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Heavy Make-Up

I'm Oxfam clothed and head full of henna,

he's Age Concern dressed for less than a tenner.

Does this make us rivals or more compatible?

Anything is possible now I'm out of hospital,

picking his path oblivious to obstacles,

catching him in an unguarded interval;

he's too hospitable to swerve my tentacles

and I'm too intent upon my prey.

 

"What's with the titfer?" I bubble up giggly,

kissing his cheek and trying his trilby,

holding his eyes. Why should I feel guilty?

If he'll be Jesus in the garden of Gethsemane

I shall play Judas flirting with the enemy.

Don't say betrayal and the double agent,

I'm just a female at my play-station;

he used to be nurse and I the patient,

time to negotiate new relations.

 

Aspiring to more of an equal footing,

I climb too high and abandon hoodies,

the dreary woollies, sackcloth and ashes,

words that clung to my tongue like glue.

Between heavy make-up and credit card crashes

I talk too naughty and hug too warmly;

he can't ignore me now he feels poorly,

it's his turn to go blue.

 

In minutes my mood is mellowing,

I shall saxophone and cello him,

donating charms of poor scarred arms,

the burnt flesh of thigh and breast,

the sin beneath a second-hand dress

to caress his eyes and capture him.

Wind and string go enrapturing!

Pull him close to the world's abyss:

I want him to hang on my lips

as I've hung so long on his. 

◄ Fading Out

Imaginary Friends ►

Comments

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Cynthia Buell Thomas

Sat 18th Sep 2010 16:31

Stalking and lies are somewhat related. I picked up the aggression and the need to falsify it which I labelled (not well) pragmatism and romanticism.

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Isobel

Tue 14th Sep 2010 06:54

I think it is a highly unusual theme Ray - not one that could be guessed easily. If I was going to write a poem about stalking, I think I might have added more detail about the watching and the waiting and the following. I think you did get the power struggle over though and the fact that it was her needs that were uppermost, rather than the stalked man.

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Ray Miller

Mon 13th Sep 2010 11:38

Thankyou, Andy. Isobel, Cynthia. How do you explain a poem? Well, it is a power-struggle of sorts. The female can be said to suffer from abrupt mood swings, heavy make-up indicating elation etc.And I guess it's about infatuation bordering on stalkerdom (is that a word?). The part that misleads, perhaps, is when it speaks of poorly and blue - it's meant in the psychological sense.Is it an unusual subject? Depends where you've been hanging out, I suppose!

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Andy N

Mon 13th Sep 2010 08:15

nothing else to add to the comments here as I agree with it, but just wanted to add - top stuff!

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Isobel

Sun 12th Sep 2010 14:19

I can't resist a challenge Ray - though I may well fail with this one. I decided that it wasn't desperately important to understand every last thing in here - I enjoyed the general nuances - but on the whole - I do love to understand what's going on in a poet's mind so would appreciate an explanation at some point.

To me the poem is about tables turning - as in power. The male has, in the past, been the carer - the leader. The female, now over her illness, whether metaphorically or literally, is ready to take him on. Perhaps as we age, women do get stronger, find themselves - men get physically weaker - though I wouldn't want to make generalisations. If I am on the right track, your clothes/make-up analogy would seem to be saying that women can take it too far - the euphoria of freedom pushing them beyond equality - setting them up for ridicule even. Male and female are bound together by need (past, present and future). I like the secret joy the woman feels at finally finding herself free to do this - the inner scars are still there - but she has survived...
Then again - this could just be a poem about a woman who used to be ill and now looks forward to her carer being ill. My old dad used to love hearing about former colleagues dying - especially those who had visited him on what they all thought was his death bed. A thought provoking poem for sure.

xx

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Cynthia Buell Thomas

Sun 12th Sep 2010 13:28

So, kindly tell us, Ray, what it is about. Heavy going with a reconciliation of sorts? Or lathering lies over anything to hide the truth? Or? Or?

And, Isobel, I didn't pick up the joke right away with the spelling error - and then - a hoot of laughter and 'oh! good grief!' Cute cover-up, but no cigar.

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Ray Miller

Sun 12th Sep 2010 11:11

Thanks Dave, Cynthia, Isobel.I'm intrigued now as to what Cynthia and Isobel think the poem is about.

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Isobel

Sun 12th Sep 2010 01:28

Someone pointed out that I made an interesting typo on Cynthia's name - I touch type and the y and the u keys are next to each other... I've decided to leave it as is just to give folks a laugh - and I can't see Roy or Cunthia minding.

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Isobel

Sat 11th Sep 2010 16:32

Yes I enjoyed this Ray - the subject matter is so unusual and we are talking about very real human life with all its frailty, ugliness yet beauty.

It does take a few reads to fully appreciate. I would agree with Dave and Cunthia in their choice of favourite lines.

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Cynthia Buell Thomas

Sat 11th Sep 2010 13:59

I agree with Dave, this is really good. It requires more than one reading to soak into it. Your turns of phrase and word choices are innovative, like 'I shall saxophone and cello him' picked up again as 'wind and string go enrapturing' - a poem of hard pragmatism cheek to jowl with lyric romanticism, not to mention imaginative determination. IMO, the title is outstanding in its multi-layered intent.

I could be so far out in left field I'm not even in the game.

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Dave Carr

Sat 11th Sep 2010 10:53

This is wonderful.
Such a clever use of words
I particularly like the lines..
'he's too hospitable to swerve my tentacles'
and
'I shall saxophone and cello him,'
Dave

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