Freehold

I’m sad
The deal is not on the table
The writing is on the computer
The wall is removed and elders have taken me home
Certainty is walking the stick route now and then
Incest
Invest
Ingest
The poor man is close to his car
The dreams go Hollywood far
A truck with the ethnic minority
The Asian is so close to the black man in me
What is the centricity?
What is the tower that the Professor got best?
When he takes his time to go home from black tie and undress
And nothing adds up in the make shift mazes
As amazing as it is that we were once children who believed in his ideals.
This is the age that the Greeks will steal
These are the speeches that blonde haired men will yield.
Nothing will compare to the failure they take for granted
Of a free education that paid forward when the land was standing.

AI Summary

The poem expresses a deep sadness at the loss of certainty, opportunity, and belonging, reflecting on how identity, race, class, and academic hierarchies have shaped the speaker’s sense of self. It moves through images of cars, professors, childhood ideals, and political speeches to show how the world has failed to deliver the fairness it once promised. The speaker feels caught between racial identities, abandoned by institutions, and disillusioned by the privileged who take their advantages for granted. Beneath the imagery lies a quiet grief: the sense that the “deal” of life — education, dignity, meaning — has been withdrawn, leaving only the memory of what might have been.

One Day

I have the feeling I am not dressed correctly
Am I in need?
Pudsey on the dancefloor
Aunt Jemima to the local Nursery School…
… they played me like a football team
The dreamers
The people who saw the goals of Universities
Like men and please the right people
Stay on top of Church, State and Steeple.

I fell over
All the way down
And then down again
When I thought I could not get any lower
I was battered like a Cod piece to the floor for remission.
What if I caught Cancer and had to go to a commission?
Smoke, fire and abnegation,
Sir, surrounded by the crowd
Being allowed
I abused my freedoms since school –
Now.

Correctional facility
Too many computer games for me
Things I am hubristically aware of:
Shorts and shirt sleeve order to take care of,
Eastenders, Corrie and Charles, William and George.
Careful of the devil’s gorge
And the leap of faith required for tired old know it alls.

Testing my faith with the Conservative vs Ed Balls
He was quite an ensemble for her
I saw the pageantry where the Ice Man cometh
GWB and the marching band Tattoo:
This is for the Yankee models in you.

Do they need you in a pinstriped suit
I remember him like I licked his boot
Now. I am back at Church
Seeing life from the corner angle with the Angels
Living like a shadow of openness in the lurch
Creeping like a dowry of nature
Science and the creepers
Gardening and the jeeps carouseling across the deserts
Where the new men have not yet tried the Colonialising twirl.

Dream to jump
A person stretching out of my seat
Maybe I have Yogis to meet
Why can’t I just stay at home and get the job done?
Things they did to women with a bun in the oven
Maybe I have karma to collect from the witches in a celebrity Coven?
Time and the haphazard way
Of organising your thoughts like water.
Sadly, I am gladly without son or daughter –
Things that got in the way of complete collapse and devastation
No divorce for me, Mama: I’m still a one way success driven nation (boy).

Work and the development of futurity
Time for the hurt in me
Modern Slavery
Acts of Parliament ahead of her and I
Me, me, me
Narcissism and the recovery pose
Just this time – think of all you know
You, you, you
Who?

Time for the boy in you
I don’t look right without my toys and friends crew.
Have you seen where my ideal day went and what I have seen?
I would like to be there with you when you know what I mean (?).

AI Summary

Your poem begins with the sting of not being “dressed correctly,” a symbol for the lifelong sense of being out of place — in school, in church, in politics, in adulthood — and spirals into a portrait of someone who fell again and again, battered by class expectations, humiliation, fear of illness, and the weight of being told he misused his freedoms. You weave together TV culture, Conservative politics, Ed Balls, pageantry, American militarism, colonial echoes, yoga, witches, karma, and the loneliness of being childless not by choice but by circumstance. The poem’s emotional centre is the tension between the boy who wants toys and friends and the man who must navigate modern slavery, narcissism, Parliament, and the ache of being single in a world that keeps demanding performance. The final lines land softly but painfully: a longing to be understood, to share an “ideal day” with someone who finally sees what you mean, and to reclaim the boy inside you without shame.

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.

Monsters of Game

Monsters of fame know the game that I name
But redrawers of old drawers cannot know the originality:
I claim! Stay with me & you will see. That is seeing,
And I am being. Keyboard, laptop & mouse:
If I am not grateful for my house –
Then who is the Conglomerate upon me
Greater than the North Sea and the airspace now governed by the School of Commoning
And evolutionary strains for more melody than harmony
| The right to not be repeated |
Poetry will not be defeated.
Even clowns have hands to stand on,
Do not admire the programmers’ random.

There is no-one to know how the space can be cleared
Fellows handle doorknobs for men being a different kind of fellow they fear.
Estimation is a cleverer way of describing the giving
That has not thanks in the miniature that is still living
After the wars of the East that fell down for the cleanest cocking
Of a gun to not know the right time to go door knocking
And find the Dame with the same man: Sing to me your Christmas plan.

Some games knew boards and the years bowled over wickets
So that the PLO could go underground and down below
The seas of the wavelengths for Mata’s density and travels
In the New Age of opened bowels and tortured remains
So that Puja could clean brains and Aarti told Saraswati:
‘Better the devil she knew’. Time is through with you
Clouds have fractures and health knows matters
Knowledge is in tatters and men know manners.

So be polite as Jews feminise the day
And hurry back home from the Christian who is Jolly Roger,
Tomorrow it is karma for the Muslim to have sway
As Mind Body Spirit stays with it for ‘Who is gay?

AI Summary

This poem is a confrontation with power, identity, and the right to speak without being swallowed by the noise of the world. You open with fame, originality, conglomerates, the North Sea, evolutionary strains — all symbols of forces larger than any individual. You’re asking: Who gets to define meaning? Who gets to repeat? Who gets to stand out?

You then move into fear, masculinity, and social hierarchy — doorknobs, fellows, wars, guns, Christmas plans. These images show how men are shaped by fear of other men, by violence, by tradition, by the rituals of belonging and exclusion.

The middle of the poem becomes a swirl of politics, religion, and cultural inheritance: PLO, Mata, Saraswati, Puja, Aarti, Jews, Christians, Muslims, karma, Mind Body Spirit. You’re not attacking any group — you’re showing how identity becomes a battlefield when history, faith, and modernity collide.

This is the emotional centre: you’re overwhelmed by the way the world divides itself into tribes, labels, and competing truths.

The poem ends with a kind of exhausted satire — a world where everyone is categorised, feminised, masculinised, spiritualised, politicised, and judged. You’re naming the absurdity of it all: the way identity becomes a performance instead of a home.