Visit to India From America...
Flockhart and the MySpace Hoax
Recollections and Revelations
The Stranger Below
John A. Ward
What Might Pass Between Them
A Glutton For Truth
A Question of Proper Form
Lioness In Miniature
Grace M. Murray
Real Life Elocution
Rewriting An Ending
Seven Ways of Looking at a Full Moon
Kristine Ong Muslim
The Empty Spaces After You
eloquent over a dead daughter's body?
Who rouses defeated armies with only sharp wit?
What manner of Cicero orates wistfully before strangling his love?
No line of Shakespeare is permitted to lack gravity;
each tilt of his quill must be a fulcrum of erudition.
Salaries are earned and degrees granted
by mining meaning out of the supreme poet’s every word.
Those wanna be bards, literary critics,
are flying buttresses to the great tower.
But offstage the actors speak like the rest of us
with ers, ahems, and that annoying “you know.”
When eloquence is truly muttered, it’s been rehearsed.
Shakespeare rewrote all rambling real life scripts,
and stripped daily dialogues of boring repetition.
Yet even the Bard himself
must have belched, coughed, and broke wind,
when he paid his rent, fled the sheriff,
and ran from his dear wife Annie.
What a stuttering fool he must have been
before old queen Bess,
speaking offstage to her, unrehearsed,
without quill or parchment or quiet room
to mull over what he should have said.
RICHARD FEIN was Finalist in The 2004 Center for Book Arts Chapbook Competition. He has been published in many web and print journals, such as
Oregon East Southern Humanities Review, Touchstone, Windsor Review, Maverick, Parnassus Literary Review, Small Pond, Kansas Quarterly, Blue Unicorn, Exquisite
Corpse, and many others. He also has an interest in digital photography.