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Literature Text
s
eg
men
t
me like an orange
or maybe a grapefruit
somehow the latter seems more appropriate-
cos i bite back.
like
cancer.
oh, you know, cos it's always
cancer.
nothing romantic about it,
nothing romantic about t h i s
i loved you for your hair
now it's gone and
i.
am.
stuck.
everysingleskincell that i've got is
swollen so i can't get this
---forsaken
band.
off.
in other words:
i can't leave and you
won't die and
i'm out of excuses for me,
i'm out of excuses to s t a y
eg
men
t
me like an orange
or maybe a grapefruit
somehow the latter seems more appropriate-
cos i bite back.
like
cancer.
oh, you know, cos it's always
cancer.
nothing romantic about it,
nothing romantic about t h i s
i loved you for your hair
now it's gone and
i.
am.
stuck.
- between
- this stale-air waiting room with plastic on the chairs instead of leather, well, i hate leather anyway so.
- the barred walls of your crib
everysingleskincell that i've got is
swollen so i can't get this
---forsaken
band.
off.
in other words:
i can't leave and you
won't die and
i'm out of excuses for me,
i'm out of excuses to s t a y
Literature
Tourniquet
I stand crying over the kitchen sink
reeling back and forth so hard
that I hit the tap
and watch as my broken dreams
spill out of a fresh gash.
I spend my free time searching through spare fantasies
for a tourniquet; anything
to stop the flow of thought.
Its funny how I fight to forget us,
and struggle to remember you.
Every so often I cant recall
the way you drug your feet as you walked
or exactly how much I loved your voice.
Im losing you again...
Just another dropped call
on the worlds most reliable network
because all I am is a number;
a few digits
not worth remembering
So as I run mine through my hair
and let out
Literature
these feelings should be finite
I'm terrified and I know there's nothing unique about this, but I'm standing here completely out of touch with the rest of the world, realizing for the first time that we all feel things a little bit differently, which is why this doesn't hurt for you at all. I figure the only logical reason for how you could do this as if it means nothing was if it really did mean nothing at all for you. It's easier to hate you this way. It's easier to forget you without the burn of your kiss against my skin. It's easier to stay mad if I don't have to remember the way that it felt. Most of all, I can forget this as if it's a memory in someone else's lifetime
Literature
and now -
[1] today i waited and waited and waited, and you never said anything beautiful at all.
[2] today i clicked 'i'm feeling lucky' on google. the screen went blank except for two words - are you?
[3] today i saw a man planting daffodils beside the highway. i asked why. he told me yellow was the color of happiness.
[4] today an old woman patted my cheek with a wrinkly hand and told me everything was going to be all right, after all.
[5] today a boy i see everyday on the ten-fifteen bus to c
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© 2011 - 2024 londonrey
Comments136
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The first few lines are great. I love how you come at the concept of "segmented". To me, this is a case of onomatopeia at its finest. You don't see onomatopeia used lot in poetry because it tends to be clumsy, almost brutish. Since you modified the concept of the literary device slightly and pulled it off smoothly, in a way that can easily be read and understood, brava.
The rest of the stanza is sweet to me - a little cheeky, a little quirky. I like that you found a way to shorted because to cos instead of cuz. The latter, more common shortening seems...inedpt. I don't take a poem as seriously after I find a word like cuz in it. But cos is much more elegant.
I like 5th as well, especially the last three lines.
i.
am.
stuck.
I like this, because the way you postition the words and punctuation...the only way I can describe it is like the flow of the poem gets caught her. Not one. Not two. But three times. stuck.
And then the second-to-last...ah. I think my favourite. It's such a raw feeling here - so short and simple, almost like the writer wants to get it out of their head as soon as possible, because they're ashamed of it. I can hear the voice this would be said in in my head. Throat a little bit tight, constricting the air and making all the words sound just a bit higher, just a bit weaker.
just a bit
more
desperate.
Another great one, London. Keep them coming.
-Frankie
The rest of the stanza is sweet to me - a little cheeky, a little quirky. I like that you found a way to shorted because to cos instead of cuz. The latter, more common shortening seems...inedpt. I don't take a poem as seriously after I find a word like cuz in it. But cos is much more elegant.
I like 5th as well, especially the last three lines.
i.
am.
stuck.
I like this, because the way you postition the words and punctuation...the only way I can describe it is like the flow of the poem gets caught her. Not one. Not two. But three times. stuck.
And then the second-to-last...ah. I think my favourite. It's such a raw feeling here - so short and simple, almost like the writer wants to get it out of their head as soon as possible, because they're ashamed of it. I can hear the voice this would be said in in my head. Throat a little bit tight, constricting the air and making all the words sound just a bit higher, just a bit weaker.
just a bit
more
desperate.
Another great one, London. Keep them coming.
-Frankie