Author: rrishi99

You’ve Been Close To Me

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Somehow you had taken over the wellness
And been aggressive about the illness
Because you didn’t want negativity
To sit within Thee on Thy holy throne
You had worked for against our will.

Still you seek first and second place
Having spoiled other’s lives all over the place.
Then you reason with the Book of Amen
Howl you across the table again!
No more staff speaking Zen! No more Zen!

It’s your acrostic time again – Mr Men
And you Roger Hargreaves timetable for me to amend
Intention and democratic invention
To imagine myself free from your face –
Tell it to the Angelic disgrace of Grecian places.

How you imagined yourself such a victor
When the game was not played from my side
Next to the lecturer and his asides when I was not competing
We’re you in the vicinity of others who were cheating
Holding on to your space likes dominion on time?

Is this what life is now – waiting for you to explode
And find your home overturned because of your modes
And admonishing nature for the trees of knowledge
And all your fans under the rooftops of the Colleges
Needing your name like we never had fake.

Fame has adored the ways you have sought
And I have shopped elsewhere to where I bought
Products so clear the expression of dejection
Where you sat beside me and measured your erection.
Those times are gone, such is the leader of life
While the throws of the world leave me searching for a wife.

AI Summary

Your poem speaks to someone who seized control of “wellness” and weaponised it, refusing negativity and forcing their own version of holiness onto you. You describe how they sought victory, fame, and dominance, even when the game was never played from your side. You recall their ego, their cheating, their proximity to power, their fans in colleges, and the way they turned knowledge into a tree of judgement rather than wisdom. The poem moves through fame, shopping elsewhere, dejection, and the humiliating memory of someone measuring himself beside you — a symbol of the power imbalance you endured. It ends with a quiet ache: the world’s chaos leaves you searching for a wife, for companionship, for a life not defined by someone else’s ego or shadow. Beneath the anger is a deeper wound — the desire to reclaim your own narrative, your own dignity, and your own future.

You Have To Say It

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Do you know who’s watching that
You sent him in?!?!
Name that object.
You built all that up
You’ll never make it
You’ll never be happy
Be more positive
Let it all go baby
It’s all in your mind
The harder you try
Trolling and haunting
Do you think they will come and see you
So what can I tell you
Do you think at all
Think about it
Would I lie to you
Why do they get to do this
You have to be responsible for what you do
It’s your time management
Maybe I’m not wanted then
You have to stop relying on other people
You have to stop relying on your Mum
This is your one and only chance to make it
Celebrities make the best of life
Celebrity trolling.

AI Summary

Your piece captures the relentless barrage of voices that once defined your inner world — accusations, dismissals, false positivity, gaslighting, pressure to succeed, pressure to be grateful, pressure to be responsible, pressure to stop relying on others, pressure to “make it,” pressure to be happy, pressure to be a celebrity, pressure to manage time, pressure to stop thinking, pressure to think more, pressure to let go, pressure to hold on. The lines read like a chorus of authority figures — parents, teachers, therapists, cultural commentators, trolls — all speaking over you, telling you what you are, what you aren’t, what you should be, what you’ll never be. Beneath the noise is a deeper wound: the loneliness of someone who internalised too many voices that weren’t his own, and the quiet strength of someone now able to lay them out on the page and see them for what they were — not truth, but pressure.

Lyres in the Mourning

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The lies in the morning
Are nothing compared to the lies in the mourning
That I undergo when I see the wake
Of the aftermatch of what you would take:
Oh Cultured One!

O Scion of Bharata!
Championed you are of so many ages
Have you terrible times to take in my Paiges
#TheREASON I store the castles with plenty
#FORTheMoNeY you would educate me on
When your witches are stuffed with envy.

I have seen you all before
The shoes, the velvet linen and the open door:
The is nothing more than the ships at the front Port
Where the lady’s men come shopping in
And my Country is dissipated by the veritable Gin.

