To find the truth of poetry within One knows the word of god must be revealed To hide the word is thus poetic sin And wounded poets know they must be healed
And so we seek the words by which we feel True knowledge is the poem we become Beyond the tombs that others seek to seal We rise and wait for Magdala to come
Thus gnosis sets us free beyond this world In which we have been trapped to just perceive Material perceptions, flags unfurled And simply sit and wait and weep and grieve
Our knowledge of the trap won’t set us free But we will know the place we need to be.
1. And it came to pass that Jesus was walking by the fig trees near Bethany, and a great crowd followed him, for they had heard of his healings and teachings.
2. A woman cried out from among them, “Rabbi, you speak with such brightness! Tell us: from where comes your wisdom?”
3. And Jesus turned to her and said, “Truly, truly, I say to you, she who seeks Wisdom has already drawn near to the Kingdom of God.”
4. Then he lifted his eyes to heaven and spoke: “O Jerusalem, how often has Wisdom stretched out her arms to you, like a mother to her wandering children!”
5. “She cried aloud in the streets, she called at the city gates, saying: ‘Turn, O simple ones, and I will give you insight. Eat of my bread, drink of my wine, and you shall live.’”
6. “But you would not listen. You hardened your hearts, and turned from her voice, as your fathers did also.”
7. And the disciples were astonished and said, “Lord, who is this Wisdom you speak of, and where does she dwell?”
8. Jesus answered, “Before the mountains were formed, she danced beside the Father. When the depths were divided, she was there, rejoicing always in his presence.”
9. “She is the breath of the Most High, pure and without stain, the mirror of eternal light. She goes forth from God, and returns not empty.”
10. “Blessed is the one who loves her and walks in her ways, for she will guard him as a lamp guards the feet at night.”
11. Then Jesus took a child into his arms and said, “To such as these does Sophia reveal her secrets. For the proud she confounds, but to the lowly she sings.”
12. “She is not far off. Behold: I speak to you in her voice. The words I give you are her bread; the truth I show you is her path.”
13. “The wise shall know her by her fruits: mercy, justice, and peace. And whoever walks with her shall stumble no more.”
14. A Pharisee among them said, “You speak as if Wisdom lives and moves—can a thing be so?”
15. Jesus answered him, saying, “Do you not read the prophets? ‘Wisdom has built her house, she has hewn her seven pillars.’ She is no thing, but life itself, breathing through the ages.”
16. “Even now she knocks. And to the one who opens, she will enter and prepare a feast.”
17. The people marveled and whispered among themselves, and many that day were stirred in heart.
18. And Jesus departed to the Mount of Olives to pray, saying, “O Sophia, companion from the beginning, guide me still, that I may lead them into all truth.”
When haar creeps in across the Almond’s mouth, An auld grey breath frae Forth tae sodden land, The shells begin tae whisper, north tae south, Their rickle-ruckle voice nae soul can stand. Lang syne in Cramond, where the tides confide, A mason named James Walker dared tae ken What walked wi Widow Macniven at tide A thing nae made by God, nor shaped like men. He named the shellycoat, and thus was sealed His doom, as clackin shells closed in his ears. They found him drowned, wi mussels as his shield, His face a mask of silence, wide wi fears. So mind thy tongue, where sea and river meet For even names may draw death to thy feet.
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Lang syne, whaur the River Almond meets the Firth o Forth, the wee village o Cramond lay wrapped in mist and mystery. The haar would roll in frae the sea, a thick smoorin fog that cloaked the shore and whispered wi the voices o the unseen. Folk kent well that the haar was nae mere weather—it carried stories, warnings, and sometimes, somethin far darker.
It was the year seventeen hunder, an the village was peaceful enough, save for the stories that clung tae the wind like seaweed. Among the folk lived James Walker, a stane mason wi fingers deft and heid fu o quiet thought. He kept tae himself mostly, but on a cauld morning in the market square, he let slip a word that stirred the kirk session and the village alike.
“I say the widow Macniven is a shellycoat,” James declared, loud enough for all to hear.
The elders exchanged uneasy glances. The word “shellycoat” was seldom spoken openly. It meant an ill spirit—an auld creature said to haunt the shores, covered in rattlin shells that clicked wi the tide, its voice a wet, sorrowful chuckle. Some said it was a trickster, others a warning, and some whispered it was a curse.
The kirk session called James before them, stern faces illuminated by candlelight. Reverend Ainslie spoke gravely, “James Walker, ye will answer for this slander. What mean ye by ‘shellycoat’? Speak true, for the eyes o the Lord are upon ye.”
James stood tall, though a shadow danced in his e’en. “I speak what I saw,” he said. “The widow, she walks the burnside at dusk, murmurin words nae man should ken. Behind her, I’ve seen a figure—no man, no beast. Its coat rattles wi shells, an its legs are thin as driftwood.”
The room grew silent but for the crackle o the fire. Some scoffed, but others looked grave, remembering tales their mither and faither told by the fireside. “The shellycoat is no just a tale,” whispered Maister Laird, “It’s a shadow that bides where water meets land.”
Widow Macniven herself didna appear at the session, and from that day, she walked wi a stoop, as if burdened by unseen weight. The village folk whispered behind cupped hands, wary o the mist and the secrets it hid.
As autumn deepened, the haar thickened, and the nights grew lang and chill. The bairns darednae wander near the tide pools, for they said the shellie coat’s footsteps clicked like the rattlin of shells in a shoggin bag, a sound that chilled the very bone. James grew obsessed, wandering the shore at twilight, listenin for the eerie clatter.
