Monday, November 14, 2011


a ticking clock
fills the room

Wednesday, November 9, 2011

Gentle moments

She listens for the sound
of footsteps on the stairs,
waits by the kitchen door
to greet me.

A pot of tea in hand
we return to bed,
she bolts into the duvet
kneading my warmth.

I settle under,
her engine reving,
she twists and turns
nudging for attention.

Eyes watching mine,
she thrusts forward
our faces collide,
a wet nose, on mine.

Head resting on paws
her eyes gaze at me,
I stroke her soft fur,
her eyes blissful.

We doze a while,
her paws on my hand.
the rhythmic sound
gentles me into my day.

Curvy Woman

She caught my eye
with her giggling smile.
Heads above everyone,
I glanced to her feet,
she tottered, hoitily.

Arches sinking slim stilettos,
arms straggling lusting males,
she puckered her lips in delight,
I watched her flaunt and tease
and thought “what a sleaze”.

Hair of tight curls glistened
under the glowing light,
her beauty was luminous.
Dressed in emerald green,
she was any man’s dream.

Her tiny waist, cinched in
curvy hips, voluptuous.
Long legs astride,
arms now rambling.
green eyes flashing
I turned to look away.

For a beauty so sublime,
crows vie to touch her hair
blackbirds sing from her lips,
finches dance upon her hips,
robins peck at her heels,
wagtails nest within her knees,
She is the centre of desire,
as I watch her flaunt and flirt,
a woman, I secretly admire.

Cat up a tree

Cat's plea

This is a plea
stuck up a tree
I will pay a fee
just set me free

I'm hanging tight
what a plight
such a fright
its almost night.

Autumn Weaves

Silver threads span convex
on my windowpane.
A network of gossamer bridges
link wind-blown petals
to barren thorny branches,
fallen leaves to naked trees
and marry flies to bumble bees.

Perfectly formed labyrinths
designed to confuse,
tangle tender prey
stun them to submission.
Wrapped in tender string,
an invisible world is woven
bundling my garden as one.

Ghazi poem - Arabic form

The Ghazal is written in couplets. Traditionally very long, ancient Ghazals could have a hundred or more couplets but should contain at least five.
Similar to the lines in the Japanese Gogyohka (sometimes called 'phrases' or 'breaths'), each of these couplets should be able to exist separate from the rest of the poem, with its own sense of theme and context.
These couplets also have no internal rhyme; the form uses a mono-rhyme, which might seem overly simplistic when applied by English language writers but suited the Arabic language well as it only has three distinct vowel sounds.

Mono-rhyme means that a single rhyme runs through the entire poem. With the Ghazal, this rhyme comes from the first couplet, which also introduces a refrain in the final words, but is only referred to on the second line of each consecutive couplet.

There is no fixed metre though within one piece, every line should be the same length.

Finally, traditional Ghazals should include a reference to the poet in the final line.


When you left me I died for you.
When you returned I cried for you.

We stumbled through each darkened room
I always was a guide for you.

I dredged the depths of treachery
when you said no, I lied for you.

I ran the race just for your sake.
With my last breath I sighed for you.

My love demanded more respect
in every way I tried for you.

When your heart cut off all those ties
the tears Winston just dried for you.

My poem

When you arrive home, I will sing to you
I know I am more than a fling to you.

We dance to music on the radio
We twirl to the jive as I swing to you.

When I am alone, I think of your touch
I will always be a true love to you.

If you are not able to come to me,
I'll hop on a plane and wing it to you.

In times of trouble, when I need a friend
I know Maire can always turn to you.