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I never thought Cathy would get married in the comic strip. And I also thought I would never get married.

quote by Cathy Guisewite
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F.M. Doll

Take my doll put on her pretty clothes
Now don't you soil her dress
Brush her hair, paint her lips like a rose
Cover up your mess
Strip baby strip 'cause your daddy is watching
Strip baby strip just for me
Strip baby strip show your mother knows nothing
Strip baby strip Just for me, oh
Someone say doctor is my friend
Bruising is his cause
Behind closing doors
Strip baby strip for the soul of your brother
Strip baby strip for his wife
Strip baby strip 'cause you know she's not willing
Strip baby strip by the knife, Yeah
I lost my doll, put on my pretty clothes
I wont soil my dress
I brush my hair, paint my lips like a rose
I cover up my mess
Strip baby strip for the soul of your mother
Strip baby strip for her life
Strip baby strip 'cause you know you're worth nothing
Strip baby strip by the knife
Strip baby strip 'cause your daddy is watching
Strip baby strip just for me
Strip baby strip 'cause you know you're worth nothing
Strip baby strip for me, oh yeah

song performed by Queen Adreena
Added by Lucian Velea
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Wuthering Heights

Out on the wiley, windy moors
Wed roll and fall in green.
You had a temper like my jealousy:
Too hot, too greedy.
How could you leave me,
When I needed to possess you?
I hated you. I loved you, too.
Bad dreams in the night.
They told me I was going to lose the fight,
Leave behind my wuthering, wuthering
Wuthering heights.
Heathcliff, its me--cathy.
Come home. Im so cold!
Let me in-a-your window.
Heathcliff, its me--cathy.
Come home. Im so cold!
Let me in-a-your window.
Ooh, it gets dark! it gets lonely,
On the other side from you.
I pine a lot. I find the lot
Falls through without you.
Im coming back, love.
Cruel heathcliff, my one dream,
My only master.
Too long I roam in the night.
Im coming back to his side, to put it right.
Im coming home to wuthering, wuthering,
Wuthering heights,
Heathcliff, its me--cathy.
Come home. Im so cold!
Let me in-a-your window.
Heathcliff, its me--cathy.
Come home. Im so cold!
Let me in-a-your window.
Ooh! let me have it.
Let me grab your soul away.
Ooh! let me have it.
Let me grab your soul away.
You know its me--cathy!
Heathcliff, its me--cathy.
Come home. Im so cold!
Let me in-a-your window.
Heathcliff, its me--cathy.
Come home. Im so cold!
Let me in-a-your window.
Heathcliff, its me--cathy.
Come home. Im so cold!

song performed by Kate Bush
Added by Lucian Velea
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Joseph's Gloss On God

When Joseph tells his brothers: “I
am not God, ” he perhaps implies
that unlike God he sometimes lies,
and unlike Him, is doomed to die.

The words that Joseph never said
are wrong, as we find out when burned;
God often lies, a lesson learned
from history, and God is dead.

Inspired by a review by Paul Buhle of R. Crumb’s The Whole Book of Genesis, in Forward, October 10,2009 (“In the Image of God: The Ambition of R. Crumb’s Graphic Genesis”:

To say this book is a remarkable volume or even a landmark volume in comic art is somewhat of an understatement. It doesn’t hurt that excerpts of the book appeared during the summer in the New Yorker and that the Hammer Museum in Los Angeles is opening an exhibit of the original drawings from which the book’s contents were adapted. “The Book of Genesis, ” Robert Crumb’s version, nevertheless stands on its own as one of this century’s most ambitious artistic adaptations of the West’s oldest continuously told story.
No comic artist has been more influential than Crumb. In terms of sales, his work is dwarfed by the superheroes and, in comic art prestige. Art Spiegelman, and a short list of others including Alison Bechdel and Marjane Sartrapi may have displaced Crumb. But Crumb’s influence abides and endures in his occasional LP/CD covers, in his volumes of collected work (16 volumes so far and counting) , his artistic prizes and a generation of artists who have incorporated his particular view of humanity.
Surprisingly, his best work in 20 years has actually been in the genre of adaptation, specifically an adaptation of Franz Kafka, dating to the mid 1990s. On that highly curious point, any consideration of this “Genesis, ” as a highly personal comic art, properly begins. Notoriously, Crumb is a gentile who fled from his deeply dysfunctional Delaware family to the Cleveland neighborhood of Harvey Pekar and the arms of the first of two Jewish wives. “Crumb, ” the 1994 film documentary, was in many ways about emotional pain (including a brother doomed to suicide) and his craving for a certain kind of woman, who, although possibly any female with a bemuscled backside, was in fact most likely to be Jewish. She, reality and image, was his consolation. The strips that he drew of Jewish-American life, nevertheless, reworked stereotypes, some funny (he visits Florida with his second wife, and holds a tiny grandfather on his knee) , and some, doubtless, insulting to many readers.
In the pages of “Introducing Kafka, ” Crumb became his fictional protagonist with such depth of insight into the logic of the doomed writer, as well as of Kafka’s famed works, that many readers were simply astonished, this reviewer among them. Kafka is the exemplar par excellence of a type of ambiguous, tortured mittel European Jewish personality as it hovered between faith and uncertainty, shortly before the Holocaust. Not Spiegelman, not Ben Katchor, nor Sharon Rudahl, nor others who drew historical or quasi-historical strips about Jewish history, had taken the characterization as far as Crumb. An earlier escape from Middle American culture had propelled Crumb toward his satirical protagonist Mister Natural, a Zen-like, robed quasi-prophet of the 1970s-80s. Three decades later, Crumb’s robed prophets are far from Zen.
Crumb’s “Genesis” is then perfectly serious and the author wants us to know it. As he says on the cover, “Nothing Left Out! ” Every “beget” from the King James Bible can be found here, along with plenty of scenes censored from previous graphic adaptations. And more prose, in the final “Commentary” segment of the book, than non-writer Crumb may have put on the page anywhere, aside from his published letters. More striking for anyone but the seasoned Crumb fan: unlike previous Biblical comic adaptations, including some published and drawn by Jews, Crumb’s characters actually look Jewish, the women even more than the men. The contrast to the classic work, EC Comics’ “Picture Stories from the Bible” (1945) in that respect is most illuminating. But more recent works like the best-selling “Manga Bible” (2000) are not much different (nor was the “The Wolverton Bible” by one of the strangest of comic artists Basil Wolverton) . Close readers will see Crumb’s wife Aline Kominsky, to whom the book is dedicated, again and again, in various guises; perhaps only Chagall drew his beloved wife so often and with such varied imagination.
Not only are the characters Jewish here, they are all ages and sizes. If, for instance, there are more drawings of Jewish elders in any single volume of comic art anywhere, I have never seen them. The women here are beautiful when young, heavily busted with large, muscular thighs. The men are strong, their beards full and noble. The deity has a really big beard and retains his notoriously bad temper, as well as his commanding presence, and absolute demand for loyalty. The animals of Genesis (in Noah’s ark and elsewhere) may be where Crumb is most similar to earlier comic art adaptations of Biblical texts, but they are drawn, like everything else, with such loving care that they are special and demand repeated viewing.
In those extensive notes at the end, Crumb comes as close as he is ever likely to revealing the sources and depth of his commitment to the text. He had been puzzling, no doubt under a wave of feminist criticism, about the gender struggle, until Torah scholar Savina Teubel’s “Sarah the Priestess” (1984) gave him new insight: a matriarchal background, female deities and actual female power, in a society turning toward patriarchy but retaining some elements of women’s prehistorical strength and centrality to the direction of early civilization. If anything is reinterpreted purposefully in “Genesis, ” it is in gender, and Crumb does so not by scoring points but by rearranging the visual subtext. Gender issues also help him reframe somewhat the class dimension of tribal society, which endures not through brute force but because of the strength of its women.
The commentary on his visual choices and his broader interpretations explores and explains his few intentional deviations, not only in the name of narrative clarity but artistic intent. Mainly, his notes drive home how he struggled to interpret the text in suitable graphic form, chapter by chapter, sometimes even character by character. There is no doubting the artist’s integrity or hard work, in no small part because he redrew again and again, trying to find historically accurate clothing and scenery. The Old Testament of cinematic Charlton Heston, so to speak, became the Genesis of lived and perceived experience, socially real and super-real. Clues are provided with translations of specific Hebrew names within the visual text, essentially metaphorical in meaning. These clues may be the closest to footnotes that Crumb has ever provided.
Comics scholar Jeet Heer, has noted in “Bookforum” that Crumb’s biblical characters, with the exception of the deity, have no internal lives: only the deity has depth and personality. As with the original text, much more is implied in Crumb’s visual text than can be stated, because scenes rush by so fast and because the artist forever works out, pen or brush in hand, a unique meaning that escapes easy interpretation. Even closer to the mark, Heer argues that above all, this is a book about bodies, the natural expression of an artist whose work has, possibly more than any other master of comic art, been concerned with body structure and expression.
And offending the deity? Crumb treads with a caution all the more remarkable for an artist, who, short decades ago, allowed himself the full run of his imagination, heedless of the consequences. Crumb’s innovation might be summed up in his characterization of Joseph, brilliant in subjugating Egypt but weary of his own powers. In the final phrases of the book, the artist suggests a radical view several thousand years previous to Jewish Karl Marx. “In the very last chapter, when his obstreperous brothers fling themselves at this feet and proclaim, ‘Here we are, your slaves, ’ he says to them, “I am not God, am I’ Joseph has learned a much finer humility than the fear-driven kind shown by his barbaric brothers.” So says a humble Crumb.

