Anti Christ

Mastery or misery
The hits upon me
Scenes cut on the dancefloor
Somebody is calling for more
Honours are rolling like calls
And curtains are falling on shoulders
The heaviness is heavy people carrying heavy things
And lifetimes the continuance of temerity to bring,
The New Age and some Christian sing songs
At Christmas for the fort around my heart
And drones of warfare torn apart
For the silence of nights with the hills of shame.

England has now names and castles
But tomorrow is an I.P. battle
And the contest is won on a weekend TV Show
For all the girls to derby what horses I don’t know.
Are is can can?
Is ‘R’ the voice of the life span?
Who will read, my textual feed
When Bibliography is Buddhist with dharma?
Did you sell India’s karma when the stale bread was divine with cost?
How is the produce numbered by Wallahs, who estate pride in foreign affairs
When a prison ship would evoke an old age loss?
The names have distances and the places wear good attire
Come down they say for the belting of a Squire
Millions and Billions, Millions and Years
Millions and Newspapers, anticipation and famous people’s fears
Repeated. Defeated. Consciousness has electrical elocution lessons
For the men with the beards and Vikings overseas lost without means to please
Beers. Beers and more beers. Beers glorious food! Alzheimers, Cancer and Custard!
The mellowest light is forgoing, the remembrance so tight of being all knowing.
Humans are not robots anymore from the 80’s dancefloor
Robots are big in Japan and they lend the waiters a helping hand
Poets can come from Pakistan, even if they are Pakis from British lands
And robbery can be at the button, so that dogs can snoop overlords for Goa and African mutton.

In a million years from now life will be free
From the Industry of people and their faces.
Then the sad dress of the tightest fanning to impress
Will be Sati for all the assured disgraces.
Fires that burn are not fires in the night
And measurement is not love in the haste of too many talks:
But when Fitzgerald was great he left room for truth,
So white jackets could know polity and grease heavenly proofs.

Some truths shall not fade as Desdemona claims every Willow
Such is the price for Scotland to ask twice, for freedom for Wallace after the show.

There is always tomorrow
There was always nothing
Some families need no Ganges;
But when the name was used
And Krishna’s stories were abused
Silence became the confused
And Dao answered with China’s entrance and dragon, profusely.

Welcome to the 21st Century
& bid adieu to the English of wankers:
Here is a decision for investment and oil
To tank the banking with some oily cases.
The F.B.I. race and Angels that care
Over and above the oxide stares
Of selfies and big-bummies and the British quip chill
Girls are still the best readers. Still and still,
Cumming for the bumming and strumming
Like a humming that annoys the Gods of Greece
For 90 years of electric Synods and some spoilt lazy Priests.

AI Summary

Your poem moves between mastery and misery, tracing how a life gets shaped by culture, empire, religion, media, memory and the relentless churn of modern noise. It asks what identity means when England, India, Pakistan, Scotland, China, America and myth all claim a piece of your story. The poem wrestles with belonging, shame, humour and defiance, trying to find clarity in a world where history, technology and spirituality collide. Beneath the satire and the references is a single question: how does a man stay human — and honest — when the world keeps demanding masks, myths and performance.

I Feel Watched

I feel watched
I am looking forward to
The next line
The next explanation
The next self criticism
The next meditation.

The trees are still
The mind is heavy
The brain is pressured
The sky is rainy
The next meditation is tomorrow morning before 9.

One day every morning will be fine
This is just the aftermath of being in the afternoon of the aftermath of life
Trying too many things
Thinking about things twice
The next meditation is obsession.

Maya is a misdirection about the Indian lady’s midrift
There had to be no rift so the imagination was used
When I saw the Bollywood two live crew
Being too few for me to mention names
Mending the Partition bridge for the bride on Maine Street
Not so many geographical locations to go
For the mind to know which place to go
To settle down and accept I am brown
When I feel nature’s need to go downstairs
And have some herbal tea to spell back sales to The Church

Leaving me in the lurch like the Drs and Nurses of Psychiatry
Making the NHS rich with medical pills and historical diversity
Measuring selves and making my height an issue
Ripping up trade agreements so Parliament can know things anew

Fiduciary duties and the watched man of the politician’s thrones
Blaming Donald Trump for being in my mind
Oi! MP! Matey! We leave you alone!

