Failure

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Written by: Sheep Aneki    

It's best not to feel
It's best not to love
It's best to be alone
It's best to be gone

No matter how much you try
No matter how much you cry
Eventually, you'll die
From too much pain inside

Tried to be happy
Tried to be positive
Yet people do not see
The efforts you give

It's best to be no one
It's best when you're done
Because people do not care
Because people are not aware

It's best to stay hidden
It's best to not show up
It's best if you lied
It's best to stop

AN OLD FOOL.

(A post St Valentine's Day lament?)

There is no fool like an old fool when it comes to romance;

if he gets a glance from an attractive female half his age he

thinks he's in there with more than a ghost of a chance.

But what has he got to offer? A life time's experiences is no

defence. An abundance of pounds and pence will make more

sense to recompense the object of his desire for the smell of

liniment and Listerine mouthwash throughout the house.

And if he was like a well known dead celebrity comic, getting

her to fellate him after he'd doused his genitalia in eau de cologne.

I'm the King of loneliness on my lonely throne; I've just spent

my XL number of Valentine's Days unloved and alone.

But am I bothered? Not now that I know there's a world of

opportunities out there for the highest bidder. Now all I

have to do is win a serious amount of dosh so I can go after

the type of posh totty that I've always yearned for. One with a

brain like Sylvia Path and the libido of Katy Price. Together

we could have nice times and a laugh afterwards. (Mind you,

Sylvia was never known for her sense of humour was she?

Unless you regard her biting into Ted Hughes cheek till it bled

as funny? Fellatio's definitely off the menu.)

Now all I need is a psychic sidekick on side to give me next week's

winning numbers for the National Lotto.

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DARK ANGELS OF HIGHGATE

Enough Angelina, drop the bouquet of harebells.
 The flowers wilt as your graying hands stiffen. 
See, how grave is our newborn son.
 We gift him a black crêpe layette.
 Say Darling Edward, say, Golubushka, make me come alive. 
Leave this chapel, return to his cradle, quicken your deadwood. 
Come, rock his sweet little boat, croon, sladkiy bairdark. 
Your shade sighs as the mourners trudge into the dark of All Hallow's Eve. 
A breeze stirs the hairs on my nape. 
Bells toll, the ringer incants “Unto the Church, I do You call, Death to the grave will summon all.” 
Freshly turned gravel rolls from the burial mound, the earth’s answer to life’s reticence.
 Our son, whom I cradle, mutely lays. See, the ground moves. There, there, my boy. 
Love's only mislaid.
 Father, Mother, take the babe, go, shield him from Highgate’s darkness. 
I stay. By will alone, I'll not let maggots deface beauty that lives.
 My Angel, please, tug the cord housed in your coffin so the bell will ring, rouse London’s rigor. 
You will waltz on this grave, speak of Siberian winters, then scoff, roll eyes at the vigor of death. 
Insubstantial lips brush the babe’s forehead, even death cannot stay her reply. 
Ed’ard, Mother will take him home to lie. 
A chill north wind rises as if to show your sorrow from the grave, clawing the headstone with twigs and pebbles; clouds darken the moon. 
Your shade screams; a bough whips Mother's cheek, the bell on its gold cord is silent.
 Wind nigh swallows my howl, Angelina, live! We are alone, Angel, save for those cemetery ravens which liven roan weeds. 
Three nights I've troubled Highgate, plucking deadheads from your boney wreath. Obstinate wife, revive the grieving bell.
 I hear them calling Ed’ard, Come. I am torn from your stone: waylaid, outnumbered, locked in our bedchamber. 
At the next darkening, the babe's rattle rings, calling your name. 
I escape to your grave. Nightclothes drenched and shoeless, I topple onto the grave. 
Yea though I walk … ring, damn you, bell, ring! Curse this life! The sky cracks open, sheet lightning pierces the craven darkness as if in answer a mother oak’s limb shatters. 
The deadweight crushes me against the granite angel where you lay. 
At sunrise, church bells rang Angelus prayer from the chapel’s belfry. 
Angelina, Angelina, our grown son visits our grave to honor the dead.
 He is our true afterlife; all my fears have been allayed. All is too calm and well 'til his eyes darken as he batters your bell.



Read more at: http://www.poetrysoup.com/poem/dark_angels_of_highgate_60740


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Motorway Singalong

(To the tune of ‘Maybe it’s because I’m a Londoner’. And a bit of Tom Robinson)

Maybe it’s because it’s a motorway

that makes you drive so bad.

