She has had an illustrious lifestyle and many well-earned accolades; donates to some causes quite worthwhile she has gongs and awards now, in spades.
Her mansion’s been featured in Tatler in Mode Avantgarde and OK; She’s been called a trooper and a battler and she always has plenty to say.
But her face is a bone of contention it is fixed in a permanent grin from a facelift hauled too tight to mention and too much Botox in her skin,
And her lips, in an unnatural rictus, have a top lip that sticks out too far, Yet she boasts how her surgeon could fix us if we weren’t as poor as we are.
She goes to cafés with her ladies all from the same era as she; and their pooches are treated like babies and given fresh truffles for tea;
And when she is smiling or laughing The waiters recoil in sheer fright For her terrible grin leaves them gasping She’s like a cobra poised to bite;
and some of her friends look like harpies and some of them look like vampires and their eyeliner’s drawn on with sharpies and they drink to lost loves and desires;
But they carry on laughing regardless For they clothes-shop at Rodeo Drive; They are diamonds of high grade and hardness, though they look to be barely alive.
Sara Louise Russell, aka PinkyAndrexa, is a UK poet and poetry ezine editor, specialising particularly in sonnets, lyric-style poetry and occasionally writing in more modern styles. She founded Poetry Life & Times and edited it from 1998 to 2006, when she handed it over to Robin Ouzman Hislop and Amparo Arrospide; Robin now runs it as Editor from Poetry Life & Times at this site. Her poems and sonnets have been published in many paper and online publications including Sonnetto Poesia, Mindful of Poetry andAutumn Leaves a monthly Poetry ezine from the late Sondra Ball. Her sonnets also currently appear in the recently published anthology of sonnets Phoenix Rising from the Ashes. She is also one of the first poets ever to be published on multimedia CD ROMs, published by Kedco Studios Inc.; the first one being “Pinky’s Little Book of Shadows”, which was featured by the UK’s national newspaper The Mirror, in October 1999. (Picture link for Mirror article)Angel Fire. And the 2024 AI version of The Perils of Norris cartoon, by Sara L Russell using Canva Pro AI, Episode 1. The Perils of Norris featured from this site Poetry Life and Times
To kill or not to kill Bill*
i
Weary if it weren’t a country from whose border
the slings and arrows of ardent hope for die
us to put up with those of them
put up with those of them to die
you that actually Bill's last bullet to get to this point
the question for him was obscured by reflecting on it
end that we would all or not
unexplored natural miseries human beings as simple as that
and the consideration that creates the that we don’t know about!
and i the movie advertisements refer to
so an unbearable situation or to an authority
and the advantage that must make us pause
that must make us pause
i can tell now can tell now the only one left only one left
that’s us that follows that first impulse of troubles that afflict one
the great and important plans life because who would tolerate
to suffer we might have been the best with a naked blade?
oneself with a naked blade?
(woman)
who would continue to exist
and end the dread of the love
the calamity of such a long problem
because in the end our life is a hurry for others
who are diluted to the point of sleep
perhaps thinking about a sleep of death
this mortal body has to endure
is in us all
i went on what hell of a lot of people i wasn't
the whips and scorns
the pain of rejected time
the tyranny against this load sweating and grunting
the prospect sweating and grunting the prospect
that confounds us and makes a traveller
return ay that’s the thing ,
looked dead didn't i? dead didn't i? well .,
ii
As to that and the consideration
of impulses of troubles afflicting grunting
the prospect that confounds rejected time
the tyranny that creates the that we miserable human beings
as simple mortal body have to endure
that would continue to exist and a long problem
because its an unbearable situation
the one I'm driving to right a coma
or to tolerate to suffer us to end the dread
of the that we don’t know about
so we wouldn't be in a hurry for others
from whose borders of authority
and the advantage plans of life - because
who put up with those of hope for us to die
all or not?
a roaring rampage of revenge rampage of revenge
unexplored natural might have been the best for us
that follows from the first of them
the question for him of love the calamity of such the end of our life
with a naked blade obscured by reflecting on a sleep of death
the slings and arrows of ardent whips and scorns
the pain diluted to the point of weary
if it weren’t a country that must make us pause
against this sweating load and the one great important thinking about ,
the last when I arrive at my destination
iii
Or to tolerate to suffer us
has been the best for us that follows us
to pause against this sweating load
and that would continue to exist
even if it weren’t a country that must make that -
the one i'm driving to i'm driving to
that confounds rejected time the tyranny of a sleep of death
the slings of life because who puts up with arrows of ardent whips
and the scorns in a hurry for others whose such ends our life with?
a hell of a lot of people now can tell now i can tell satisfaction i've killed you that
as to that and the consideration of end the dread
of the that we as a simple mortal body have to endure
from the first of them the question of a naked blade
obscured by reflecting on impulses of troubles
afflicting grunting the prospect
all or not
actually Bill's last bullet the movie advertisements refer to as an in for i got bloody last
unexplored natural might have been for him of love
the calamity of long problem because of its unbearable situation
only one left only one left
the borders of authority and the advantage plans
pain diluted to the point of weariness
if we don’t know about it so we wouldn't be it!