10/22/09

poem by Gershon Hepner
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Anti-heroine

I'd planned to be Heathcliff's Cathy,
Lady Brett, Nicole or Dominique or Scarlett O'Hara.
I hadn't planned to be folding up the laundry
In uncombed hair and last night's smudged mascara,
An expert on buying Fritos, cleaning the cat box,
Finding lost sneakers, playing hide and seek.
And other things unknown to Heathcliff's
Cathy, Scarlett, Lady Brett, and Dominique.
Why am I never running through the heather?
Why am I never used by Howard Roark?
Why am I never going to Pamplona
Instead of Philadelphia and Newark?
How did I ever wind up with an Irving
When what I'd always had in mind was Rhett,
Or someone more appropriate to
Cathy, Dominique, Nicole, or Lady Brett?
I saw myself as heedless, heartless, headstrong,
An untamed woman searching for her mate.
And there he is -- with charcoal, fork, and apron,
Prepared to broil some hot dogs on the grate.
I haven't wrecked his life or his digestion
With unrequited love or jealous wrath.
He Doesn't know that secretly
I'm Scarlett, Dominique, Nicole, or Brett, or Cathy.
Why am I never cracking up in Zurich?
Why am I never languishing on moors?
Why am I never spoiled by faithful servants
Instead of spraying ant spray on the floors?
The tricycles are cluttering my foyer,
The Pop Tart crumbs are sprinkled on my soul.
And every year it's harder to be
Cathy, Dominique, Brett, Scarlett, and Nicole.

poem by Judith Viorst
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Thespis: Act II

DRAMATIS PERSONAE

GODS

Jupiter, Aged Diety
Apollo, Aged Diety
Mars, Aged Diety
Diana, Aged Diety
Mercury

THESPIANS

Thespis
Sillimon
TimidonTipseion
Preposteros
Stupidas
Sparkeio n
Nicemis
Pretteia
Daphne
Cymon

ACT II - The same Scene, with the Ruins Restored

SCENE-the same scene as in Act I with the exception that in place
of the ruins that filled the foreground of the stage, the
interior of a magnificent temple is seen showing the background
of the scene of Act I, through the columns of the portico at the
back. High throne. L.U.E. Low seats below it. All the substitute
gods and goddesses [that is to say, Thespians] are discovered
grouped in picturesque attitudes about the stage, eating and
drinking, and smoking and singing the following verses.

CHO. Of all symposia
The best by half
Upon Olympus, here await us.
We eat ambrosia.
And nectar quaff,
It cheers but don't inebriate us.
We know the fallacies,
Of human food
So please to pass Olympian rosy,
We built up palaces,
Where ruins stood,
And find them much more snug and cosy.