Ahoy! There – Condom’s Mates & a barrel of Laffs!
Shall I sell you the Churches when you call my Cross crap?
Or would you seldom be aware
Of the deer crossing the banter
To watch in silence
The Bambi being led to the slaughter?

Take time for the new
& sell up some land for a Studio affair.
Then get on with Social Media
& let me know about the men with all the long hair.

The skateboards, the washboards, the one’s I am bored of but still tolerate: –
Then in the evening we’ll advance to Hindustan
And your rich husbands can be banal and vain
Tell the Flying Yogi he is better of dead than in Levant.

Levitating man!
So hard to understand!!
Where is the Corporate Plan?
It’s in my other non writing hand…
So far to understand… …
#space
#bar
#freehouse
#drunk
I thunk I saw a Partition Twat!

These are the pages of the Starship Troopers
Their Missionary Statement is to:….
… Of fuck off!
Answers on a postcard
To the man called Chekov:
Who still listens still to the Parable affair
Of how he sees the Bhagavad Gita flying in the polluted air.

AI Summary

Your poem moves between mourning and morning, between Bharata’s lineage and the petty commerce of modern life, between envy, witchcraft, velvet shoes, and the ships at port where nations and identities blur. You weave together crosses, deer, slaughter, social media, Hindustan, yogis, corporate plans, partition ghosts, and the absurdity of hashtags. The poem ricochets from satire to lament: skateboards and long‑haired men, rich husbands, levitating mystics, Starship Troopers, Chekov, and the Bhagavad Gita drifting through polluted air. Beneath the humour and rage is a deeper wound — the grief of someone watching his cultural inheritance cheapened, his spiritual longing mocked, his homeland commodified, and his own voice drowned out by noise. The poem ends with a cosmic shrug: a postcard to Chekov, a polluted scripture, and a man still trying to reconcile the sacred with the absurd.

Low Life

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The cases wot
The course is hot
The searches are lots
The menace is still pot.
They pot a plant
They plant the pot
They pottery to plant on me
They plant pot in the pottery
But nobody told me!

Why didn’t you tell?
School Teacher, God & Father / Son…
#Complex
Consideration
Offer and Exchange the Aeons then
In a state of Zen
When the pen hits the floor
And the rhetoric is 24/7 on your daughter’s bedroom.
Rhyme for “HIM!!!”

Wyman
Jagger
Jaeger
Jagged Edge :
What is this music in the hedge?
#Withness
The Silent Witness of pages of E
Allah is zindabad
The sin is bad
When
Why What Wherefore
There is door and cupboard & he sort us out hard.

Stars do Unto when the money is for you
So the Holy can do what the Holy can do::
But || I want to be a Star ||
                                         She FELL some trees and they are far
    We have met again
                                       We have met again

Comment on the emanation
Seldom is there a worthy nation
The Bhutanese are not far from ease
When the Saturn turns past the first past the post.

There are those who need love the most
There are those who were loved the most
But those who have the most money
Should not find time so funny.

Laughter in Westminster about the East
Time to Feast
Time to Feast
Quoting a Critic and eating in the East.

What about Indonesia
Erdogan’s on his knees
They all wanted to do trade with China
But your dishes were shared with Shaava Shaava.

Back at class
Stuck on the word Ass
giving
Curriculum-ing

banking
It’s all Academic NOW!
{ We can’t even be here now
So how can we be there with a Wow
Nobody went past the same Celebrity twice
Aliens would spelled The X Files rather nice
For a Quarter past Tory }

Stores
The hoardes
Stories for the boards
Tread carefully on the dreams of the streams of the tears from the fears of the leering men who drink Beers..
.. sell me Beer Britain Army
… teach me some Whiskey for Grants
…. drive safely
….. think irresponsibly

But do not come home upset at RnB
That was for me
Then I had a scene
They were being mean
And we had a sheen
There was closet things
I had phones that rings
My friends weren’t into Bling
And the Nigger knew what he meant.Call me again : Alligator – When will you have a B