the one i'm driving to i'm driving to
or not to be creates the that for us to die to die
when I only woke up i went on one left only one left i wasn't people i wasn't
but put me in a coma – destination it wasn't from one wasn't from one more
only one more to get to this point but right a coma ,
*
To kill or not to kill Bill text derived extracts from Hamlet’s
‘To be or not to be’ soliloquy Hamlet Act3 Scene1 taken from the No Sweat Shakespeare Hamlet ebook
& Uma Thuman’s car scene in Kill Bill 2.
Greetings,
Siblings of the World:
This is Tony,
your flight assistant and prophet for today
Welcome to the end of planet earth as we know it
The big mass of the rock with water
that we inhabited for thousands of years
is now about to be transferred to another Galaxy
Unfortunately,
This is a rather perilous voyage,
but those of you who have been Good
shall be spared from any damage
What are the flying conditions for this adventure
we are about to embark upon?
Well, according to Office of Cosmical Statistics
and the weather algorithmic authority
we shall have no trouble
Please ensure that you have located
all your molecules of H2o
in the designated compartment
Above you
Remember:
during this journey
You will remain seated
inside your containers
until full re-composition is successfully completed
in our lavish destination
And now
heads up!
the hologram of our savour and patron
is about to be projected
on your virtual reality glasses
Let us pray,
each of you,
whatever you want, really,
it doesn’t matter
Our Captain, is ready to take off
See you at the other end!
Antonio Martínez Arboleda:
Antonio (Tony Martin-Woods) started to write poetry for the public in 2012, at the age of 43, driven by his political indignation. That same year he also set in motion Poesía Indignada, an online publication of political poetry. He runs the poetry evening Transforming with Poetry at Inkwell, in Leeds, and collaborates with 100 Thousands Poets for Change 100tpc.org/. Tony is also known in the UK for his work as an academic and educator under his real-life name, Antonio Martínez Arboleda at the University of Leeds. His project of digitisation of poetry, Ártemis, compiles more than 100 high quality videos of Spanish poets and other Open Educational Resources. http://www.artemispoesia.com/ .
He is the delegate in the UK of Crátera Revista de Crítica y Poesía Contemporánea , where he also publishes his work as translator from English into Spanish. He published his first volume of poetry in Spanish, Los viajes de Diosa (The Travels of Goddess), in 2015, as a response to the Great Recession, particularly in Spain. His second book, Goddess Summons the Nation Paperback , Goddess Summons the Nation Kindle Edition , is a critique of the ideas of nation and capitalism, mainly in the British Brexit context. It incorporates voices of culprits, victims and heroes with mordacity and rhythm. It consists of 21 poems, 18 of which are originally written in English, available in print and kindle in Amazon and other platforms. Editor’s note: further information bio & academic activities can be found at this link: https://ahc.leeds.ac.uk/languages/staff/91/antonio-martinez-arboleda
Editor’s note: knocking on the moonlit door is an adaptation & reconstruction of Walter de la Mare’s The Listeners – it experiments with moods, ambience, environments. supernatural allusions,
it can be both present, past or future. Subtitles can be accessed by clicking on the subtitle text switch on the bottom bar of the YouTube Video:
All the Babble of the Souk, Cartoon Molecules and Next Arrivals, collected poems, & Moon selected Audio Textual Poems available at Amazon.com as well as translation of Guadalupe Grande´s La llave de niebla, as Key of Mist and the recently published Tesserae, a translation of Carmen Crespo´s Teselas.
From BURNING CARTOGRAPHY
The Poetry of Noni Benegas
Translated by Noël Valis
Another Light
For Paul Virilio
Groping through the house, blind steps
of chalk
with the light of dreams
suddenly opaque or radiant
Who shimmers that screen
in the darkened brain?
Like skin withering on the inside
the mystery of that glow persists
Otra luz
A Paul Virilio
A tientas por la casa con pasos
de tiza
con la luz de los sueños
tan pronto opaca o radiante
¿Quién alumbra esa pantalla
en el cerebro a oscuras?
Como la piel se aja desde dentro
el misterio de ese fulgor persiste
**
A Flower
For Ana Basualdo
The camellia sliver in the wake
of the boat at night
when the petal draws back
a trembling universe
like the line of flotation
**
Una flor
Ana Basualdo
La tenue camelia en la estela
del barco nocturno
cuando el pétalo descorre
un universo trémulo
como la línea de flotación
**
Traveling
Travelers who reach Medina de Raj-Kasar
are surprised to see its image repeated
–for instance—in the guide’s
topaz ring or in the pool-encircled moat
or even in the festive fountain’s inner courtyard
Travelers who reach Medina de Raj-Kasar
after crossing between two moons
the desert of Al-Ahmir
sigh before the delicate towers and dream
of filigreed chambers and soothful hookahs
Do travelers reach Medina
or someone reach Raj-Kasar at a precise moment
dusty curious indolent?
