have become to me
as roses bloom, in memory,
exquisite, each sharp thorn forgot,
will I recall—yours made me bleed?

When winter makes me think of you—
whorls petrified in frozen dew,
bright promises blithe spring forsook,
will I recall your words—barbed, cruel?


Vivien Leigh [1913-1967]

Violets
by Michael R. Burch

Once, only once,
when the wind flicked your skirt
to an indiscreet height

and you laughed,
abruptly demure,
outblushing shocked violets:

suddenly,
I knew:
everything had changed

and as you braided your hair
into long bluish plaits
the shadows empurpled,

the dragonflies’
last darting feints
dissolving mid-air,

we watched the sun’s long glide
into evening,
knowing and unknowing.

O, how the illusions of love
await us in the commonplace
and rare

then haunt our small remainder of hours.

"Violets" is one of my most popular poems according to Google and was the title poem of my poetry collection Violets for Beth.



Veronica Lake [1919-1973]

don’t forget
by michael r. burch

for Beth

don’t forget to remember
that Space is curved (like your Heart)
and that even Light
is bent by your Gravity.

The opening lines of my poem were inspired by and taken from a famous love poem by e. e. cummings. I like my poem, but in this case most of the credit is due to mr. cummings.

Veronica Lake was breathtakingly beautiful. As a teenager, she was expelled from an all-girls Catholic boarding school, so she may have been a bit naughty in her youth (but then who wasn't?). As an adult she was arrested for public drunkenness more than once. With art perhaps imitating life, she became known for playing notorious femme fatales in film noirs.

The Sky Was Turning Blue
by Michael R. Burch

Yesterday I saw you
as the snow flurries died,
spent winds becalmed.
When I saw your solemn face
alone in the crowd,
I felt my heart, so long embalmed,
begin to beat aloud.

Was it another winter,
another day like this?
Was it so long ago?
Where you the rose-cheeked girl
who slapped my face, then stole a kiss?
Was the sky this gray with snow,
my heart so all a-whirl?

How is it in one moment
it was twenty years ago,
lost worlds remade anew?
When your eyes met mine, I knew
you felt it too, as though
we heard the robin's song
and the sky was turning blue.

Gypsy Rose Lee [1911-1970]

Gypsy Rose Lee, born Rose Louise Hovick, was a famous burlesque performer known far and wide for her stripteases. But she was also a dancer, actress, producer, author, and playwright whose 1957 memoir was made into the stage musical and film Gypsy. She also wrote a mystery novel called The G-String Murders and co-produced a musical revue called Star and Garter. It is said that her first striptease was accidental, occurring when the strap of her gown broke, causing it to fall to the floor during one of her acts. She went on to develop a more casual style of striptease, emphasizing the "tease" and incorporating humor. She was frequently arrested during police raids on her shows, which would be considered quite tame and in good taste today.

This Distance Between Us
by Michael R. Burch

This distance between us,
this vast gulf of remembrance
void of understanding,
sets us apart.

You are so far,
lost child,
weeping for consolation,
so dear to my heart.

Once near to my heart,
though seldom to touch,
now you are foreign,
now you grow faint …

like the wayward light of a vagabond star—
obscure, enigmatic.
Is the reveling gypsy
becoming a saint?

Now loneliness,
a broad expanse
—barren, forbidding—
whispers my name.

I, too, am a traveler
down this dark path,
unsure of the footing,
cursing the rain.

I, too, have felt pain,
pain and the ache of passion unfulfilled,
remorse, grief, and all the terrors
of the night.

And how very black
and how bleak my despair …
O, where are you, where are you
shining tonight?

My grandmother’s nickname was Gypsy due to her dark complexion, so this seems like a good time to right an old wrong…

She Always Grew Roses
by Michael R. Burch

for my grandmother, Lillian Lee

Tell us, heart, what the season discloses.
“Too little loved by the ego in its poses,
she always grew roses.”

What the heart would embrace, the ego opposes,
fritters away, and sometimes bulldozes.
Tell us, heart, what the season discloses.

“Too little loved by the ego in its poses,
she loved nonetheless, as her legacy discloses—
she always grew roses.”

How does one repent when regret discomposes?
When the shadow of guilt, at last, interposes?
Tell us, heart, what the season discloses.

“Too little loved by the ego in its poses,
she continued to love, as her handiwork shows us,
and she always grew roses.”

Too little, too late, the grieved heart imposes
its too-patient will as the opened book recloses.
Tell us, heart, what the season discloses.
“She always grew roses.”

