I pray well now, when I try to create,
‘Can I use you?’ supplicate at love’s grave,
‘In a dubbed flick of old couples, him
and us -
Face turned away, blank smiles, lying,
near?
Let me empty albums full of yellowed
past,
And fake diaries too. I hear well now, your
silence.’
The show starts with an eerie whirring silence
That goes on and on and on used sets I recreate
The original, with extras in the cast,
Stunts, script, plot and actors grave,
Tales, leased or filched, from far and
near,
Mixed-n-matched, ready to serve them and
us.
Then at the temple, for the ninety nine
per cent us,
In a hall smoky with angst and doubt,
with silence,
With god, in the queue for dole nowhere
near
Enough, cursing them for dreams sold cheap
that create
Wants too dear, taking away all, all but
the past,
Our dream to have their fate buried
alive in a lost grave.
With bravado, without funds, with risks
grave,
Into alleys dark and empty, hoping the
queer old cuss
Luck will sell her wares to me, but that
bitter kind past
Master in playing with the mind, with
gags to silence
All protests, prods me to free-fall to
create,
With hope ephemeral, vanishing before
the end so near.
I spray paint my grey world with
imitations near-
Perfect, I smash mirrors with no reflections
of the grave
Of nameless faceless without genius to
create,
I try to do it alone but I tag along,
for my sake, (for us),
Behind a guru, a famous toad with broody
studied silence,
A plath and/or a rushdie without her end
and/or his fatwa past.
There’s my last trick, the houdini act
to escape my past -
‘Nothing sells better than guilt,’ says guru
dear.
I try a woman’s cry, an outcast’s
protest, a low-caste’s silence,
I pawn myself, pawed all over, crawling
into my own grave,
Admitting, with self-pity and despair,
there was never us,
Never love, never that self-destructing
desire to create.
Effingo ergo sum, my dictum till last,
as epitaph to engrave,
Or nothing, leaving silence and dead
bouquets for me, (for us),
Truth left alone near the blank headstone,
too lazy to create.
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ReplyDeleteI tried to write a sestina. I love the pattern. Of course, I changed the rules a little - because, that's what one has to do with rules, right? :-)
ReplyDeleteHere's some info from the Internet: www dot poets dot org":
The sestina follows a strict pattern of the repetition of the initial six end-words of the first stanza through the remaining five six-line stanzas, culminating in a three-line envoi. The lines may be of any length, though in its initial incarnation, the sestina followed a syllabic restriction.
The form is as follows, where each numeral indicates the stanza position and the letters represent end-words:
1. ABCDEF
2. FAEBDC
3. CFDABE
4. ECBFAD
5. DEACFB
6. BDFECA
7. (envoi) ECA or ACE