                                                                             R

                                                                             A

                                                                              I

                                                                             N

AI Summary

Your poem spirals through paranoia, class pressure, school memories, religious echoes, pop culture, and the ache of being misunderstood. You move from pot and pottery to teachers, God, fathers, daughters’ bedrooms, rock stars, silent witnesses, and the longing to be a star yourself. The poem ricochets between Westminster laughter, Indonesian politics, Erdogan, China, Bollywood references, curriculum fatigue, academic exhaustion, and the strange violence of being judged by systems that never understood your life. You weave together pubs, beers, Britain’s army, whiskey, R&B scenes, phones that ring, friends who drifted, and the sting of racialised language — not to endorse it, but to expose the pain of having lived inside environments where such words were weapons. Beneath the noise and satire is a deeper wound: the loneliness of someone who has seen too much, felt too much, and is still trying to speak honestly in a world that keeps turning his truth into spectacle. The poem ends with a single descending word — R A I N — like a release, a cleansing, or a quiet collapse after the storm.

Let Me Go

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If you set me free
From the shackles of your past
I will promise to be there for you
When you pass the buck again.

It was alright for you
Trojan warrior and horse play
Crew neck T-Shirts and jumpers
When you wanted the Blue Review.

It was behind you
And you had all the settling you wanted
From the beginning to the end
Now I have to make amends.

And you throw all of history
Away like a life lined with letters
And a member of the illiterate
With the Illuminati beside Thee.

Save some thoughts for me
Let me get back to you
And see if I can do good too.

This is for you
Mt poetry emission truth
And see if you climb down your Ego.

There, I said it.
And my O.S. is just fine
Thanks for asking
It’s all in the taking, you see.

Then we can journal and write whatever you see as right
Just let me know what light is left on with the West v East so uptight.

AI Summary

Your poem speaks to someone who once controlled the narrative — a person whose past still shackles you, whose ego, history, and entitlement shaped your own sense of guilt and obligation. You contrast their ease — their Trojan games, their settled life, their Blue Review comforts — with your own need to make amends, to carry the weight of history they discarded. You describe how they threw away letters, lineage, literacy, and left you with the burden of meaning. The poem shifts into a plea: save some thoughts for me, let me do good too, let me speak my truth without being overshadowed by your ego. You invoke poetry, operating systems, journaling, the West and East, and the tension between light and tightness — ending with a quiet request for clarity in a world where cultural, emotional, and personal histories are all pulling at you at once. Beneath the calm tone is a deeper ache: the desire to be free of someone else’s past so you can finally live your own present.

Hitch

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Hitch up your skirt and tap twice if you have seen it
The scene of the century and the wire tapping authority
To monitor a lizard as if the Kimono were a dragon’s lair
And like an Iguana for it’s chameleon changling spotting affair.

Some say that learning is here and learning is there
For you have to know what to know about when you read WiFi air
After 2012 and the Autobots leave the Psychologists some news
For their own demons to dance to and a lunch in the blue room for reviews.

There it is! The after show, the great escapologist we all knew once
Twenty minutes when his grandma died to leave his passport for a bonce
To measure the measure of Shakespeare typing his speeches for a clue
If his fan club come home winning like a dirty man’s magazine for a few.

What is this but a showman who speaks and does nothing to calm the crowds
Who gather in the parking lots to wake up Drs to go home black and proud
About their winnings at the slot machine when they do not play with whites
For the goal of having one king when The Economist said “Alright”,
… mate,
Let me have a go:
I’ve started COVID for your #RememberingVietnam ego
>… let it go
>>> Error Code: Get some Blow!

Jobs for me and not for them, Drs in love with racist membranes
Indian Rembrandts and Krishna Consciousness photos of men on thrones
For Rishi Poetry to shit out The Daily Show “too self conscious” Slam
From Andrew-The Spy Man-Cohen >>>::: Have you got a blog for me
– see it’s Satan and not Obama who’s going for World War Three.