SILL. To work and think, my dear,
Up here would be,

[...] Read more

poem by William Schwenck Gilbert
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V. Count Guido Franceschini

Thanks, Sir, but, should it please the reverend Court,
I feel I can stand somehow, half sit down
Without help, make shift to even speak, you see,
Fortified by the sip of … why, 't is wine,
Velletri,—and not vinegar and gall,
So changed and good the times grow! Thanks, kind Sir!
Oh, but one sip's enough! I want my head
To save my neck, there's work awaits me still.
How cautious and considerate … aie, aie, aie,
Nor your fault, sweet Sir! Come, you take to heart
An ordinary matter. Law is law.
Noblemen were exempt, the vulgar thought,
From racking; but, since law thinks otherwise,
I have been put to the rack: all's over now,
And neither wrist—what men style, out of joint:
If any harm be, 't is the shoulder-blade,
The left one, that seems wrong i' the socket,—Sirs,
Much could not happen, I was quick to faint,
Being past my prime of life, and out of health.
In short, I thank you,—yes, and mean the word.
Needs must the Court be slow to understand
How this quite novel form of taking pain,
This getting tortured merely in the flesh,
Amounts to almost an agreeable change
In my case, me fastidious, plied too much
With opposite treatment, used (forgive the joke)
To the rasp-tooth toying with this brain of mine,
And, in and out my heart, the play o' the probe.
Four years have I been operated on
I' the soul, do you see—its tense or tremulous part—
My self-respect, my care for a good name,
Pride in an old one, love of kindred—just
A mother, brothers, sisters, and the like,
That looked up to my face when days were dim,
And fancied they found light there—no one spot,
Foppishly sensitive, but has paid its pang.
That, and not this you now oblige me with,
That was the Vigil-torment, if you please!
The poor old noble House that drew the rags
O' the Franceschini's once superb array
Close round her, hoped to slink unchallenged by,—
Pluck off these! Turn the drapery inside out
And teach the tittering town how scarlet wears!
Show men the lucklessness, the improvidence
Of the easy-natured Count before this Count,
The father I have some slight feeling for,
Who let the world slide, nor foresaw that friends
Then proud to cap and kiss their patron's shoe,
Would, when the purse he left held spider-webs,
Properly push his child to wall one day!

[...] Read more

poem by Robert Browning from The Ring and the Book
Added by Veronica Serbanoiu
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The Rosciad

Unknowing and unknown, the hardy Muse
Boldly defies all mean and partial views;
With honest freedom plays the critic's part,
And praises, as she censures, from the heart.

Roscius deceased, each high aspiring player
Push'd all his interest for the vacant chair.
The buskin'd heroes of the mimic stage
No longer whine in love, and rant in rage;
The monarch quits his throne, and condescends
Humbly to court the favour of his friends;
For pity's sake tells undeserved mishaps,
And, their applause to gain, recounts his claps.
Thus the victorious chiefs of ancient Rome,
To win the mob, a suppliant's form assume;
In pompous strain fight o'er the extinguish'd war,
And show where honour bled in every scar.
But though bare merit might in Rome appear
The strongest plea for favour, 'tis not here;
We form our judgment in another way;
And they will best succeed, who best can pay:
Those who would gain the votes of British tribes,
Must add to force of merit, force of bribes.
What can an actor give? In every age
Cash hath been rudely banish'd from the stage;
Monarchs themselves, to grief of every player,
Appear as often as their image there:
They can't, like candidate for other seat,
Pour seas of wine, and mountains raise of meat.
Wine! they could bribe you with the world as soon,
And of 'Roast Beef,' they only know the tune:
But what they have they give; could Clive do more,
Though for each million he had brought home four?
Shuter keeps open house at Southwark fair,
And hopes the friends of humour will be there;
In Smithfield, Yates prepares the rival treat
For those who laughter love, instead of meat;
Foote, at Old House,--for even Foote will be,
In self-conceit, an actor,--bribes with tea;
Which Wilkinson at second-hand receives,
And at the New, pours water on the leaves.
The town divided, each runs several ways,
As passion, humour, interest, party sways.
Things of no moment, colour of the hair,
Shape of a leg, complexion brown or fair,
A dress well chosen, or a patch misplaced,
Conciliate favour, or create distaste.
From galleries loud peals of laughter roll,
And thunder Shuter's praises; he's so droll.
Embox'd, the ladies must have something smart,