The opened-then-closed book is a picture album. The season is late fall because it was in my autumn years that I realized I had written poems for everyone in my family except Grandma Lee. Hopefully it is never too late to repent and correct an old wrong. And because I have included a poem for my paternal grandmother, I must include one for my maternal grandmother as well…

Little Sparrow
by Michael R. Burch

for my petite grandmother, Christine Ena Hurt, who couldn’t carry a note, but sang her heart out with great joy, accompanied, I have no doubt, by angels

“In praise of Love and Life we bring
this sacramental offering.”
Little sparrow of a woman, sing!

What did she have? Hardly a thing.
A roof, plain food, and a tiny gold ring.
Yet, “In praise of Love and Life we bring

this sacramental offering.”
“Hosanna!” angelic choirs ring.
Little sparrow of a woman, sing!

Whence comes this praise, as angels sing
to her tuneless voice? What of Death’s sting?
Yet, “In praise of Love and Life we bring

this sacramental offering.”
Let others have their stoles and bling.
Little sparrow of a woman, sing!

“In praise of Love and Life we bring
this sacramental offering
as the harps of beaming angels ring.
Little sparrow of a woman, sing!”



Dorothy Dandridge [1922-1965]

Dorothy Jean Dandridge was an African-American film and theatre actress, singer and dancer. She was the first black actress to be nominated for an Academy Award for Best Actress for her performance in the 1954 film Carmen Jones. In 1959, she was nominated for a Golden Globe Award for Porgy and Bess. Dandridge also performed as a vocalist in venues such as the Cotton Club and the Apollo Theater.

Dance With Me
by Michael R. Burch

circa age 18

Dance with me
to the fiddles’ plaintive harmonies.

Enchantingly,
each highstrung string,
each yearning key,
each a thread within the threnody,
bids us, "Waltz!"
then sets us free
to wander, dancing aimlessly.

Let us kiss
beneath the stars
as we slowly meet ...
we'll part
laughing gaily as we go
to measure love’s arpeggios.

Yes, dance with me,
enticingly;
press your lips to mine,
then flee.

The night is young,
the stars are wild;
embrace me now,
my sweet, beguiled,
and dance with me.

The curtains are drawn,
the stage is set
—patterned all in grey and jet—
where couples in like darkness met
—careless airy silhouettes—
to try love's timeless pirouettes.

They, too, spun across the lawn
to die in shadowy dark verdant.

But dance with me.

Sweet Merrilee,
don't cry; I see
the ironies of all the years
within the moonlight on your tears,
and every virgin has her fears ...

So laugh with me
unheedingly;
love's gaiety is not for those
who fail to heed the music`s flow,
but it is ours.

Now fade away
like summer rain,
then pirouette ...
the dance of stars
that waltz among night's meteors
must be the dance we dance tonight.

Then come again—
like a sultry wind.

Your slender body as you sway
belies the ripeness of your age,
for a woman's body burns tonight
beneath your gown of virgin white—
a woman's breasts now rise and fall
in answer to an ancient call,
and a woman's hips—soft, yet full—
now gently at your garments pull.

So dance with me,
sweet Merrilee ...
the music bids us,
"Waltz!"

Don't flee!

Let us kiss
beneath the stars;
love's passing pains will leave no scars
as we whirl beneath false moons
and heed the fiddle’s plaintive tunes ...

Oh, Merrilee,
the curtains are drawn,
the stage is set,
we, too, are stars beyond night's depths.
So dance with me.

I distinctly remember writing this poem my freshman year in college, circa 1976-1977, after meeting George King, who taught the creative writing classes there. I would have been 18 when I started the poem, but it didn’t always cooperate and I seem to remember working on it the following year as well.

The Effects of Memory
by Michael R. Burch

A black ringlet
curls to lie
at the nape of her neck,
glistening with sweat
in the evaporate moonlight ...
This is what I remember

now that I cannot forget.

And tonight,
if I have forgotten her name,
I remember:
rigid wire and white lace
half-impressed in her flesh ...

our soft cries, like regret,

... the enameled white clips
of her bra strap
still inscribe dimpled marks
that my kisses erase ...

now that I have forgotten her face.



Greta Garbo [1905-1990]

"There are many things in your heart you can never tell to another person. They are you, your private joys and sorrows, and you can never tell them. You cheapen yourself, the inside of yourself, when you tell them." — Greta Garbo

Enigma
by Michael R. Burch

for Beth

O, terrible angel,
bright lover and avenger,
full of whimsical light and vile anger;
wild stranger,
seeking the solace of night, or the danger;
pale foreigner,
alien to man, or savior.

Who are you,
seeking consolation and passion
in the same breath,
screaming for pleasure, bereft
of all articles of faith,
finding life
harsher than death?

