nameless
I sit through another night and try to care
not that the darker part of
restlessness has me sitting, then standing…
how now I find myself standing to rush the
the pulls on my cigarette, yet
saying its cool, no need for haste…
less convinced, something waits
for me…
the silence, the quelled nameless,
the under my breath exhale that is
no more than a wrestling of words to caption
a certain something that
feels more like a wound flowing a maroon reality…
THAPOETDARKRITER
purple
Walk with me in the while, lets refuse to
accept or believe
the dust thrust into our eyes on other
days, and this one…
Walk with me in the now, beneath a night
of clear skies,
bright stars and stillness…
Lets believe the cool night and its subtle
promises of a suns rise and a new morning…
Lets believe in a fools faith
that, that which is old will become knew…
All else matters less in this
moment, what we thought…
What we knew, what we’ve known all
the while…
Walk with me awhile, lets meander through
understandings I may not do well with…
thapoetdarkriter
SURRENDER
then there are early morning nights when a sliver of moons light
trespasses just prior to days light and hears…
a prelude to surrender, hears words, transfer words
from a haven I thought mine, now defined because I wrote them in sound on the sliver of light
in my weary voice, my have no choice…
voice….
my why or, just, why not…
its been a long night, a sinners fight to make it to what the old folks like mama and
“dem” called “daylight”…
or that “joy that commeth in the morning” light…
but what of the sinner…
will it carry that one too, for night is but a darker skinned kin, a silent audience
listening well for words of surrender unto one or the other.
Thapoetdarkriter
Photo reblogged from POETRY since 1912 with 251 notes
Wishing Maya Angelou a very happy birthday! Read the rest of the poem.
Photoset reblogged from Black Contemporary Art with 136 notes
The Wall of Truth | William Walker and other artists
“In 1969, Walker, Eda, and other artists began painting the Wall of Truth across the street from the first mural [Wall of Respect] on a partly boarded-up building that housed a day care center and drug abuse clinic. Provoked by recent upheavals—the assassinations of King and Robert Kennedy, the police murder of local Black Panther leader Fred Hampton, widespread ghetto insurrections, the soaring crime rate, and the spread of drugs—this mural was starker and more defiant, dealing with conditions in the local community as well as in all inner-city neighborhoods. Direct painting on brick was combined with portable panels, text, and collaged posters.” — The Man Behind the Wall, Chicago Reader
Source: vidalesque
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