All the effort in the world would have gone to waste
Soldiers, shining bright in their armor, cut down
For impenetrable walls and iron will in the end
Are no match for a secret door and a heavy bribe

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Found mostly in
Pretentious literary
Fictions

The metaphor spider
Spins silken words
Together

No like no as
Only ideas compared
Concretely

The spider webs
Cross the pages
Unbroken

Awaiting willing
Readers to be
Entangled

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When will a smoker slip on the smooth crystal surface of their vice? Pedants lean against each nicotene chemist’s studio walls, caught in a love triangle between habit and knowledge.

Smoke bores through ash as the poison settles into its fleshy dustbin. Smoke walks casually down the street, shadowing its deity, purged into a metro or sent spinning aloft.

Ash scatters on wings of canned air. Ash overcomes nicotene, overcomes all things, for it is their fate. Nicotene tolls ring from ashen bells as smoke pools in forbidden places.

The warmth survives the cigarette.

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Haikus settle in
Syllables counted on hands
No rhyme books this time

Count world’s syllables
Five seven five forever
What are cutting words

My haiku would look
Much more sophisticated
In woodblock kanji

This is a reverse haiku
It’s strangely harder
Seven five seven is tough

I want to get to
Metered and rhyming haiku
It just isn’t true

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Envy you the artists and their chosen canvasses
The writer poised at desk with quill in hand
The painter poised over palettes of mixed oils
The composer with liqid-flowing baton in hand
The photographer with viewfinder pressed to light
Politician, diarist, singer, and architect
Cook, stylist, surgeon, and businessman
Not for their gifts, not to envy them those skills
But for the simple fact that anyone who creates
Anyone who makes, anyone who crafts, anyone at all
Has made their mark upon our world, enduring
And will live larger-than-life, forever, eternal
So long as even a single creation remains

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Snow of spring flowers
Mayfly beauty slipping past
Picked by unseen hands

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I see in the mirror the old man I will become
Like a child watching the last days of summer
Slipping through arms outstretched and grasping
Has it all been a wasted fading-light afternoon
Or is the inevitable end of childhood and youth
Simply too close for sober clear-eyed perspectives
Only time will tell, and she keeps her secrets close
Even as we, Red Queens all, must run ever faster
Just to keep pace with an accelerating world

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A week later, going through the boxes upon boxes of things that had been left behind intestate, a piece of paper fluttered to the ground. It was a recent writing, not more than a month old, and it read:

I never said I loved you
Out of fear it wasn’t so
I never thought I loved you
‘Til I watched you go
I never learned I loved you
I found I’d always known

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May fancy in her dancing hours
Strew your lives with glowing flowers.
And after many storied springs
Have fled on time’s all-bearing wings,
May your bond be strong as ever
Spun golden threads that none can sever.

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Chadwick Thaddeus Harris, known as Tad to his friends but often called Chad or Chaddeus in discourse after two quasi-pseudonyms he used in his early writing, wrote his first poems as an undergraduate at the University of Northern Mississippi and immediately attracted media attention and stiff criticism. After all 1,000 issues of the local student newspaper were stolen to prevent the publication of a Harris poem in 2002, his case was taken up by the national news media and became an intense focal point of discussion. So much so, in fact, that it all but completely overshadowed the poems themselves.

Harris tended to use the common vernacular of unrhymed, unmetered, and often prosaic poetry common to many poets in the late 20th and early 21st centuries, but his subject matter tended toward right-wing causes. Poems against immigration, against affirmative action, and in favor of the controversial military strikes of the Clinton and Bush II eras were just some of Harris’s most-cited works. The fact that he used the poetic vernacular of his contemporaries to espouse cause that those selfsame contemporaries, by and large, found incredibly distasteful, classist, and even racist, seemed to be the source of particular vitriol.

The poems have been claimed by many to have little value as poetry when compared with their value as screed, but the perfect storm of media attention generated by his first few publications established Harris as a cause celebre often held up by right and left alike as a symbol. It’s clear in retrospect how uncomfortable this made Harris, being held up as a paragon on one hand and a boogeyman on the other. In the few interviews he granted, he is consistent in denying any larger political focus to his work, holding that he wrote solely for himself and that readers were seeing what they wanted to say.

Authorities in Hopewell continue to treat his death as a suicide, but have steadfastly refused to release any further details. Harris’s blog, the only public space in which he had any significant presence, contains a final entry that many have seen as serving as a suicide note of sorts, though it is dated more than two months prior to the discovery of his body:

“The more I think about it, the more I am convinced that I am seeing the end of a great age of peace and plenty for my country, to be followed by an age of eclipse, division, and sorrow. What would, I wonder, a Roman have done if they could have known the anarchy that would follow the death of Alexander Severus? As much as I pray I am wrong, I also pray that I will never live to see myself proven right.”

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