Grieving angel,
giving more than taking,
how lucky the man
who has found in your love, this—our reclamation;
fallen wren,
you must strive to fly though your heart is shaken;
weary pilgrim,
you must not give up though your feet are aching;
lonely child,
lie here still in my arms; you must soon be waking.



Audrey Hepburn [1929-1993]

Audrey Hepburn was a real-life daredevil and war hero who played cat-and-mouse reconnaissance games with the Nazis during World War II as a petite member of the Belgian Resistance. She helped downed Allied pilots evade the Nazis and work their way back to freedom. That was a very dangerous job for anyone, and especially a very attractive slip of a girl.

Daredevil
by Michael R. Burch

There are days that I believe
(and nights that I deny)
love is not mutilation.

Daredevil, dry your eyes.

There are tightropes leaps bereave—
taut wires strumming high
brief songs, infatuations.

Daredevil, dry your eyes.

There were cannon shots’ soirees,
hearts barricaded, wise …
and then … annihilation.

Daredevil, dry your eyes.

There were nights our hearts conceived
untruths reborn as sighs.
To dream was our consolation.

Daredevil, dry your eyes.

There were acrobatic leaves
that tumbled down to lie
at our feet, bright trepidations.

Daredevil, dry your eyes.

There were hearts carved into trees—
tall stakes where you and I
left childhood’s salt libations …

Daredevil, dry your eyes.

Where once you scraped your knees;
love later bruised your thighs.
Death numbs all, our sedation.

Daredevil, dry your eyes.



Lauren Bacall [1924-2014]

Nothing Returns
by Michael R. Burch

A wave implodes,
impaled upon
impassive rocks …

this evening
the thunder of the sea
is a wild music filling my ear …

you are leaving
and the ungrieving
winds demur:

telling me
that nothing returns
as it was before,

here where you have left no mark
upon this dark
Heraclitean shore.

Brooke Shields

She Was Very Strange, and Beautiful
by Michael R. Burch

She was very strange, and beautiful,
like a violet mist enshrouding hills
before night falls
when the hoot owl calls
and the cricket trills
and the envapored moon hangs low and full.

She was very strange, in her pleasant way,
as the hummingbird
flies madly still, ...
so I drank my fill
of her every word.
What she knew of love, she demurred to say.

She was meant to leave, as the wind must blow,
as the sun must set,
as the rain must fall.
Though she gave her all,
I had nothing left ...
yet I smiled, bereft, in her receding glow.



Elizabeth Taylor [1932-2011]

Warming her pearls,
her breasts gleam like constellations.
Her belly is a bit rotund . . .
she might have stepped out of a Rubens.
—Michael R. Burch



Brigitte Bardot

Brigitte Bardot was a ballet dancer nicknamed "Little Doe" by her colleagues. One of her classmates at ballet school was Leslie Caron. She later became a model, then an actress after fortuitously babysitting for the movie director Roger Vadim, whom she later married. She was frequently cast as ingénue or siren, in varying states of undress.

Chloe
by Michael R. Burch

There were skies onyx at night … moons by day …
lakes pale as her eyes … breathless winds
undressing tall elms; … she would say
that we loved, but I figured we’d sinned.

Soon impatiens too fiery to stay
sagged; the crocus bells drooped, golden-limned;
things of brightness, rinsed out, ran to gray …
all the light of that world softly dimmed.

Where our feet were inclined, we would stray;
there were paths where dead weeds stood untrimmed,
distant mountains that loomed in our way,
thunder booming down valleys dark-hymned.

What I found, I found lost in her face
while yielding all my virtue to her grace.



Bette Davis [1908-1989]

"She's got Bette Davis eyes ..."

The Princess and the Pauper
by Michael R. Burch

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.



Doris Eaton Travis [1904-2010]

Doris Eaton Travis was the last living Ziegfeld Girl…

Crescendo Against Heaven
by Michael R. Burch

As curiously formal as the rose,
the imperious Word grows
until it sheds red-gilded leaves:
then heaven grieves
love’s tiny pool of crimson recrimination
against God, its contention
of the price of salvation.

These industrious trees,
endlessly losing and re-losing their leaves,
finally unleashing themselves from earth, lashing
themselves to bits, washing
themselves free
of all but the final ignominy
of death, become
at last: fast planks of our coffins, dumb.

Together now, rude coffins, crosses,
death-cursed but bright vermilion roses,
bodies, stumps, tears, words: conspire
together with a nearby spire
to raise their Accusation Dire …
to scream, complain, to point out these
and other Dark Anomalies.

God always silent, ever afar,
distant as Bethlehem’s retrograde star,
we point out now, in resignation:
You asked too much of man’s beleaguered nation,
gave too much strength to his Enemy,
as though to prove Your Self greater than He,
at our expense, and so men die
(whose accusations vex the sky)
yet hope, somehow, that You are good …
just, O greatest of Poets!, misunderstood.



