The Very Short Story Starter – Prompt #3

I recently treated myself to John Gillard’s The Very Short Story Starter, which is filled with 101 flash fiction prompts that I hope will provide me with some blogging inspiration over the summer months. Here was today’s prompt, “Prism Light, White Hot”:

Cover.jpgWrite a stream of consciousness without stopping, for three minutes, using the quote below as an initial spark of inspiration.

“Let the world burn through you. Throw the prism light, white hot, on paper.” – Ray Bradbury, Zen in the Art of Writing (1990).

Please feel free to have a go at this prompt, too; I would love to read what you come up with. I will be posting these prompts quite regularly, and if they spark your inspiration, please do paste a link to your story in the comments section!

Previous prompts are available here.

A White-Hot Urge

The burning pain that had begun at my fingertips had now spread to my palms, too. It was white hot, a scorching agony that caused me to double over as I stumbled about the room, clutching the burning hand with my good one.

“Paper!” I cried, praying that I was not alone in the house. “I need paper!”

Then it was there in front of me, and a smooth hand was guiding me towards it. The pain seemed to dim as my pen made contact with the paper and, as I began to write at long last, I felt my pain die. The urge had been quenched; I was writing again.

Word Count: 111

Thank you ever so much for reading, and remember, if you do want to have a go at this prompt, paste a link in the comments section so that I can read it!


“The Good, Great Man”: Analysis

The Poem

The Good, Great Man

By Samuel Taylor Coleridge

“How seldom, friend! a good great man inherits
Honour or wealth with all his worth and pains!
It sounds like stones from the land of spirits
If any man obtain that which he merits
Or any merit that which he obtains.


For shame, dear friend, renounce this canting strain!
What woulds’t thou have a good great man obtain?
Place? titles? salary? a gilded chain?
Or throne of corses which his sword had slain?
Greatness and goodness are not means, but ends!
Hath he not always treasures, always friends,
The good great manthree treasures, LOVE, and LIGHT,
And CALM THOUGHTS, regular as an infant’s breath:
And three firm friends, more sure than day and night,

The Message

“The Good, Great Man” is all about learning to appreciate what you have. In the first stanza, the narrator complains that he does not receive “honour” and “worth” when he deserves it, arguing that those who should have these things don’t have them, whereas those who shouldn’tdo have them.

In the second stanza, he is reminded that material things such as “honour” and “worth” don’t really matter, and that when a man is good, he will be able to appreciate what he has, appreciating friends, love, and his own goodness.

The Analysis

Metre & Structure

This poem is written in a (rough) iambic pentameter that is disrupted in several places, but becomes more regular in the second stanza. This perhaps represents how the second speaker is the voice of God/Nature/reason. The same pattern can be seen in the rhyme of the poem; it is a roughly alternating rhyme scheme that becomes more consistent in the second stanza.