One moonless nicht, he followed the widow to the burnside, cloaked in mist and shadow. He saw her gather driftwood near the tidal pools, her voice low and strange, whispering in tongues no soul ken. Then he heard it—the clack and clatter of shells, soft but certain, like dry bones knocking together.
What came next is lost tae memory, for when dawn broke, James Walker was found lyin in the shallows. His face was pale as the moon, his mouth agape, and his ears and eyes packed wi small white mussel shells, as if to silence him forever.
The kirk elders buried him swiftly, speakin few words. Reverend Ainslie called him “a troubled man lost tae his own dark imaginings,” but the village knew better. The mist seemed darker, the clatter louder, and the bairns dared never stray close tae the water’s edge.
Widow Macniven left Cramond soon after, sayin the salt air made her lungs ache. But some said she fled frae the shellie coat that walked wi her, a shadow born o the sea and sorrow.
The tale lingers still. When the haar rolls thick ower the village and the moon hides behind clouds, folk say ye can hear the clatter o shells and a low, wet laugh driftin frae the tidal pools. Is it the shellycoat? A warning? A curse? Or just the wind and water singin tae themselves? No one kens for certain, but the story warns: beware whaur water meets land, and mind the words ye speak—for some names summon shadows that will never leave.
For generations, the folk o Cramond have passed the story by the fireside, a tale both warning and mystery. Some say the shellie coat is no beast, but a mirror tae our ain fears, takin shape in the fog where land and sea entwine. Others believe it still haunts the shoreline, waiting for the unwary or the bold.
And if ye wander by the River Almond on a misty nicht, listen for the soft rattle o shells on the rocks—and the laughter that follows.
The millstone wights look just like rocks That tumble down the brook. They always work; they never play, Don’t even stop to look. Their backs are bowed, their fingers numb, Their faces smeared with silt. They grind the streambed day and night And never dream or wilt. No song disturbs their labored hush, No whistle splits the air. The moss grows thick upon their arms, The weeds root in their hair. Yet if you speak, they'll lift dead eyes— And turn to stone before replies.
I like to play with words; the Word is God They say, “You play with God? That’s fucking cool!” I guess you’d say by words at times I’m awed At times I’m awed and odd. At times, a fool
The fool is wise when words ae more than true What’s more than true, you ask? I’ll tell you this The Word is like the Monkey in a zoo The Poem is the cage where It finds bliss
So God’s a Word and poetry’s a cage? The poet can be odd and awed at once? I’ve also heard it said, the world’s a stage At least it isn’t school. I’m not a dunce!
Reality is often most absurd And Fantasy’s fantastic! There’s a Word.
I sing of cunnilingus ‘twixt your thighs My tongue knows where each silver note belongs And when I pause, look up into your eyes I watch you feel the joy of all my songs
Each iamb of each lyric draws the sound Of depth that seems to linger deep within Like gentle joy where life is often found A sonnet so expressed is not a sin
The song of cunnilingus should be sung In labial expressions meant to please In cyclical expressions of the tongue Like angels voices on a zephyr’s breeze
The song of cunnilingus greets the dawn Like sunrise when the dark of night is gone.
We need to stop pretending we’re in charge Like children disregarding Mother Earth There must be fields of good we can enlarge Like planting tiny seeds of noble worth The worth of noble oceans, lands, and air Enrich our lives with calls for noble use In all we do we need to show we care The care we show should always be profuse Profusion can be big or little acts As long as we’re consistent with our deeds Our Mother Earth revolves, responds, reacts She knows how to fulfill our simple needs We need to breathe, to eat, to drink, to live And Mother Earth needs noble souls who’ll give.
Saint Monica, the mothers' patron saint A mother who is silent in her grace, whose prayers rise up through centuries’ complaint, whose hopes endure in troubled time and space.
And now a place southwest of Hollywood, a place that knows the ocean’s primal kiss, where palms reach high in solemn brotherhood, and grief is baptized gently into bliss.
She stops to watch the angels to the east— Los Angeles, where entertainment reigns— a city crowned in hunger and in feast, where fame burns fast and leaves forgotten stains.
But still she prays beneath the coastal skies, for every mother's silent, sacred cries.
A one-minute absurdist play featuring Lenny Bruce and Yorick in a cosmic diner beyond time.
[Setting: A red-vinyl booth in “The Afterlife Café.” Neon sign flickers above: “ALL YOU CAN STAND TO EAT.” A plate piled high with Rocky Mountain oysters sits between them.] YORICK (leaning back, skull under one arm) Though I have no tongue, I’ve tasted eternity. You think I fear a plate of bovine baubles? LENNY BRUCE You don’t taste anything, bone-boy. You remember flavor like a Catholic remembers sin. Me? I digest the moment. YORICK Ah, but digestion is but the soul’s lament— for what it couldn't keep. LENNY You ever bomb at the Hungry i with a gallbladder full of bull-nuts? That’s transcendence, pal. YORICK I once out-ate Falstaff at a Tudor wake. He wept and declared me kin. LENNY You got no stomach! You’re a prop from a play with daddy issues! YORICK You’re a prophet with indigestion! [They each grab an oyster and eat in unison. Silence. Then—] LENNY How many’s that? YORICK I've lost count. And also… my dignity. LENNY I lost that in '62. Keep chewing. [Lights dim. The neon flickers once more: “ALL YOU CAN STAND TO EAT.”]