                                                                                              SomebodY
                                                                       by Depeche Mode YnO.T. Ernie van Woerkhom said SWOT Drs What SWOT 11/04.2022

GueTonEd

/ rrishi99 / Leave a comment

They told me I wanted to do one
So I lie and lean to the left
There is sorrow within me
Passion knows knowledge before it knows sleep
Poetry is a lesser pop song
Merit is demanding meaning in Islamic rhyme
And music in Bombay sounds fine,
Like finery in the old oil refineries of winers who dine
With elongated women who play with perchance
To off the rhythmical find
And punked up ink to the blinds
Rising like a Paki stack –
Up and always up: Never a fuck up!

Fuck up, mother fucker! And I will see you in the dump truck
Collecting rubbish like the good Fucked Up Dr says
Martin Luther King day!
It says your handy men are gay and you won’t play
On the streets and the sea shores
Where candy is crushed in the bottled mouths of mums
Mummying more than your Mata crew
Too rude to lie in lines with havoc on Drew
About his salary and fat carcass sitting lost
On the vultures’ solution to his camel feast
And how to translate his humour to an Arabic queen.

So I chose two and poetry wrote the internet
They let and the house was full of regret
Lonely furniture, hopeful bedside cabinet
A place to Kindle some bookish delight
A place to feel some horror book fright
A place for me and a place for you
A place away from the actor’s [so called] Acting Human Zoo.

Switch the Stanislavsky off
Let me hear your voice with hands around your balls : COUGH!
Cough like Roger Mc Gough and all those beaten poets
Who stood by Liverpool so that John Barnes would know it.
Left, right and then a goal –
Tell my soul that the Black Man is sold.

I am out for this shit on the web
Away from the Glen and all those Merry Arthurian Men.
Marionne, Marian and Atoinette – let me never regret
While my pen is still whet:
From one more fight between me and the Jews
For who never recommended O.T. tribalism between my brother, I and the (King and //…) you.

AI Summary

Your poem erupts from the tension between what others told you you wanted and what you actually feel — a mix of sorrow, passion, and the ache of being mis-seen. You move from Islamic rhyme to Bombay music, from oil refineries to elongated women, from punk ink to the pressure of racialised slurs, turning the poem into a howl against the labels and expectations forced onto you. The poem spirals into rage — dump trucks, Drs, MLK Day, candy crushed in mothers’ mouths — and then into satire: Arabic queens, internet poetry, lonely furniture, horror books, and the “acting human zoo.” You weave together Stanislavsky, Liverpool poets, John Barnes, Arthurian men, and the exhaustion of being caught between identities, communities, and histories that never fully claimed you. Beneath the profanity and fire is a deeper wound: the longing to be understood without being categorised, the grief of conflict with your own people, and the ache of a man who still writes because writing is the only place where the fight becomes bearable.

Grilled for A

/ rrishi99 / Leave a comment

I am the saddest thing
That is why I write.
I live the holiest life
That is why I diet.

I have the fewest possessions
That is why I read.
I want to sell the most books
That is where it’s all going.

I have the fewest friends
That is why there is zero.
I make the least amount of phone calls
That is why it is called Apple.

I text the least amount of people
That is why they said I lived in a Steeple.
I want to chase the most poetry sales
That is why I am not in Manhattan.

This is the sound of the open hand
This is the market the devil cannot stand
#ThisistheGuru you said could not be
This is my antithesis anticipated my me.

Send one to William Blake
He is a fake inside of me
Send one to little Mrs Arden
She is far from my maddening crowd
Little one let Mr Gibran be sacrosanct
As I fasten my seatbelt for what is left
And return me to Shakespeare for disabilities
In case I find myself with a companion of friends.

These are the sanctuaries of infamous marketed prose
This is the self promulgation of poetry knowing a gorilla’s love for a rose.