Norma Jean Baker [1926-1962], better known as Marilyn Monroe

"Goodbye Norma Jean, we never knew you at all ..."

Her Radiant Highness Princess Diana [1961-1997]

Diana Spencer became world-famous as Princess Diana when she married England's heir to the throne, Prince Charles.

Fairest Diana
by Michael R. Burch

Fairest Diana, princess of dreams,
born to be loved and yet distant and lone,
why did you linger—so solemn, so lovely—
an orchid ablaze in a crevice of stone?

Was not your heart meant for tenderest passions?
Surely your lips—for wild kisses, not vows!
Why then did you languish, though lustrous, becoming
a pearl of enchantment cast before sows?

Fairest Diana, fragile as lilac,
as willful as rainfall, as true as the rose;
how did a stanza of silver-bright verse
come to be bound in a book of dull prose?

I believe this poem was written in the late 1970s or very early 1980s, around the time it became apparent that the lovely Diana Spencer was going to marry into the British royal family. It really did seem like an orchid being placed in a crevice of stone. My mother is English and our family had considerable interest in the courtship. I believe I wrote the poem before the wedding. I will guess around 1980 at an enamored age 22.

Ghost
by Michael R. Burch

White in the shadows
I see your face,
unbidden. Go, tell
Love it is commonplace;

Tell Regret it is not so rare.

Our love is not here
though you smile,
full of sedulous grace.

Lost in darkness, I fear
the past is our resting place.



Bar Rafaeli

For All That I Remembered
by Michael R. Burch

For all that I remembered, I forgot
her name, her face, the reason that we loved ...
and yet I hold her close within my thought.
I feel the burnished weight of auburn hair
that fell across her face, the apricot
clean scent of her shampoo, the way she glowed
so palely in the moonlight, angel-wan.

The memory of her gathers like a flood
and bears me to that night, that only night,
when she and I were one, and if I could ...
I'd reach to her this time and, smiling, brush
the hair out of her eyes, and hold intact
each feature, each impression. Love is such
a threadbare sort of magic, it is gone
before we recognize it. I would crush
my lips to hers to hold their memory,
if not more tightly, less elusively.



Mila Jovovich

Floating
by Michael R. Burch

Memories flood the sand’s unfolding scroll;
they pour in with the long, cursive tides of night.

Memories of revenant blue eyes and wild lips
moist and frantic against my own.

Memories of ghostly white limbs . . .
of soft sighs
heard once again in the surf’s strangled moans.

We meet in the scarred, fissured caves of old dreams,
green waves of algae billowing about you,
becoming your hair.

Suspended there,
where pale sunset discolors the sea,
I see all that you are
and all that you have become to me.

Your love is a sea,
and I am its trawler—
harbored in dreams,
I ride out night’s storms.

Unanchored, I drift through the hours before morning,
dreaming the solace of your warm breasts,
pondering your riddles, savoring the feel
of the explosions of your hot, saline breath.

And I rise sometimes
from the tropical darkness
to gaze once again out over the sea . . .
You watch in the moonlight
that brushes the water;

bright waves throw back your reflection at me.

This is one of my more surreal poems, as the sea and lover become one. I believe I wrote this one at age 19. It has been published by Penny Dreadful, Romantics Quarterly, Boston Poetry Magazine and Poetry Life & Times. The poem may have had a different title when it was originally published, but it escapes me . . . ah, yes, "Entanglements."

Amy Adams

You came to me as rain breaks on the desert
when every flower springs to life at once.
But joys are wan illusions to the expert:
the Bedouin has learned how not to want.
—Michael R. Burch, "Water and Gold"



Kate Winslet

Ordinary Love
by Michael R. Burch

Indescribable—our love—and still we say
with eyes averted, turning out the light,
"I love you," in the ordinary way

and tug the coverlet where once we lay,
all suntanned limbs entangled, shivering, white ...
indescribably in love. Or so we say.

Your hair's blonde thicket now is tangle-gray;
you turn your back; you murmur to the night,
"I love you," in the ordinary way.

Beneath the sheets our hands and feet would stray
to warm ourselves. We do not touch despite
a love so indescribable. We say

we're older now, that "love" has had its day.
But that which Love once countenanced, delight,
still makes you indescribable. I say,
"I love you," in the ordinary way.

Winner of the 2001 Algernon Charles Swinburne poetry contest; originally published by Romantics Quarterly where it was nominated for the Pushcart Prize.



Liv Tyler

Desdemona
by Michael R. Burch

Though you possessed the moon and stars,
you are bound to fate and wed to chance.
Your lips deny they crave a kiss;
your feet deny they ache to dance.
Your heart imagines wild romance.