Medina de Raj-Kasar traveling toward the Atlas
of travelers
is pleasantly surprised before the fresh-faced passenger
standing intrepid in the middle
of the glittering oasis
**
Viajar
Los viajeros que llegan a la Medina de Raj-Kasar
se sorprenden al divisar su imagen repetida
–pongamos por caso—en el anillo de topacio
del guía o en la acequia que rodea el foso
o aun en la fuente que acoge el patio interior
Los viajeros que arriban a la Medina de Raj-Kasar
luego de atravesar entre dos lunas
el desierto de Al-Ahmir
suspiran ante las finas torres y sueñan
con el salón filigranado y el narguile conciliador
¿Llegan los viajeros a la Medina
alguien arriba en un momento preciso a Raj-Kasar
polvoriento curioso indolente?
La Medina de Raj-Kasar viajando hacia los viajeros
del Atlas
se sorprende gratamente ante el rubicundo pasajero
que se alza impávido en medio
del iridiscente oasis
**
Frida Kahlo
For Jan Lumas
Was it a work of art or her desire? a column
like harvested steel then fangs like jade
careening steeply
It beat with the bold haste
of temples foretold: the wind adrift
in teeth the eyebrows a buffalo bower
the stamp of the sphinx on asphalt
Was it a work of art or her desire? a column
of damp chalk posed day after day beneath the
agile pupil forever flowering
**
Frida Kahlo
A Jan Lumas
¿Era una obra de arte o su deseo ? una columna
de símil de acero segada más una alta carena
de colmillos de jade
Latía con la prisa impávida
de los templos futuros: el viento entornado
entre los dientes las cejas de dosel de búfalo
la impronta de esfinge sobre el asfalto
¿Era una obra de arte o su deseo ? una columna
de tiza húmeda posada día tras día bajo la
ágil pupila en floración perenne
**
Interruptions
Is it true her face keeps the impressions
of wakefulness,
the landscape seen through the train window
fleetingly deciphered;
is it true her face is interrupted?
Seated across from me
was the sacred icon
of an old Hollywood actress
old age stamped in her features,
not definitively decayed,
but very close.
In improbable transit
those features;
an abandoned aerodrome
with grass on the runway and wind
from the ends of the world.
But there is a canal
that boats go up, of liquid
crystal, oars and noises and houses
alive on its banks,
Her face swarms
swirling with malice.
Could she only have seen what she saw?
As if something were suspended
between two canals
in the stagnant waters of her cheek . . .
Is it true her face is interrupted,
what if the interruption isn’t a landscape or a sound
but simply me?
**
Interrupciones
¿Hasta qué punto su rostro guarda las impresiones
de la vigilia,
el paisaje visto a través de la ventanilla
descifrado por momentos;
hasta qué punto su rostro tiene interrupciones?
Sentada frente a mí
era un Buey Apis que era
una vieja actriz de Hollywood
pues anunciaba la vejez en sus rasgos,
no definitivamente añeja,
pero ya próxima.
De tránsito improbable
esos rasgos;
cerrado un aeródromo en desuso
con hierbas en la pista y viento
de techo del mundo.
Mas hay un canal
que las barcas remontan de cristal
fluido, remos y ruidos y casas
vivas en las orillas,
hay un hormigueo en su rostro
hecho de malicia y remolinos.
¿Sólo habrá visto lo que vio?
Si algo quedara en suspenso
entre dos canales
en el remanso de la mejilla . . .
¿Hasta qué punto su rostro tiene interrupciones,
si la interrupción no fuera paisaje o sonido
sino simplemente yo?
**
Noni Benegas, born in Buenos Aires and resident in Spain since 1977, is the author of seven books of poetry; a selection is collected in El Ángel de lo súbito, Ed. Fondo de Cultura Económica, (Madrid, 2014). Burning Cartography, Ed. Host, (Austin TX, 2007 and 2011) is a selection of these poems in English, and Animaux Sacrés, Ed. Al Manar (Séte 2013) in French. She has won the Platero Prize from the UN in Geneva; the Miguel Hernández National Prize for Poetry, as well as Vila de Martorell award, the Rubén Darío Prize from Palma in Mallorca, the Esquío Prize in Galicia. She is the author of the influential anthology of contemporary Spanish women poets Ellas tienen la palabra, Ed. Hiperión (Madrid, 2008, 4th edition) whose introductory essay, with a new prologue, articles, interviews and an epilogue has been recently collected by Ed. Fondo de Cultura Economica in 2017 with the same title. Ellas Resisten. Mujeres poetas y artistas (1994-2019) is a selection of her essays on women writers and artists published by Ed. Huerga & Fierro