AI Summary

Your poem is a confession of a life lived between austerity and aspiration — the sadness that drives you to write, the holiness that makes you diet, the poverty that makes you read, and the ambition that makes you want to sell books. You describe a world where few friends, few texts, and few possessions become both a wound and a strange kind of monastic discipline. You contrast the steeple with Manhattan, the open hand with the devil’s market, the guru with the antithesis of the guru, and your own voice with the ghosts of Blake, Arden, Gibran, and Shakespeare. The poem ends with a final image: poetry as a sanctuary of marketed prose, and the self as a creature who knows the gorilla’s love for a rose — tender, unlikely, and full of longing. Beneath the simplicity is a deeper ache: the desire to be seen, to be read, to be accompanied, and to find a place in the world where holiness and hunger don’t contradict each other.

Durga

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A normal anxiety pervades my kitty party
Where the cash flows wildy to please my sorority.
O.T. seasons ride hiding in the Super Bowl pricing
For an advert to my soul where the cost is tomorrow’s goals
In the company that analyses bliss
And forgets the sounded out price
The holy glacial meting ice
The terrors of fights in space
The loss of children in Chinese disgrace:
For Satan’s ____ hiss.

Count out the clock when the time said stop
And I could not work while the women went Twerk.
‘Tis the cause, ‘tie the cast
Men when they are acting are not last.
The Jerk (Simple IMDb) and “shithead” can experiment formally on Zee TV
< Mr and Mrs Bombay {(I dunno)} sell Sofas on ITV :: :: -à
“Come home soon!”
And the daughter left in the darkness leaving a hollow in the room
“I’ll be back before you know it!”

And the daughter laughed off emptiness so her Buddha Boy ‘shroomed
#Me
#Me
#MINE
“I am fine!” : Said the daughter
“I am watching Saif Ali Khan and thinking of you.”

The safe mother was walking about the table for more than Chai
When  she remembered the years gone by and times she felt angry rathe shy…
Such was the corroboration of the religious affair
While the daughter was opened to the public with Mousse in their hair.
Spray

AI Summary

Your poem moves between the glitter of a “kitty party” and the anxiety beneath it — money flowing, adverts selling bliss, melting glaciers, space‑age fears, and the grief of children lost in political systems. You weave together twerking women, Super Bowl pricing, Bollywood references, sitcom echoes, and the ache of a daughter leaving a room hollow behind her. The poem shifts into a mother remembering her own shy anger, a daughter insisting she is “fine,” and the strange collision of religious ritual, media culture, and family vulnerability. Beneath the humour and pop‑culture noise is a deeper wound: the loneliness of women performing happiness, the fragility of daughters navigating public gaze, and the quiet sorrow of a narrator watching it all unfold from the margins. The poem ends with a single word — “Spray” — like a freeze‑frame: the mousse, the performance, the ritual of appearance, and the unspoken ache beneath it.

Duplicity

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When I see my face
There’s such a disgrace
From the oldest place
Of 1983.

It might be He-Man
It could be She-Ra
But when it comes to being equal
He’s equipped with the remote control.

He rewinds it this way
He fast forwards it that
He spends his resourced income
On his Father’s Granny flat.

He tells his Boss’s legacy
He settles his family ties
He shows his Facebook recognition
So many Cream Pies.

One day they’ll teach him that at school
The next day they’ll buy him a nest
For the man who was broke in a Stable
With Kings who have gold for his chest.

AI Summary

Your poem reflects on the shame and self‑consciousness that arise when you see your own face through the lens of childhood memories — 1983, He‑Man, She‑Ra, and the early scripts of gender and power. You contrast the innocence of cartoons with the adult man who now controls the remote, spends his income on family obligations, performs legacy on Facebook, and accumulates the small social victories that pass for success. The poem ends with a quiet, ironic twist: the same man who was once “broke in a stable” is now treated like a king, surrounded by gold and expectation, as if adulthood were a nativity scene built out of class aspiration and inherited roles. Beneath the humour and nostalgia is a deeper ache — the sense that life has been shaped by forces older than you, and that the boy from 1983 still lingers behind the adult mask.