Though you cupped fire in your hands
and molded incandescent forms,
you are barren now, and—spent of flame—
the ashes that remain are borne
toward the sun upon a storm.

You, who demanded more, have less,
your heart within its cells of sighs
held fast by chains of misery,
confined till death for peddling lies—
imprisonment your sense denies.

You, who collected hearts like leaves
and pressed each once within your book,
forgot. None—winsome, bright or rare—
not one was worth a second look.
My heart, as others, you forsook.

But I, though I loved you from afar
through silent dawns, and gathered rue
from gardens where your footsteps left
cold paths among the asters, knew—
each moonless night the nettles grew

and strangled hope, where love dies too.



Jennifer Aniston

The Toast
by Michael R. Burch

For longings warmed by tepid suns
(brief lusts that animated clay),
for passions wilted at the bud
and skies grown desolate and gray,
for stars that fell from tinseled heights
and mountains bleak and scarred and lone,
for seas reflecting distant suns
and weeds that thrive where seeds were sown,
for waltzes ending in a hush,
for rhymes that fade as pages close,
for flames' exhausted, drifting ash,
and petals falling from the rose, …
I raise my cup before I drink,
saluting ghosts of loves long dead,
and silently propose a toast—
to joys set free, and those I fled.



Rihanna

Once
by Michael R. Burch

for Beth

Once when her kisses were fire incarnate
and left in their imprint bright lipstick, and flame,
when her breath rose and fell over smoldering dunes,
leaving me listlessly sighing her name . . .

Once when her breasts were as pale, as beguiling,
as wan rivers of sand shedding heat like a mist,
when her words would at times softly, mildly rebuke me
all the while as her lips did more wildly insist . . .

Once when the thought of her echoed and whispered
through vast wastelands of need like a Bedouin chant,
I ached for the touch of her lips with such longing
that I vowed all my former vows to recant . . .

Once, only once, something bloomed, of a desiccate seed—
this implausible blossom her wild rains of kisses decreed.



Christina Applegate

Distances
by Michael R. Burch

Moonbeams on water —
the reflected light
of a halcyon star
now drowning in night ...
So your memories are.

Footprints on beaches
now flooding with water;
the small, broken ribcage
of some primitive slaughter ...
So near, yet so far.

"Distances" is in the process of being set to music by the award-winning New Zealand composer David Hamilton. In the first stanza the "halcyon star" is the sun, which has dropped below the horizon and is thus "drowning in night." But its light strikes the moon, creating moonbeams which are reflected by the water. Sometimes memories seem that distant, that faint, that elusive. Footprints are being washed away, a heart is missing from its ribcage, and even things close at hand can seem infinitely beyond our reach.



Bettie Page [1923-2008]

Bettie Page was one of the first Playboy "playmates" and she was so notorious for doing bondage stills and films that the movie made about her life was titled The Notorious Bettie Page. In 1958, she retired to become a Christian evangelist, after which she returned to live in her Bible belt hometown, Nashville, and went on to do full-time work with Billy Graham. Ironically, after her conversion she had a nervous breakdown and was institutionalized as insane for eight years.

Sex Hex
by Michael R. Burch

Love’s full of cute paradoxes
(and highly acute poxes).

Katy Perry as the second coming of Bettie Page

Sharon
by Michael R. Burch

apologies to Byron

I.
Flamingo-minted, pink, pink cheeks,
dark hair streaked with a lisp of dawnlight;
I have seen your shadow creep
through eerie webs spun out of twilight...

And I have longed to kiss your lips,
as sweet as the honeysuckle blooms;
to hold your pale albescent body,
more curvaceous than the moon...

II.
Black-haired beauty, like the night,
stay with me till morning's light.
In shadows, Sharon, become love
until the sun lights our alcove.

Red, red lips reveal white stone:
whet my own, my passions hone.
My all in all I give to you,
in our tongues' exchange of dew.

Now all I ever ask of you
is: do with me what now you do.
In shadows, Sharon, shed your gown;
let all night's walls come tumbling down.

III.

Now I will love you long, Sharon,
as long as longing may be.

The first and third sections are all I can remember of a "Sharon" poem that I destroyed in a fit of frustration about my writing, around age 15. The middle section was a separate poem written around age 17. My "Sharon" poems were influenced by Lord Byron's famous poem "She Walks in Beauty (Like the Night)."



Kim Novak

While you decline to cry,
high on the mountainside
a single stalk of plumegrass wilts.
― Ō no Yasumaro, loose translation/interpretation by Michael R. Burch

Grasses wilt:
the braking locomotive
grinds to a halt
― Yamaguchi Seishi, loose translation/interpretation by Michael R. Burch



Rita Hayworth [1918-1987]

"Rita Hayworth gave good face ..."