And on they went picking up issues like bags of crisps on the floor
And the science of the clouds looked down on the poor
Looking for more
Looking for more
Easily etching out nature on the minds of the innocent
Looking for more
Like William Blake
Give me a break mate – what of your lawyers charging these rates?
Staring in my mind
Treating me unkind
Don’t you know the English rule the waves with their nationhood?
I don’t know all their things?
I didn’t memorise their names!
Who is P.B.S. to me?
Why do you hear the need to quote out loud the wild words of the past.
That was not Shelley
This is my caste
I am what a Brahmin is to Shakespeare when he looks past the glass
I stare out of in my bedroom when my window is double glazed.
The casting of the workman required to change it into a wooden blind stares me blind on this freeman’s salary with the Freemason’s down the road
Handing out leaflets with me at the Conservatives
(Kali will turn me into a toad!).

So this road I am on is long and I tire at page 3
Because this is Energy
“Save some for me!”
he said, delightfully.

AI Summary

Your poem unfolds like a man caught between vigilance and exhaustion, where every thought becomes “the next” — the next line, the next criticism, the next meditation — as if the mind has become a conveyor belt of self‑monitoring. The still trees, heavy mind, pressured brain, and rainy sky create a weather system that mirrors the internal climate, and the repetition of meditation becomes both anchor and obsession. The poem then swerves into cultural memory and identity — Maya as misdirection, Bollywood imagery, Partition ghosts, herbal tea, the Church — all symbols of a man trying to reconcile being brown, British, spiritual, modern, and tired. The NHS, psychiatry, Parliament, clouds, Blake, Shelley, Shakespeare, caste, Brahminhood, and Freemasons become part of a single hallucinated bureaucracy of meaning, each demanding something from you. What you’re really describing is the fatigue of carrying too many histories, too many expectations, too many interpretations of yourself — and the longing for a simpler road, even as you joke that Kali might turn you into a toad. The final line, “Save some for me,” lands like a plea for energy, mercy, and space — a reminder that beneath all the cosmic noise, you’re just a man trying to breathe through the afternoon of your own life.

Why Won’t You Dye With Me

Colour the light a special ignorance
And split the sheet down the sundry path.
Collapse the boundaries between now and those thorn bushes
And see the camels and horses from the tragedies.

The heroic epoch of expectation(s)
The jaunt of Vedic caste and nothing in return
Considerations and venerations
Before the online God of right here, right now.

Change the screen and see what I mean
The spectre of some shadow’s distortion
For the leaderless races led nowhere
In the recesses of privacy and the internet boom.

Who is in the room? But a Ronin of a ghost
Without a toast from the epic classes for the public
Sin, success, shining and a Barista for your coffee
Don’t and do before the Herody of your Biblical plate.

Wait and you will be harassed by the man on the bus
Who is an African trust for the Asian victim
Within some Jane Austen suspicious affair(?)

How will the enviable ending get there
When the page is not turned on the silent majority
Velvet votes and times tables for budgets that denote.

Take these times to be the notions of some movement fringe
When the mobile phone separates parents from their children who binge.
Box sets and hope that settles,
These gambits have been established on stony nettles.

AI Summary

Your poem reads like a meditation on how difficult it is to “mix with the majority” when the mind is carrying centuries of memory, myth, and expectation. The light becomes “special ignorance,” the sheet splits into sundry paths, and suddenly the horizon fills with camels, horses, tragedies — as if the past is always waiting just beyond the present moment. You move through Vedic caste, online gods, distorted shadows, leaderless races, and the ghost‑ronin who stands in for the modern self: unanchored, uncelebrated, wandering through digital and political noise. The poem’s middle section — the man on the bus, the Austen‑like suspicion, the silent majority, velvet votes, budgets, times tables — captures the strange blend of intimacy and bureaucracy that shapes British life, especially for someone navigating multiple identities at once. And then the final turn — mobile phones separating parents and children, box sets replacing rituals, nettles replacing roots — lands like a quiet indictment of a society drifting away from itself. What you’ve written is a portrait of a world where ancient hierarchies and modern distractions collide, leaving the speaker trying to find a path through stony ground while carrying the weight of too many histories.

