Yellow Comfort
These days, I'm all out of sticky sweet burnout.
She finds me alone somewhere, arid and unaware.
There is only so much my brain can shut out --
bones bent askew across a broken chair.
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Some days, I'm lain out across summer air,
tongue tasting midnight the dusty drought.
She finds me alone somewhere, arid and unaware.
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Sometimes, she splits her mind outside the window. I hear
yellowed hyacinth might soon sprout
bones bent askew across a broken chair.
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She compares my mind to honeydew aftercare,
like I dipped myself in and drew warmth back out —
She finds me alone somewhere, arid and unaware.
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Other days, dust hangs all over like a jagged prayer,
a metaphor for my body wilting, my self-doubt, undevout
bones bent askew across a broken chair.
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These days, its all I can do to not sit and stare.
I'm all out of sticky sweet burnout.
She finds me alone somewhere, arid and unaware.
Bones bent askew across a broken chair.
About the Creator
Corvus
Corvus is a kaleidoscope of Gothic word-craft, stuck somewhere within the hurricanes of prose and poetry and wrung out on each page. Find more fragments of the love letter on their website, corvuslove.
'20/20'
"Do It Again" the track that would ultimately open the Beach Boys final album on Capitol Records which was released on February 10th 1969 had originally been released as a single in August of 1968. The track was the first of many post-Pet Sounds era throwbacks to the early Beach Boys sound which would become continually more cliched and eventually lead the Beach Boys to the level of self-parody they would eventually succumb to in the 1980s while their closest contemporaries The Beatles nearing the end of their run in 1969 would go on to be viewed as the most influential band of all time. However, the song itself is not bad on its surface, and it opens with a futuristic sounding (for 1969) drumbeat captured by then-Beach Boys engineer Stephen Desper using tape delays on the drums performed by Dennis Wilson and John Guerin. The song has been re-recorded numerous times over the years on various Beach Boys-related projects most notably the 2011 re-recording at Capitol studios featuring the five surviving Beach Boys at the time backed instrumentally by various members of both the Brian Wilson Band and Mike Loves touring "Beach Boys" to promote the then upcoming Beach Boys 50th Anniversary reunion tour in 2012. The hammering and power drill sound at the end of the song was an excerpt from a track called "Workshop" that was to be a part of the uncompleted "SMiLE" album.
By Sean Callaghan5 days ago in Beat
Comments (3)
Love this villanelle. I was three stanzas in before I realized it was a villanelle (that’s high praise from me).
Naice
You portrayed, in a gothic way, the figure of a being that lives yet does not live, absorbing the life around it because it wants to be resurrected again. :)