Myth
by Michael R. Burch

Here the recalcitrant wind
sighs with grievance and remorse
over fields of wayward gorse
and thistle-throttled lanes.

And she is the myth of the scythed wheat
hewn and sighing, complete,
waiting, lain in a low sheaf—
full of faith, full of grief.

Here the immaculate dawn
requires belief of the leafed earth
and she is the myth of the mown grain—
golden and humble in all its weary worth.



Raquel Welch

Almost
by Michael R. Burch

We had—almost—an affair.
You almost ran your fingers through my hair.
I almost kissed the almonds of your toes.
We almost loved,
that’s always how love goes.

You almost contemplated using Nair
and adding henna highlights to your hair,
while I considered plucking you a Rose.
We almost loved,
that’s always how love goes.

I almost found the words to say, “I care.”
We almost kissed, and yet you didn’t dare.
I heard coarse stubble grate against your hose.
We almost loved,
that’s always how love goes.

You almost called me suave and debonair
(perhaps because my chest is pale and bare?).
I almost bought you edible underclothes.
We almost loved,
that’s always how love goes.

I almost asked you where you kept your lair
and if by chance I might seduce you there.
You almost tweezed the redwoods from my nose.
We almost loved,
that’s always how love goes.

We almost danced like Rogers and Astaire
on gliding feet; we almost waltzed on air …
until I mashed your plain, unpolished toes.
We almost loved,
that’s always how love goes.

I almost was strange Sonny to your Cher.
We almost sat in love’s electric chair
to be enlightninged, till our hearts unfroze.
We almost loved,
that’s always how love goes.

Originally published by Lighten Up Online



Lynda Carter

The Love Song of Shu-Sin
loose translation/interpretation by Michael R. Burch

Darling of my heart, my belovèd,
your enticements are sweet, far sweeter than honey!
Darling of my heart, my belovèd,
your enticements are sweet, far sweeter than honey!

You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!
You have captivated me; I stand trembling before you.
Darling, lead me swiftly into the bedroom!

Sweetheart, let me do the sweetest things for you!
This crevice you'll caress is far sweeter than honey!
In the bedchamber, dripping love’s honey,
let us enjoy the sweetest thing.
Sweetheart, let me do the sweetest things for you!
This crevice you'll caress is far sweeter than honey!

Bridegroom, you will have your pleasure with me!
Speak to my mother and she will reward you;
speak to my father and he will give you gifts.
I know how to give your body pleasure—
then sleep easily, my darling, until the sun dawns.

To prove that you love me,
give me your caresses,
my Lord God, my guardian Angel and protector,
my Shu-Sin, who gladdens Enlil’s heart,
give me your caresses!

My place like sticky honey, touch it with your hand!
Place your hand over it like a honey-pot lid!
Cup your hand over it like a honey cup!

This is a balbale-song of Inanna.

This may be earth’s oldest love poem. It may have been written around 2000 BC, long before the Bible’s “Song of Solomon,” which had been considered to be the oldest extant love poem by some experts. My translation of "The Love Song of Shu-Sin" is one of the 10 best ancient love poems according to Literary Devices and was the first poem listed.

Goddess
by Michael R. Burch

“What will you conceive in me?”—
I asked her. But she
only smiled.

“Naked, I bore your child
when the wolf wind howled,
when the cold moon scowled . . .
naked, and gladly.”

“What will become of me?”—
I asked her, as she
absently stroked my hand.

Centuries later, I understand;
she whispered—“I Am.”



Kim Basinger

The Communion of Sighs
by Michael R. Burch

There was a moment
  without the sound of trumpets or a shining light,
    but with only silence and darkness and a cool mist
      felt more than seen.
      I was eighteen,
    my heart pounding wildly within me like a fist.
  Expectation hung like a cry in the night,
and your eyes shone like the corona of a comet.

There was an instant ...
  without words, but with a deeper communion,
    as clothing first, then inhibitions fell;
      liquidly our lips met
      —feverish, wet—
    forgotten, the tales of heaven and hell,
  in the immediacy of our fumbling union ...
when the rest of the world became distant.

Then the only light was the moon on the rise,
and the only sound, the communion of sighs.

This is one of my early poems but I can’t remember exactly when I wrote it. Due to the romantic style, I believe it was probably written during my first two years in college, making me 18 or 19 at the time.



Sherry Britton [1918-2008]

Water and Gold
by Michael R. Burch

You came to me as rain breaks on the desert
when every flower springs to life at once.
But joys? Mere wan illusions to the expert:
the Bedouin has learned how not to want.