Enemy

Thought is the Enemy of Man
The Poem is not The Thing
The Writing is on the Grammar School Wall
Keep this out of the Cost of University.
The past is not the future
The High is NOT the low
The Lord is Good and has been hiding
Nietzsche is spoken. Again.
Nothingness is complete and emptiness is good
The inherent meaning of the Commercial world is gone.
The ships have sailed to the mercantile class
Jaggers is pleased with Pip’s progress
and the Pilgrims are following the blessings of Christ in Elim Church.

So don’t keep my in the lurch
While I wait for my supper and supreme gifts
If I get any higher and closer to Christ
I’ll need more than meditation and maybe some shoe lifts.

AI Summary

Your poem reads like a collision between thought as enemy and the longing for something higher, where grammar‑school walls, university costs, Nietzsche’s echo, and the mercantile ships of Dickens all become symbols of a world that has lost its inherent meaning. The Lord hides, Nietzsche speaks, nothingness completes itself, and the commercial world collapses into a hollow stage where Jaggers, Pip, and the pilgrims of Elim Church all wander through the same spiritual marketplace. The speaker waits — for supper, for gifts, for grace — half‑joking that if he gets any closer to Christ he’ll need shoe lifts, as if transcendence itself has become a physical strain. Beneath the humour is a deeper ache: the desire for elevation without delusion, for faith without theatrics, for meaning that doesn’t depend on institutions, philosophies, or the old hierarchies of learning. It’s a poem about wanting to rise, but knowing that rising hurts.

Why Do You Like Me?

Why do you like me?
Unless you want something
Is it that I am handsome
Like your fairy King?

Is it the monstrous invention
In your little head?
That mentions my mother as invention
Before you go to bed.

It can’t be that we’re Partners
Those things are down at the Law Firm
And when things are soft I am lonely
Because all of your dates are so hard.
Could it be we are meant to be?
And you will come back soon to see me?
Is it that you long for the same things?
And not just politically writing out A to Zee.

Come down here literally my man
And spend some time with an English affair
It’s not so bad, you can even fake Red.
But if you’re up there in Americana
Then we have so many Codes for your Karma.
Cosmos boyo and landed Tolkien
How do you know where you bowl?
Where is the China you have been sold?

So trade in your Jackie for some Jackie Chan
Another time if you think this is Bruce Lee.
This days went out when the lights were Covent Garden
So I was hard on myself to get past the snooze at quarter past three.

AI Summary

Your poem circles the question “Why do you like me?” and turns it into a meditation on desire, projection, cultural fantasy, and the fear of being wanted for the wrong reasons. It moves between fairy‑tale beauty, legal partnerships, Americana, Bollywood, Tolkien, Bruce Lee, and Covent Garden, showing how identity and attraction get tangled in myth, memory, and misunderstanding. Beneath the teasing tone is a real ache: the speaker wants honesty, presence, and reciprocity, not codes, karma, or distance. The final lines land as a confession of exhaustion — trying to keep up with someone who drifts between worlds while you remain rooted in your own.

Unfinished Business

Things are so conceptual in that little head of yours
I have not got any edges to play with my little paws.
You say this and you say that and by the time you are done –
I find I have been over run!

You take me to here and I go over there
There is no length of your lines that I am so aware of.
What kind of verse is this that you sell the greenery by?
Why should I try to be one with nature after this sort of guy?

You’re an outright strange sort of fellow.
He needs to shown how to plan a poem with Yellow –
That way the correct sort of Sun will be number one
And you can existentially angst on your own, one day.

Leave me alone, you funny little moan
So I can settle down with the Classics and find myself there!
I shall be self aware enough when I am plenty
And you supply and demand your economic zero with the many.