Line by Line

  • “Friend” – It’s worth considering who the second speaker in this poem is. The poem itself follows a similar form style to Coleridge’s “The Suicide’s Argument“, in which Nature narrates the second stanza. This could suggest that the second speaker in this poem is also Nature, yet the first speaker calls them their “friend”, which suggests that they are both humans, and both equal to one another.
  • “!” – There are a lot of exclamation marks in this poem, which suggests that it is very personal and that Coleridge is feeling a lot of passion as he writes.
  • “A good great man” / “The good great man” – This phrase is repeated throughout the poem, yet also contains repetition in itself, as it emphasises the goodness of “man”. There is a certain element of self-pride here as the first speaker seems to be suggesting that they are the “good great man”.
  • “Inherits” – The term “inherits” suggests that the first speaker believes “honour” and “wealth” to be a part of his birthright, as though he is being wronged by having these values denied to him.
  • “Honour and wealth” – The first speaker distinctly outlines what they value; rather than friendship or God/Nature as the second speaker glorifies, they value “honour” and “wealth”, both of which concern personal glory.
  • “Sounds like stories from the land of spirits” – Sibilance here emphasises the dream-like quality of the vision as the first speaker considers the rarity of “good great men” receiving “honour” and “wealth”.
  • “If any man obtain that which he merits / Or any merit that which he obtains” – This doubling reflects the two stanzas of the poem and its constant repetition. In the first line, the speaker suggests that good men don’t receive (“obtain”) what they deserve (“merits”), and in the second, they suggest that men who don’t deserve (“merit”) “honour” and “wealth” often “obtain” them: the whole system is, in the speaker’s mind, completely unfair.
  • “For shame” / “Renounce” – Putting the first speaker to “shame”, the second speaker immediately asserts their authority and appears to take the high ground as they ask the first speaker to “renounce” their claims.
  • “Canting strain” – The second speaker continues to assert their authority over the first speaker with eloquent and old-fashioned language. Here, “canting” means a hypocritical and sanctimonious form of speech. In other words, this second speaker is telling the first speaker that they are wrong.
  • “Place? titles? salary? a gilded chain?” – Coleridge repeats ideas introduced in the first stanza (the acquirement of “honour” and “wealth”), yet this time he belittles them, using simple language, constant question marks and short phrases to indicate the meaninglessness of these things.
  • “Or throne of corses which his sword had slain?” – A part of “honour” concerns victory on the battlefield, yet by going into specific examples of the “corses” (which means corpses), Coleridge reveals the grotesque nature of this victory. “Throne” and “corses” may both be metonymically referring to a kingdom built on the dead, perhaps indicating those the powerful sacrifice to attain their positions.
  • “Greatness and goodness are not means, but ends! – The second speaker is suggesting that the very act of being “a good great man” is a reward in itself. A person does not become great so they can achieve “honour” and “wealth”; they do good acts so that they can become great. The first speaker’s failure to realise this may indicate that he is in fact not “a good great man”.
  • “Always treasures, always friends” – The repetition in the structure of this phrase emphasises how physical “treasures” are inferior to moral and spiritual “treasures” such as friends; they argue that the material is unimportant. The true reward for goodness is the result of goodness: a genuine popularity.
  • “LOVE, and LIGHT, / And CALM THOUGHTS” – Here Coleridge glorifies love (and friendship), light (which may refer to a religious goodness/piety), and calm thoughts. This is a little ironic, as this poem comes across as a little chaotic (with disrupted metric and rhyme patterns) and passionate (with an abundance of exclamation marks). Nevertheless, Coleridge glorifies meditation and the ability to reflect on life in a calm, measured manner.
  • “Infant’s breath” – Calm thoughts are like “infant’s breath” because they are simple and pure, as well as being measured and unchaotic.
  • “More sure than day and night” – The good man’s “friends” are “more sure” than material concepts such as “day and night” because they are immaterial and eternal. Coleridge is clearly glorifying spiritual and moral pleasures over physical ones in this poem, condemning those who seek only “honour” and “wealth”.
  • “HIMSELF, his MAKER and the ANGEL DEATH” – This last line is a little tricky; Coleridge claims that a good man will have three friends. The first two are pretty obvious: the man will have himself (representing his own goodness) and his maker (which may represent either – or both – God and Nature). In other words, the man will have goodness and the favour of his creator (which also suggests that he will have a good afterlife). The third friend is a little harder to understand, though. Personally, I believe that it is a reference to Coleridge’s The Rime of the Ancient Mariner. During this poem, the mariners witness Death and Life-in-Death (who represents earthly suffering). It may be that Angel Death is the third element to this pattern (happiness in life). It may also, however, relate to ideas of purity.


“The Good, Great Man” is really considering what makes a good man, not what a good man deserves. The first speaker, who has not learnt to value simple pleasures such as companionship and happiness, is not “a good great man” because he is not content with his own goodness: he constantly strives for more.

The Good, Great Man - Coleridge (2).jpgThere is also a comment about experience made here; Coleridge suggests that by repeatedly experiencing and exercising goodness, it will become a habit that is ingrained in the mind of the individual. In other words, they become “the good great man”.

It’s a clever poem, particularly when compared with “The Suicide’s Argument“. Coleridge was clearly a very passionate man and, in both poems, he seems determined to educate his audience. In this poem, he wants to teach us to appreciate what we have, and what goodness really is, whilst, in “The Suicide’s Argument”, he teaches us to remember the gift of life we were once given, and how we may have squandered this gift with their own selfishness. In both poems, however, it is evident that Coleridge does not value anything done for the sake of personal glory; he values more immaterial things, such as love and goodness.