You came to me as riches to a miser
when all is gold, or so his heart believes,
until he dies much thinner and much wiser,
his gleaming bones hauled off by chortling thieves.

You gave your heart too soon, too dear, too vastly;
I could not take it in; it was too much.
I pledged to meet your price, but promised rashly.
I died of thirst, of your bright Midas touch.

I dreamed you gave me water of your lips,
then sealed my tomb with golden hieroglyphs.

Sherry Britton was said to have "a figure to die for," and who can possibly disagree? She was a dancer who stripped to classical music, wearing tiaras and crowns, during the golden age of burlesque. If there was ever a more perfect female figure, I certainly haven't seen it and can't imagine it. Britton spent much of her time during WWII entertaining troops, for which she was made an honorary Brigadier General by President Franklin D. Roosevelt. After retiring, she attended Fordham and graduated magna cum laude at the age of 63.

Squall
by Michael R. Burch

There, in that sunny arbor,
in the aureate light
filtering through the waxy leaves
of a stunted banana tree,

I felt the sudden monsoon of your wrath,
the clattery implosions
and copper-bright bursts
of the bottoms of pots and pans.

I saw your swollen goddess’s belly
wobble and heave
in pregnant indignation,
turned tail, and ran.



Elle Macpherson "the Body"

Because You Came to Me
by Michael R. Burch

for Beth

Because you came to me with sweet compassion
and kissed my furrowed brow and smoothed my hair,
I do not love you after any fashion,
but wildly, in despair.

Because you came to me in my black torment
and kissed me fiercely, blazing like the sun
upon parched desert dunes, till in dawn’s foment
they melt, I am undone.

Because I am undone, you have remade me
as suns bring life, as brilliant rains endow
the earth below with leaves, where you now shade me
and bower me, somehow.



Victoria Pendleton, Cycling Champion

Eros harrows my heart:
wild winds whipping desolate mountains,
uprooting oaks.
―Sappho, fragment 42, loose translation/interpretation by Michael R. Burch



Kelly LeBrock

This day of chrysanthemums
I shake and comb my wet hair,
as their petals shed rain
― Hisajo Sugita, loose translation/interpretation by Michael R. Burch



Jennifer Lawrence

The moon has long since set;
The Pleiades are gone;
Now half the night is spent,
Yet here I lie ... alone.
―Sappho, fragment 156, loose translation/interpretation by Michael R. Burch



Megan Fox

She keeps her scents
in a dressing-case.
And her sense?
In some undiscoverable place.
―Sappho, loose translation/interpretation by Michael R. Burch



Stephanie Seymour

Snapshots
by Michael R. Burch

Here I scrawl extravagant rainbows.
And there you go, skipping your way to school.
And here we are, drifting apart
like untethered balloons.

Here I am, creating "art,"
chanting in shadows,
pale as the crinoline moon,
ignoring your face.

There you go,
in diaphanous lace,
making another man’s heart swoon.
Suddenly, unthinkably, here he is,
taking my place.



Adriana Lima

A short revealing frock?
It's just my luck
your lips were made to mock!
―Sappho, loose translation/interpretation by Michael R. Burch



Cindy Crawford

After the Deluge
by Michael R. Burch

for Beth

She was kinder than light
to an up-reaching flower
and sweeter than rain
to the bees in their bower
where anemones blush
at the affections they shower,
and love’s shocking power.

She shocked me to life,
but soon left me to wither.
I was listless without her,
nor could I be with her.
I fell under the spell
of her absence’s power.
in that calamitous hour.

Like blithe showers that fled
repealing spring’s sweetness;
like suns’ warming rays sped
away, with such fleetness ...
she has taken my heart—
alas, our completeness!
I now wilt in pale beams
of her occult remembrance.



Alicia Whitten

How Long the Night
(Anonymous Old English Lyric, circa early 13th century AD)
loose translation/interpretation by Michael R. Burch

It is pleasant, indeed, while the summer lasts
with the mild pheasants' song ...
but now I feel the northern wind's blast—
its severe weather strong.
Alas! Alas! This night seems so long!
And I, because of my momentous wrong
now grieve, mourn and fast.



Gillian Anderson

Redolence
by Michael R. Burch

Now darkness ponds upon the violet hills;
cicadas sing; the tall elms gently sway;
and night bends near, a deepening shade of gray;
the bass concerto of a bullfrog fills
what silence there once was; globed searchlights play.

Green hanging ferns adorn dark window sills,
all drooping fronds, awaiting morning’s flares;
mosquitoes whine; the lissome moth again
flits like a veiled oud-dancer, and endures
the fumblings of night’s enervate gray rain.