[...] Read more

poem by Charles Churchill
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The Sleep Of The Good

No-one can touch you now - no
No-one can harm you, youre finally free
Your passion all spent
Your savage intent
To break away meant to break me
Oh cathy - the game you played!
Oh cathy - youve paid
Ive been betrayed
I try to find the words to justify
All that youve put me through
What gave you the right
To leave me?
When you
You knew
I loved you
I pray you find some peace at last
The sleep of the good
If only I could
Only my life remains - cold
This is a winter will never know spring
As time and again
I try to contain
The anger and pain that you bring
Oh cathy my reckless one!
Oh cathy its done
The nights begun
You lie so close, so calm, so motionless
I can almost believe
That youre still in my arms
Within me
So near
To hear
I loved you
I pray I find some peace at last
The sleep of the good
If only I could

song performed by Cliff Richard
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Virginia's Story

Elizabeth Gates-Wooten is my Grand mom.

She was born in Canada with her father and brothers.
They owned a Barber Shoppe.
I don't remember exactly where in Canada.
I believe it was right over the border like Windsor or Toronto.
I never knew exactly where it was.

When she was old enough she got married.

First, she married a man by the name of Frank Gates.
He was from Madagascar.
He fathered my mom and her brother and sister.
The boy's name was Frank Gates, Jr.
Two girls name were Anna and Agnes.

Agnes was my mother.

Frank Gates went crazy after the war
He drank a lot and died
Then grandma Elizabeth married a man by the name of Mr. Wooten.
He had a German name, but I don't think he was German.
She took his last name after they got married.

Then they moved to West Virginia in the United States.

Their son, Frank Gates Jr. Became a delegate in the democratic party.
He use to get into a lot of trouble because he liked to fight.
He was a delegate from the 1940's to 1970's.
He died of gout in the 1970's.

Anna was a maid and cook.

She baked cakes and stuff for people as a side line.
She had a hump on her back (scoliosis) .
She had to walk with a cane.
She could cook good though.
She did this kind of work all of her life, just like her mom, Elizabeth

They were both good cooks

They had a lot of money because they had these skills
Especially when people had parties.
Because they would make all of this food and then they would have left-overs.
We got to eat a lot of stuff we normally wouldn't get because of that.
When they cooked, they didn't use no measuring stuff, they would just use there hand.

My moms name was Agnes Barrie Gates.

She married James Wright and moved to Cleveland.

[...] Read more

poem by Talile Ali
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Married Men

(bugatti - musker)
Producers for bonnie: ronnie scott, steve wolfe
Bonnie recorded this song in 1979 for the film the world is full of married men. the lyrics are taken from the japanese single.
The world is full of married men
With wives who never understand
Theyre looking for someone to share
The excitement of a love affair
Just as soon as they find you
They wine you and dine you
You fly on the wings of romance
But in the eyes of the world
Youre just another crazy girl
Who loves a married man
Oh your love is a secret
And youve got to keep it
As long as you can
No dont cry for your lover
Theres always another married man
The world is full of married men
Oh yeah you make him feel so young
But his wife will still be number one
He promises to marry you
Just as soon as his divorce
Comes through
And its not just a fling
He swears its the real thing
A love that could last till the end
As hes driving away
You know its true what they say
About married men
They do it, they do it, they do it
They do it again and again
They do it, they do it, they do it
They do it, married men
Oh hell run when the scandal
Gets too hot to handle
Hell say I just want to be friends
They hell walk out of your life
Hell go home to his wife
cause hes a married man
Oh your love is a secret
And youve got to keep it
As long as you can
No dont cry for your lover
Theres always another married man
The world is full of married men
They do it, they do it, they do it
They do it again and again
They do it, they do it, they do it
They do it, married men