You think you own the road 

and you’re on the fuckin’ phone,

you’re the reason why the jam

reaches back to Birmingham…

Ohhh!    2 – 4 – 6 – 8

IT’S FORTY MILES AN HOUR, MATE!

Maybe it’s because it’s a motorway

that makes me hate you so.

Your indicator’s broke

and your attitude’s a joke

and we can’t predict the way

that your Beamer’s gonna go…

Ohhh!    2 – 4 – 6 – 8

WAIT YER FUCKIN’ RUSH, MATE!

Maybe it’s because it’s a motorway,

makes you think it’s all yours.

You’re a white van man,

the equivalent of spam,

unwanted and unsafe

you’re in everybody’s face

(and up their arse, too)

Ohhh!    2 – 4 – 6 – 8

WANKERRR!

Maybe it’s because it’s a motorway

that turns your brain to shit.

With your pinstripe suit

and your laptop in the boot,

you can never just be late,

causing multi RTAyy-AYYS…

Ohhh!    2 – 4 – 6 – 8

GERROUT ME FUCKIN’ WAY, MATE!

Jesus really wants you for a sunbeam

to shine for him each day.

We’ll enjoy the extra space

when you finally win the race

so long farewell auf weidersen good night, gobshi-iiTE

Ohhh!    2 – 4 – 6 – 8

SEE YOU AT THE PEARLY GATE!

3 – 5 – 7 - 9

YOU JUST PASSED THE FINISH LINE!

HURRAY!  

Here’s your halo - now fuck off

From Hull To Halifax (A Halifax Town Love Poem)

BY:keiron higgins

This is a poem dedicated to my birthplace and current residence of 28 years. i have dropped some odd and interesting town facts in there too.

From Hull To Halifax

I was raised in a town
where memorial plaques are outside houses
Fridges left out on country walks
and a guillotine used as a historical exhibit
But i love my town.

Hometown of Big Daddy
the cat-eyes too
We had a hand in Mackintosh's
"From Hull to halifax the lord shall deliver you"

In the 30's
The serial killer "The Halifax slasher"
turned out to be a myth
and when the local football team plays
we hope to come out as first not fifth

Welcome to Halifax!
the town, not the bank
a place where folk can considered strange
but can be friendly when there's beer to be sank

So in this place
of un-used closed railways
and green moors far and wide
I do love my town called Halifax
it's an affection i cannot hide.

NUMBER 72

NUMBER 72

Once there were three offices here

One north, one south

And the regional one above

First time I visited

‘Chelsea Girl’ was below

A security guard stood on duty

Just inside our entrance

They say he sold fruit and veg

When the bosses weren’t looking

Later other shops

Occupied ground and first

If you didn’t take the lift

You could hear their music

Vibrating through the walls

Someone told me that once

There was a basement garage

Accessed from the back lane

It closed down but the car lift

Is still supposed to be there

And there was a ghost but then

This city is full of them

I never had the pleasure

Once there were people here

Bright and full of tricks

Proud people never let you down

The ones Hitler couldn’t break

Always a bit of drama

But got the job done

I was happy here

Bit my lip when I left

Now nothing remains

Number 72 is a victim to progress

And financial efficiency

Everyone has relocated

And the spirit has left

This unpretentious building

I bet even the ghost has gone

Must have had a good package!

Staying the fuck out of his parlour

BY:Rose Casserley

Darkly,unjustly webbed

were my persuasions.

My smile, masked.

Behind the facade

I portrayed,the  hungry beast

you never saw

wanting to feed

of your gullibility.

And falling from my salivating lip,s

golden tongued promises

lined with deception.

Closer you came,Rose,

my little believer,my little fly

almost swallowing

the disguised sweetnesses

I offered

with one saintly hand

while the other

entered the back door

of your heart

with the most thieving

of intentions.

How to Write a Poem

Four Parts:Sample PoemsGetting CreativeLetting the Creativity FlowBringing It to Life

Writing a poem is all about observing the world within or around you. A poem can be about anything, from love to the rusty gate at the old farm. Writing poetry can help you become more eloquent and improve your linguistic style. However, where to start. Although poetry writing is definitely a skill that improves with practice (just like any other type of writing), wikiHow will get you on the right track.

