Bad N I G H T M A R E.!

When you walk down the street,
You have no idea who may aproach you,
You say in your mind that he is just a nice quy.?
I think NOT.!
GUY'S are just as much as important as other people.,
They lie && play you.,
You sit there with a smile on your face NOT KNOWING what is really qoinq on with them,
Dawgs CHASE BEUATIFUL girls,
You can't help it.,
REMBER things can turn out way different from what you think,
People are crazy.,
I'm so lucky what happened&& what didn't happen.,
I'm lucky but some aren't,
Be CAOUTIOUS.!
-2.24.11

by Nalaysia vizcarrondo

Other poems of VIZCARRONDO (37)

Comments (8)

Akhmatova's poetry could be known for the simplest description depicting the complicated concepts :)
Very good poem to read.
...is the translator? It matters.
Although it was composed in large part prior to 1940, Akhmatova considered Requiem too dangerous to be written down, much less published, at the time, so until the mid-1960s it remained unpublished, and existed only as individual verses memorized by the poet and a handful of her most trusted confidants.
'' Requiem is a cycle of fifteen short poems introduced with a paragraph of prose that, taken as a whole, constitutes an epic of grief and remembrance. Although the work possesses no conventionally defined plot, the ten internal numbered poems form a chronological revelation that documents the suffering of the Russian people during the years of Stalinist terror. Through the eyes of the women—who stood outside prisons for days, hoping for word about their loved ones, hoping to deliver a hat or a pair of salvaged gloves or shoes, hoping for one last glimpse before the inevitable sentence of death or exile for a beloved son or husband—Akhmatova plumbs the depths of unimaginable suffering, and charts the journey of mourning and memorial. The poem opens with a declaration of the pain of one woman, an individual circumstance but recognizable to all who lived through the era. With each successive poem, the central figure experiences a new stage of suffering: mute grief, growing disbelief, rationalization, raw mourning, steely resolve. Sometimes writing in the first person, sometimes in the third person, Akhmatova becomes the voice of the people as she universalizes her personal pain over the repeated imprisonment of her son and the loss of friends and literary peers to execution and exile. Throughout much of the cycle the suffering Russian woman, one yet universal, is the central figure. At the climax of the cycle of grief, however, three figures of Christian religious significance appear: Mary Magdalene, Mary the Mother of Christ, and John, the beloved disciple. Critics hold various opinions about why Akhmatova incorporated these personages who are closely associated with Catholic religious beliefs, and about whom significant people in the poet's life each figure represents. Within the work as a whole, however, these religious figures, placed outside the context of their New Testament roles, reinforce the poet's subtext of the inevitability of suffering. Akhmatova allows the central figure to transcend her personal circumstances in an almost mystical, supernatural way—not to mitigate her pain or allow her a measure of peace, but to dignify and honor the ability of this woman, and all women, to confront their deepest grief and fear and survive. In Requiem, writes Amanda Haight, Akhmatova “has taken suffering to its limit and so there is nothing to fear.” '' [Anna Andreyevna Gorenko]
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