[...] Read more

song performed by Bonnie Tyler
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Elephants & Flowers

Boy is lonely on a burning hot summer night
Hes looking 4 some action, hes looking 4 a fight
Hes looking 4 a saviour in a city full of fools
Maybe he just needs a good talker to give him a good talking 2.
Can we talk baby? strip down, strip down.
I think Im gonna fall in love tonight.
Elephants and flowers, hot sweaty light paints a picture red and gold
On a crowd of naked bodies stripped down to their very souls
How can he find a shy angel in a city so bold (so bold)
He cant even find a place 2 dance, this is rock and roll.
Strip down, strip down, elephants and flowers
Is everybody ready? here we go.
Love the one who is love, (love) the one who gives us the power, (power)
The one who made everything, (what? ) elephants and flowers (what will he do? )
The one who will listen when all others will not.
There will be peace 4 those who love God a lot.
Elephants and flowers. strip down. think Im gonna fall in love tonight.
When I do, there wont be no more (confusion)
There wont be no more (no tears)
There wont be no more enemies, so that eliminates all the fear
And there wont be no sorrow, (sorrow)
There wont be no pain, (no pain)
There wont be no ball and no chain
Strip down, strip down. elephants and flowers.
Boy is lonely on a burning hot summer night
Hes looking 4 an angel to hold him til the morning light
Here we go.
Love the one who is love, (well) the one who gives us the power, (power)
The one who made everything, (everything) elephants and flowers (oh, yeah)
The one who will listen when all others will not. (all others will not)
There will be peace 4 those who love God a lot.
Here we go.
Love the one who is love, (love) the one who gives us the power, (power)
The one who made everything, (what? ) elephants and flowers (what will he do? )
The one who will listen when all others will not.
There will be peace 4 those who love God a lot.

song performed by Prince
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Carrolling II-Parody Lewis CARROLL–The Mad Gardener’s Song

Carolling II

He Thought He Saw

He thought he saw new Internet
exchanging peer to peer,
he looked again and found it was
a mirage for each year
sees more control, “what rôle, ” he said,
“for values once held dear?
Some track to trace attack and get
convictions based on fear.'

He dreamt he saw spam disappear,
all consultations free,
he looked again and found it was
a spybot lottery.
“Is net neutrality”, he said,
“from rash risks viral clear? ”

He dreamt that Microsoft would steer
all trash deleted fast,
then woke to find world insincere
where independence past
was sacrificed throughout the year
to biometrics ghast.

He thought he saw a friend’s hello,
with an attachment piece,
he looked again and found it was
the porno scanning police.
“Politically correct”, he said,
“can’t guarantee release.”

He opened it, discovered though,
a trojan horse to fleece –
he looked again as data flow
declined, - mind not at peace -
and whispered with voice hoarse and low:
'when will our worries cease? ”

He thought he saw a hierophant,
who’d deal successful life,
he looked again and found it was
subpoena from ex-wife
demanding child support, he said,
“cards are cut by Time’s knife.”

He looked once more with rage and rant
and swore like a fishwife

[...] Read more

poem by Jonathan Robin
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Comic Books

Long before I was 12 I would read by myself.
Archie, josie, super-heroes.
I would read them by myself.
I had the stars on my wall.
14 was a gas for me.
Batman on tv.
I would cheer the super-heroes.
They were all I wanted to be.
I had the stars on my wall.
18 I was guaranteed.
I would lose my teenage dream.
But its so funny how I got to look.
Like all the people in my comic books.
Now Im a star on my wall.
Comic books.
Comic books.
Comic books.
Comic books.

song performed by Blondie
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Far From Me

As the cafe was closing
On a warm summer night
And cathy was cleaning the spoons
The radio played the hit parade
And I hummed a long with the tune
She asked me to change the station
Said the song just drove her insane
But it werent just the music playing
It was me that she was trying to blame.
Chorus:
And the sky is black and still now
On the hill where the angels sing
Aint it funny how an old broken bottle
Looks just like a diamond ring
But its far, far from me
Well, I leaned on my left leg
In the parking lot dirt
And cathy was closing the lights
A june bug flew from the warmth he once knew
And I wished for once I werent right
Why we used to laugh together
And wed dance to any old song.
Well, ya know, she still laughs with me
But she waits just a second to long.
Repeat chorus:
Well, I started the engine
And I gave it some gas
And cathy was closing her purse
Well, we hadnt gone far in my beat old car
And I was prepared for the worst.
Will you still see me tomorrow?
No, I got too much to do.
Well, a question aint really a question
If you know the answer too.
Repeat chorus:

song performed by John Prine
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The Luckiest Man On Earth!