Sample Poems

Sample Limerick

Sample Tanka

Sample Cinquain

Part 1 of 3: Getting Creative

1. 
   1
   Find a spark. A poem might start as a snippet of verse, maybe just a line or two that seems to come out of nowhere, and the remainder of the poem need only be written around it. Here are a few ways to generate sparks:
   • Play "Grand Theft Poetry." Gather a variety of books of poetry by different authors, or print 10 random poems off from the Internet. Then randomly pick a line out of each poem, trying to focus only on the first line you see instead of picking the "best" one. Write all these different lines down on a separate piece of paper, and try to arrange them into a coherent poem. The juxtaposition of two entirely different lines of poetry might give you an idea for your own poem.
   • Write down all the words and phrases that come to mind when you think of that idea. Allow yourself to put all your ideas into words.
   • It may sound difficult, but do not be afraid to voice your exact feelings. Emotions are what make poems, and if you lie about your emotions it can be easily sensed in the poem. Write them down as quickly as possible, and when you're done, go through the list and look for connections or certain items that get your creative juices flowing.
   • Try to fit into a particular scene you want to write about. For example, if you want to write about nature, try to visit a park or a small forest nearby. The natural scenery may inspire a few lines, even if they're not perfect.
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2. 
   2
   Read and listen to poetry. Get inspired by seeking out the work of poets you admire. Explore a wide range of works, from poems that are widely regarded as classics to popular song lyrics. As you interact with more poetry, you'll find your aesthetic becoming more shaped and refined.
   • To train your ear and meet like-minded people, attend poetry readings (check your local college or bookstore's calendar for these, or look for events you can stream online).
   • Find some of your favorite song lyrics and read them like poetry. You might be surprised at how it reads on the page, instead of being spoken or sung aloud.
3. 
   3
   Think about what you want to achieve with your poem. Perhaps you want to write a poem to express your love for your boyfriend or girlfriend; perhaps you want to commemorate a tragic event; or perhaps you just want to get an "A" in your poetry or English class. Think about why you are writing your poem and who your intended audience is, and then proceed in your writing accordingly.
4. 
   4
   Decide which poetry style suits your subject. There are a ton of different poetic styles. ^[1]. As a poet, you have a wide variety of set forms to choose from: limericks,sonnets, villanelles, sestinas, haiku ... the list goes on and on.
   • You may also choose to abandon form altogether and write your poem in free verse. While the choice may not always be as obvious as the example above, the best form for the poem will usually manifest itself during the writing process.

Part 2 of 3: Letting the Creativity Flow

1. 
   1
   Choose the right words. It's been said that if a novel is "words in the best order," then a poem is "the best words in the best order."
   • Think of the words you use as building blocks of different sizes and shapes. Some words will fit together perfectly, and some won't. You want to keep working at your poem until you have built a strong structure of words.
   • Use only those words that are necessary, and those that enhance the meaning of the poem. Choose your words carefully. The differences between similar sounding words or synonyms can lead to interesting word play.
   • A computer spreadsheet such as OpenOffice.org Calc, is very efficient for rearranging words and checking rhythm through columns' alignment. Put one syllable in each cell. You can transfer the text to a word processor for fancier printing when you're done.
2. 
   2
   Use concrete imagery and vivid descriptions. Most poetry appeals to the senses (yes, plural) in some way, in order to help the reader become more fully immersed in the text. Here are some things to consider when you're constructing descriptions.
   • Love, hate, happiness: these are all abstract concepts. Many (perhaps all) poems are, deep down, about emotions and other abstractions. Nevertheless, it's hard to build a strong poem using only abstractions — it's just not interesting. The key, then, is to replace or enhance abstractions with concrete images, things that you can appreciate with your senses: a rose, a shark, or a crackling fire, for example. The concept of the objective correlative may be useful. An objective correlative is an object, several objects, or a series of events (all concrete things) that evoke the emotion or idea of the poem.
   • Really powerful poetry not only uses concrete images; it also describes them vividly. Show your readers and listeners what you're talking about — help them to experience the imagery of the poem. Put in some "sensory" handles. These are words that describe the things that you hear, see, taste, touch, and smell, so that the reader can identify with their own experience.
   • Give some examples rather than purely mental/intellectual descriptions. As a silly example, consider "He made a loud sound", versus "He made a loud sound like a hippo eating 100 stale pecan pies with metal teeth."
3. 
   3
   Use poetic devices to enhance your poem's beauty and meaning. The most well known poetic device is rhyme. Rhyme can add suspense to your lines, enhance your meaning, or make the poem more cohesive. It can also make it prettier. Don't overuse rhyme. It's a crime.
   • If you are opting for the rhyming route, there are three basic types to choose from: the couplet, tercet, and ballad stanza.
     • The couplet is two phrases that each rhyme at their end.
       This will be a couplet when the final word is penned.
       • Did you catch that meter?!
     • The tercet has three lines. 1 and 2 rhyme, as do 4 and 5, 3 and 6. As in,
       
       "My dog has a toy,
       it resembles a boy.
       A boy with a dark colored glasses.
       