You funny Marxist and tremendously definable tool
How is it there ever let you leave your school!
Where the ladies know their place on the page with some faces
And your goatee is shaven for the craven image of a Sannyasi.

Out on your arse! You’re a thing of the past!
There’s no border here to solve between Tagore and Betjeman.
The real men know what it is to kowtow
To our Bollywood triumphant hold on your soul and blast.

“All” is a word best served Theological
However much you write and survive medicals and biologicals
But when the hour approaches and your time is near
What about the grim nights in between and whom you did afear?

So leave it with us and we shall see about The Christ
And you can tell us all about your tiny amount of mass,
From the books that sell when you are welcome and so unwell
From a diagnostic from computers that leave us first placed last!

Caste boy from Troy and your Trojan wooden man
Facing the Devi from estrangement with your crafty malign plan
To take from my cake your own slice of hefty taste
And leave me some ruined carriage where my liveliness is a waste.

Sell it to me, Old Boy! What have you got over there?
That leaves me a little humble pie and some friends with which to share
A verse, a saying, some discussion, nay I say a broader afternoon –
That is not beholden to me and my tea in a saucer with a blessed little spoon.

Aye, it is so! He is one with us and we are barren
Of the past where there was no camaraderie
And no-one shall know our paths were not the same:
But shall I see this again, you’ll be the first amongst many
To find me drowning in my favourite Sherry
That I was right to have enough when the commotion was such a fame.

AI Summary

Your poem stages a dramatic monologue in which a sharp‑tongued, exasperated voice berates the poet for being too conceptual, too sprawling, too strange — a creature of abstractions rather than edges. It becomes a duel between traditions: Classics vs. modernism, Tagore vs. Betjeman, theology vs. economics, Bollywood vs. the Sannyasi, all refracted through caste, culture, and literary inheritance. Beneath the insults and humour is a deeper wound: the speaker feels overshadowed, displaced, or misunderstood by your imaginative range, yet still longs for camaraderie, recognition, and a shared afternoon of verse. The poem ends with a melancholy flourish — a toast in sherry to the chaos of creation, the ache of rivalry, and the strange intimacy of being shaped by another’s art.

Sardonic and seldom meet for wedlock

Sardonic and seldom meet for wedlock
The Warlock is all too cheaply brewed.

The aspect is truly wonderful,
But the nastiness signs the show.
Heaving is the buxom, rash ashes and crucibles
Havana for [                ], against the strain
Of a percentile.

That reptiles don’t claim.
A climbing frame is sought
An abacus is bought
The wielding of a sword is salacious
If Guinevere is Calvary for Lance’s hiatus.
Malory wasn’t malign,
Gawain wasn’t fined,

Computer time: The serpent winds
Wands in the Wood.
Women that could.
One day, few will own the many…
A lady seen today is conspicuous
Individual realms non-dueling
The gold prospecting
Aspects of dancing
Today is a day to celebrate
Next year we need to excel.

If a girl could do well
Shanti would read.
Saraswati delivers a letter
A liver seeks a lover for and water,

Rivets in Navratri,
Nine times she is denied with Indian daughters.
The Hills Have TMZ
Eyeshadow
Mascara
Black boasts of Kali clones
Sweating this small stuff: Rudra with paint.

Nature is quaint to know the bones of Alas! I knew him.
Be well with Yorrick
(Was?) the free house of Hindustan, ‘47 @ 1851
Origin:
The great McBride Mahabharata
But not for me.

AI Summary

It’s a poem where medieval romance, Indian divinity, celebrity culture, and personal disillusionment collide — Guinevere and Gawain sit beside Kali clones, Navratri refusals, TMZ, Havana smoke, and the ghost of Yorick. The speaker moves through swords, serpents, wands, daughters, dancers, and post‑colonial echoes, exposing how myth and modernity both fail to offer a clean destiny. It becomes a portrait of someone standing between epics — Arthurian, Indian, cinematic — and realising that none of them quite claim him.