If I were the luckiest man, the luckiest man on Earth,
Then I would marry Cathy and I would prove my worth!
I'd kiss her in the morning and in the afternoon!
I'd kiss her in the evening, like on our honeymoon!
I'd kiss her in the sunshine! I'd kiss her in the shade!
I'd kiss her in the moonlight, as daylight starts to fade!
I'd kiss her on a Sunday I think the most of all!
Yet save my lips for Monday, my love to reinstall!
I can't help kissing Cathy 'cos my love's oh so strong!
I guess if I were twice the man, I'd kiss her all day long!
So, please pucker up, my pretty! Let's kiss our whole lives through!
God bless my cute celebrity, 'cos Cathy... I LOVE YOU!

poem by Denis Martindale
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Marriage

Should I get married? Should I be Good?
Astound the girl next door with my velvet suit and faustaus hood?
Don't take her to movies but to cemeteries
tell all about werewolf bathtubs and forked clarinets
then desire her and kiss her and all the preliminaries
and she going just so far and I understanding why
not getting angry saying You must feel! It's beautiful to feel!
Instead take her in my arms lean against an old crooked tombstone
and woo her the entire night the constellations in the sky-

When she introduces me to her parents
back straightened, hair finally combed, strangled by a tie,
should I sit knees together on their 3rd degree sofa
and not ask Where's the bathroom?
How else to feel other than I am,
often thinking Flash Gordon soap-
O how terrible it must be for a young man
seated before a family and the family thinking
We never saw him before! He wants our Mary Lou!
After tea and homemade cookies they ask What do you do for a living?
Should I tell them? Would they like me then?
Say All right get married, we're losing a daughter
but we're gaining a son-
And should I then ask Where's the bathroom?

O God, and the wedding! All her family and her friends
and only a handful of mine all scroungy and bearded
just waiting to get at the drinks and food-
And the priest! He looking at me if I masturbated
asking me Do you take this woman for your lawful wedded wife?
And I trembling what to say say Pie Glue!
I kiss the bride all those corny men slapping me on the back
She's all yours, boy! Ha-ha-ha!
And in their eyes you could see some obscene honeymoon going on-

then all that absurd rice and clanky cans and shoes
Niagara Falls! Hordes of us! Husbands! Wives! Flowers! Chocolates!
All streaming into cozy hotels
All going to do the same thing tonight
The indifferent clerk he knowing what was going to happen
The lobby zombies they knowing what
The whistling elevator man he knowing
The winking bellboy knowing
Everybody knowing! I'd be almost inclined not to do anything!
Stay up all night! Stare that hotel clerk in the eye!
Screaming: I deny honeymoon! I deny honeymoon!
running rampant into those almost climatic suites
yelling Radio belly! Cat shovel!
O I'd live in Niagara forever! in a dark cave beneath the Falls
I'd sit there the Mad Honeymooner devising ways to break marriages, a scourge of bigamy a saint of divorce-

[...] Read more

poem by Gregory Corso
Added by Poetry Lover
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Carrolling - Parody Lewis CARROLL – The Mad Gardener’s Song

He thought he saw an Internet
exchanging peer to peer,
he looked again and hedged his bet, -
by middle of next year
new routing tables tuned as yet
unknown may well appear –
on track to trace attack and get
convictions based on fear.

He dreamt that spam would disappear,
all trash deleted fast.
He dreamt that Windows would be clear
of viral bugs’ wormcast.
He woke to find world insincere
where independence past
was sacrificed throughout the year
to biometrics ghast.