       His lightning scar
       can be seen from afar
       and gee, does he love molasses."
     • A ballad stanza's second and fourth lines rhyme. For example:
       
       I just met you.
       And this is crazy.
       So here's my number.
       Call me, maybe?^[2]
   • Other poetic devices include meter, metaphor, assonance, alliteration, and repetition. If you don't know what these are, you may want to look in a poetry book or search the Internet. Poetic devices can establish a poem, or, if they bring too much attention to themselves, can ruin it.
4. 
   4
   Add a "turn" to the end of the poem. Save your most powerful message or insight for the end of your poem. The last line is to a poem what a punch line is to a joke — something that evokes an emotional response. Give the reader something to think about, something to dwell on after reading your poem.
   • Resist the urge to explain it; let the reader become engaged with the poem in developing an understanding of your experience or message.

Part 3 of 3: Bringing It to Life

1. 
   1
   Listen to your poem. While many people today have been exposed to poetry only in written form, poetry was predominantly an oral art for thousands of years, and the sound of a poem is still important. As you write and edit your poem, read it aloud and listen to how it sounds.
   • A poem's internal structure commonly focuses on rhythm, rhyme, or both. Consider classic styles like sonnets and Greek epics for inspiration.
   • A lot of spoken English is based on iambic pentameter, in which speech follows an alternating pattern of stressed and unstressed syllables for a total of 10 syllables. A lot of poetry written in iambic pentameter, such as that of Shakespeare, begins with an unstressed, one-syllable word such as "an" or "the" to start the alternating pattern.
   • This is where poems can become songs. It is easier to find a tune for regular meter, so maybe you want to cut words out or put some in to get the same number of syllables in each line. Memorize it. If you believe it, then maybe someone else will learn it and love it before it is a song.
2. 
   2
   Edit your poem. When the basic poem is written, set it aside for awhile and then read the poem out loud to yourself. Go through it and balance the choice of words with the rhythm. Take out unnecessary words and replace imagery that isn't working.
   • Some people edit a poem all at once, while others come back to it again and again over time.
   • Don't be afraid to rewrite if some part of the poem is not working. Some poems have lines that simply don't convey an element well, and can be replaced.
3. 
   3
   Share your work. It can be hard to critique your own work, so after you've done an initial edit, try to get some friends or a poetry group (there are plenty online) to look at your poem for you. You may not like all their suggestions, and you don't have to take any of them, but you might find some insight that will make your poem better.
   • Feedback is good. Pass your poem around, and ask your friends to critique your work. Tell them to be honest, even if it's painful.
   • Never apologize for your work as it's being critiqued, and focus instead on listening to the opinions of your readers. Filter their responses, heeding and ignoring, then edit as you see fit.
   • Offer to critique the work of others, as well. Offering someone else feedback on their work can help you develop a critical eye, which you can apply to your own work.
   
   

Tips

• Don't frustrate yourself by too persistently sharing your work with people who do not appreciate poetry. This is a mistake that can discourage you from being a poet. It is often difficult to explain that you are just trying your hand at something new. The best thing to do is ask someone supportive (who also happens to appreciate the art of the written word) to kindly critique you.
• Be relaxed when writing. Try to start getting ideas when you get a sudden surge of emotion. Many times, this will help you get started.
• Avoid clichés or overused images. "The world is your oyster" is neither a brilliant nor an original observation.
• Do not block your feelings when writing, try to write down whatever comes to your mind and then put it together.
• Solve poet's block by carrying a notebook (some people call them Living Books) with you everywhere, in which you can jot down poem ideas as they come to you. Creative ideas don't always strike at the most ideal times. Then, when you're ready to write, get out the notebook and find an idea that catches your fancy.
• Emotion is a big part of poetry. If some sort of emotion isn't intertwined with the poem, it's as though you threatened your muse at gunpoint. Your reader will probably see through your forced effort.
• When you start writing poems, it may help to write a single "subject-word" in the middle of a sheet ("Love," for instance), and begin to think of words matching with the "subject-word" ("friendship" or "happiness"). When you do this before you write your poem, you already have a foundation of words you can use. This is of real value to beginners.
• If you want others to read your poetry, ask yourself "If somebody else showed me this, would I like it?" If the answer is "no," continue editing the poem.
• Your poems need not rhyme all the time. Even a blank verse poem can be moving and beautiful.
• Don't write for too long! Give yourself a break, as it will rest your mind.
• Always be confident in your poem because you had the effort to write it.   source