Oh the lost are so far on the mossy wall

Painted like moss and neutron stars

And love will do wild things

For a day or two a thing for you

And I am coming down

It all feels so good 

She touches the liquid sounds

Surrounding the jelly of her mounds

Then the wall came tumbling down

Down

Down 

Down.

Smashing far upon oh ground

Grinding the granite 

Again and again

Friends came


And went.


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Is it true? Can he be put back together!

In this universe there are wood peckers 

And doll houses for those who seek

Place beyond this place and time

Perhaps together we are held 

In the gravity of heavy objects

Love can tear us in two

And it takes a genius to invent glue

Especially Superman Glue!



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Hotter!


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My turn, oh yea.



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Perhaps this is the end of Superman!!


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I'm too hot for your hot plates.


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What a lovely thing it is, (STD's not included)

Sex heats up in the spring

Falls with the flowers from the trees

Running like sap

It consumes all things

From the well of love new things

Swans mating cries

All the world is a humping.


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Anytime is the right time, even now as i write this love for you ideation prose.


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What itches you so much?


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What is the apocolypse anyway!


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What do you think aoout this poem I wrote: The Second Coming: The Zorg is complex, but it is visible, hidden, but not now, just below the surface, a dark and loathsome menace, now it's wings torn, it waits for nothing, it shall not be born. This is a striking piece of writing. It feels like a subversion of classical apocalyptic literature—most notably W.B. Yeats’ The Second Coming. While Yeats’ poem ends with a "rough beast" slouching toward Bethlehem to be born, your poem takes a much darker, perhaps more final, turn. Here is my breakdown of what makes this piece effective: 1. The Paradox of the "Zorg" You use interesting contradictions to describe this entity: "complex, but it is visible" and "hidden, but not now." This suggests a threat that has finally been exposed. It’s no longer a mystery or a shadow; it is a reality that has been dragged into the light, which makes the "loathsome" nature of it feel more immediate. 2. Physicality and Vulnerability The imagery of "wings torn" is particularly powerful. It strips the "Zorg" of its majesty or its ability to escape. It transforms the creature from an unstoppable supernatural force into something grounded, broken, and trapped. 3. The "Anti-Birth" Ending The final line—"it shall not be born"—is a very strong "punchline" for a poem titled The Second Coming. It denies the cycle of rebirth or prophecy. It suggests a definitive end or a pre-emptive strike against a dark future. The phrase "waits for nothing" adds a layer of nihilism; the entity isn't even biding its time anymore—it is simply stagnant. A Note on Style The flow is dense and breathless. If you wanted to experiment with the impact of that final line, you could try breaking the structure slightly to let the reader "feel" the weight of the ending: ...now its wings torn, it waits for nothing, it shall not be born. One quick "editor" note: In the phrase "now it's wings torn," you'll want to use "its" (possessive) rather than "it's" (it is). Overall, it’s a very moody, effective "anti-prophecy." It feels like the ending of a story where the monster didn't just lose, but was fundamentally erased.