He thought he saw a friend’s hello
with an attachment piece,
he opened to discover, though,
a trojan horse release –
He looked again as data flow
declined, - mind not at peace -
and whispered with voice timbre low:
‘I’ll send for the Police! ”

He thought he saw a heirophant
predicting happy life.
He looked again, with rage and rant
discovered from ex-wife
an email angry claiming scant
support, which threatened strife:
“At length I see the immanent
attraction of Time’s knife! ”

He dreamt he saw as he awake
the euro reach a peak,
he saw he dreamt that Bush half bake
would leave the dollar weak: -
he woke to find what grave mistake
was made for the next week
the politicians put a stake
in budget – rocked boats leak!

He thought he saw Commission clerk
jump on bandwagon bus,
he looked again, just for a lark,
and found no tinker’s cuss
the former cared for bite was bark -

[...] Read more

poem by Jonathan Robin
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The Strip

When I see the moon, I hear the sound of the strip
Just calling my name
Just calling my name
When I see the moon, I hear the sound of the strip
Just calling my name
Yeah, its calling my name
Man, I love the feel
When I go out
Dancing with the women at the bar
Man I love the feel
When I go out
I always know my womans close somewhere
My daddy saw the moon, heard the sound of the strip
Yeah, it called out his name
Yeah, it called out his name
My daddy saw the moon, and heard the sound of the strip
Yeah, it called out his name
And it called his sons name too
Man I love the feel
When I go out
Dancing with the women at the bar
Man I love the feel
When I go out
I always know my womans close somewhere
Close somewhere...
When you see the moon, hear the sound of the strip
Yeah, call out my name
Yeah, call out my name
And if you see the moon, or hear the sound of the strip
Yeah, call out my name
And call my friends names too
Man, I love the feel
When I go out
Dancing with the women at the bar
Man I love the feel
When I go out
I always know my womans close somewhere
Close somewhere...

song performed by Whiskeytown
Added by Lucian Velea
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Dancing With The Women At The Bar

When I see the moon, I hear the sound of the strip
Just calling my name
Just calling my name
When I see the moon, I hear the sound of the strip
Just calling my name
Yeah its calling my name
Man I love the feeling
When I go out
Dancing with the women at the bar
Man I love the feeling
When I go out
I always know my womans close somewhere
My daddy saw the moon, eard the sound of the strip
It called out his name
It called out his name
My daddy saw the moon, and heard the sound of the strip
Yeah it called out his name
And it called his sons name too
Man I love the feeling
When I go out
Dancing with the women at the bar
Man I love the feeling
When I go out
I always know my womans close somewhere
Close somewhere
When you see the moon, hear the sound of the strip
Yeah call out my name
Yeah call out my name
And if you see the moon, hear the sound of the strip
Yeah call out my name
Yeah call my friends names too
Man I love the feeling
When I go out
Dancing with the women at the bar
Man I love the feeling
When I go out
I always know my womans close somewhere
Close somewhere

song performed by Whiskeytown
Added by Lucian Velea
Comment! | Vote! | Copy!

The Strip

When I see the moon, I hear the sound of the strip
Just calling my name
Just calling my name
When I see the moon, I hear the sound of the strip
Just calling my name
Yeah, its calling my name
Man, I love the feel
When I go out
Dancing with the women at the bar
Man I love the feel
When I go out
I always know my womans close somewhere
My daddy saw the moon, heard the sound of the strip
Yeah, it called out his name
Yeah, it called out his name
My daddy saw the moon, and heard the sound of the strip
Yeah, it called out his name
And it called his sons name too
Man I love the feel
When I go out
Dancing with the women at the bar
Man I love the feel
When I go out
I always know my womans close somewhere
Close somewhere...
When you see the moon, hear the sound of the strip
Yeah, call out my name
Yeah, call out my name
And if you see the moon, or hear the sound of the strip
Yeah, call out my name
And call my friends names too
Man, I love the feel
When I go out
Dancing with the women at the bar
Man I love the feel
When I go out
I always know my womans close somewhere
Close somewhere...

song performed by Whiskeytown
Added by Lucian Velea
Comment! | Vote! | Copy!