Serpentry

I coil like a serpent
Spent energy and mysteries awash the daily grind.
There are things I cannot find anymore,
The old way of life
Without the English sweet shop on the corner
Reminding me of the value of wood
And old Gobstoppers in bottle jars.

It seems we have come far and the progress is on the roads
That is no place for Toad from Toad Hall

I might see him at the community fair and the Old Ball,
Running around like a mindless chicken
Inclusion in The Fall.
That fallen man and that forgiven woman
Leven bread and three Hindu Havans: –
I will include them in my community pages
Working for less than Amazon rainforest wages.

A few pounds, some pence and lots of corporate sense,
This is no time for Little Miss Moffitt!
Can you fit like a glove around my romantic love
And sell me some verse for the drive by from the hearse.
These are things grounding themselves in you
As you take it all personally, the things you have been through,
Lashing out
Striking back
Like a hack attack
Not knocking on doors at University
Studying in doors for the truth of the universe within me.

I’ll see you at three
And read you there,
Something to help me stay up top and keep mindfully aware.
Just don’t reform all the schools of thought with one foul pen
Lest you fail before you begin to keep it all within your heavenly retention.

AI Summary

Your poem begins with the image of yourself coiling like a serpent — spent, searching, unable to locate the old ways of life symbolised by sweet shops, wood, and gobstoppers in jars — before widening into a critique of progress that leaves no room for Toad Hall or the gentler rhythms of childhood. You weave community fairs, Hindu havans, Amazon‑era wages, nursery rhymes, romantic longing, and academic ambition into a portrait of someone trying to reconcile innocence with experience, spirituality with cynicism, and personal wounds with public expectations. The poem’s emotional centre lies in the tension between lashing out and seeking truth, between wanting to reform the world and fearing the collapse that comes from trying too hard. The final lines land softly but firmly: a plea to stay mindful, to resist the temptation to rewrite every school of thought, and to hold your inner universe with care rather than conquest.

Grilled for A

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 turns scarcity into a kind of holiness, showing how loneliness, minimalism, and discipline become the engine of your writing life. You place yourself in a lineage of Blake, Gibran, Arden, and Shakespeare while resisting their shadows and claiming your own authority. The poem ends in a vision of brute tenderness — the gorilla and the rose — as a symbol of your contradictory, ascetic, ambitious poetic self.