And now the pact of night is made complete;
the air is fresh and cool, washed of the grime
of the city’s ashen breath; and, for a time,
the fragrance of her clings, obscure and sweet.



Brigitte Bardot

Isolde's Song
by Michael R. Burch

Through our long years of dreaming to be one
we grew toward an enigmatic light
that gently warmed our tendrils. Was it sun?
We had no eyes to tell; we loved despite
the lack of all sensation—all but one:
we felt the night's deep chill, the air so bright
at dawn we quivered limply, overcome.

To touch was all we knew, and how to bask.
We knew to touch; we grew to touch; we felt
spring's urgency, midsummer's heat, fall's lash,
wild winter's ice and thaw and fervent melt.
We felt returning light and could not ask
its meaning, or if something was withheld
more glorious. To touch seemed life's great task.

At last the petal of me learned: unfold.
And you were there, surrounding me. We touched.
The curious golden pollens! Ah, we touched,
and learned to cling and, finally, to hold.

Originally published by The Raintown Review, where it was nominated for the Pushcart Prize.



Lola Albright

The Endeavors of Lips
by Michael R. Burch

How sweet the endeavors of lips—to speak
of the heights of those pleasures which left us weak
in love’s strangely lit beds, where the cold springs creak:
for there is no illusion like love ...

Grown childlike, we wish for those storied days,
for those bright sprays of flowers, those primrosed ways
that curled to the towers of Yesterdays
where She braided illusions of love ...

"O, let down your hair!"—we might call and call,
to the dark-slatted window, the moonlit wall ...
but our love is a shadow; we watch it crawl
like a spidery illusion. For love ...

was never as real as that first kiss seemed
when we read by the flashlight and dreamed.



Connie Stevens

Fountainhead
by Michael R. Burch

I did not delight in love so much
as in a kiss like linnets' wings,
the flutterings of a pulse so soft
the heart remembers, as it sings:
to bathe there was its transport, brushed
by marble lips, or porcelain,—
one liquid kiss, one cool outburst
from pale rosettes. What did it mean ...

to float awhirl on minute tides
within the compass of your eyes,
to feel your alabaster bust
grow cold within? Ecstatic sighs
seem hisses now; your eyes, serene,
reflect the sun's pale tourmaline.

Originally published by Romantics Quarterly



Myriam Fares

Myriam Fares is a Lebanese siren known as the "Queen of the Stage."

To Flower
by Michael R. Burch

When Pentheus ["grief'] went into the mountains in the garb of the bacchae, his mother [Agave] and the other maenads, possessed by Dionysus, tore him apart (Euripides, Bacchae; Apollodorus 3.5.2; Ovid, Metamorphoses 3.511-733; Hyginus, Fabulae 184). The agave dies as soon as it blooms; the moonflower, or night-blooming cereus, is a desert plant of similar fate.

We are not long for this earth, I know—
you and I, all our petals incurled,
till a night of pale brilliance, moonflower aglow.
Is there love anywhere in this strange world?
The Agave knows best when it's time to die
and rages to life with such rapturous leaves
her name means Illustrious. Each hour more high,
she claws toward heaven, for, if she believes
in love at all, she has left it behind
to flower, to flower. When darkness falls
she wilts down to meet it, where something crawls:
beheaded, bewildered. And since love is blind,
she never adored it, nor watches it go.
Can we be as she is, moonflower aglow?

US Verse, after Auden
by Michael R. Burch

“Let the living creature lie,
Mortal, guilty, but to me
The entirely beautiful.”

Verse has small value in our Unisphere,
nor is it fit for windy revelation.
It cannot legislate less taxing fears;
it cannot make us, several, a nation.
Enumerator of our sins and dreams,
it pens its cryptic numbers, and it sings,
a little quaintly, of the ways of love.
(It seems of little use for lesser things.)

The Unisphere mentioned is a large stainless steel representation of the earth; it was commissioned to celebrate the beginning of the space age for the 1964 New York World's Fair.

Sunset
by Michael R. Burch

This poem is dedicated to my grandfather, George Edwin Hurt, who died April 4, 1998.

Between the prophecies of morning
and twilight’s revelations of wonder,
the sky is ripped asunder.

The moon lurks in the clouds,
waiting, as if to plunder
the dusk of its lilac iridescence,

and in the bright-tentacled sunset
we imagine a presence
full of the fury of lost innocence.

What we find within strange whorls of drifting flame,
brief patterns mauling winds deform and maim,
we recognize at once, but cannot name.

I Pray Tonight
by Michael R. Burch

for everyone

I pray tonight
the starry Light
might
surround you.

I pray
by day
that, come what may,
no dark thing confound you.

I pray ere the morrow
an end to your sorrow.
May angels' white chorales
sing, and astound you.