Poet Spotlight: John Keats

Poet Spotlight

John Keats (1795-1821)

Placed alongside Lord Byron and Percy Shelley in terms of reputation, John Keats died when he was only twenty-five years old. Despite this early passing, however, Keats is today considered one of the greatest Romantic poets. He did not have the same background or education as his fellow poets, however: he was from the working class, which meant he faced a constant stream of negative reviews.

Early Beginnings

Keats was born on 31st October 1795 and in 1803 he started at Clarke’s School. This was a good school, but not as good as the schools his contemporary poets were attending. It was not at all common for someone of Keats’ social status to become a poet, so Keats trained as a medical student and spent much of his time holding down hospital patients as a surgeon would operate on the patients (without the use of anaesthetic). Yet Keats also wanted to write poetry… so, he did.

Keats’ Quotes: A Box of Inspiration

“Heard melodies are sweet, but those unheard are sweeter.” / “Nothing ever becomes real till it is experienced.” / “A thing of beauty is a joy forever” / “My imagination is a monastery and I am its monk.” / “Scenery is fine – but human nature is fner.” / “I am certain of nothing but the holiness of the heart’s affections, and the truth of the imagination.” / “I have been astonished that men could die martyrs for religion – I have shuddered at it. I shudder no more – I could be marytred for my religion – Love is my religion – I could die for it.” / “I would sooner fail than not be among the greatest.”

Bad Reviews

In 1818, Keats published Endymion. Steeped in classical references, this long poem was inspired by the writing style of Leigh Hunt, a political radical of his time. Keats greatly admired by Hunt, but not many other people did.

Because of his radicalism, Hunt was generally shunned in political circles, and Endymion bore the brunt of this. Harsh reviews and critiques of the poem reduced Keats to a state of panic and depression.

Yet Keats’ bad reviews may not have entirely been his, or even Hunt’s fault; one review accused Keats of writing “Cockney poetry”, which was considered “the most uncouth language” of the time (John Wilson Crocker, 1818). This was a formal way of saying that Keats hadn’t had a classical education; basically, his poetry was shunned because he came from the working class.

The Odes

Keats’ odes are generally considered his finest works. They take the classical references from Endymion but explore them in an original, sophisticated manner that took him away from the style of Leigh Hunt and accusations of writing in a “Cockney” style.

Arguably his most well-known odes are “The Nightingale” and “Ode on a Grecian Urn”. The first of these turns a symbol of betrayal into one of celebration, yet also constantly considers the theme of release. It has since been suggested that these references reflect Keats’ desperate desire to leave his medical career.

The second ode, “On a Grecian Urn”, considers the issue of stasis. Keats considers being frozen in time, which could mean that something bad was always going to happen (such as a sacrifice), or that something good was always going to happen (like a kiss).

John Keats.jpg

If you want to know more about Keats, why not read some of his shorter poems? Check out these links to read “On First Looking into Chapman’s Homer“, “Bright Star“, “On Fame” and “On Melancholy“.


I hope you enjoyed this post! If you did, please feel free to leave a comment in the section below this post: it’ll make my day!

Pure Insanity

It was all Alice’s fault, of course. If it hadn’t been for her, he would be back in his warm bed, head nestled slightly under the covers for warmth. That would have been his plan, but it hadn’t been up to him, not really.

I’m worried about our marriage, she’d said. I think we need to spend some time away together. It’ll help us.

He hadn’t been worried about anything until she’d pulled that one on him. What was he supposed to do, though, ignore her? Of course not, but he couldn’t afford a holiday, not after last Christmas.

Who goes camping in March, anyway? It was madness – pure insanity… then he remembered Alice’s face. I’m worried about our marriage, she’d said. Her eyes had been filling slightly with tears and her bottom lip had been quivering.

He sighed, and then continued to twist the tent peg into the ground.


Word Count: 150

This short piece of creative writing was written for the weekly prompt over at Ad Hoc Fiction. For this competition, you have only 150 words to tell a story that includes each week’s prompt word; this week, the word was “twist”! Thank you so much for reading.

“On Fame”: Analysis

The Poem

On Fame

By John Keats

Fame, like a wayward girl, will still be coy
To those who woo her with too slavish knees,
But makes surrender to some thoughtless boy,
And dotes the more upon a heart at ease;
She is a Gipsey, – will not speak to those
Who have not learnt to be content without her;
A Jilt, whose ear was never whisper’d close,
Who thinks they scandal her who talk about her;
A very Gipsey is she, Nilus-born,
Sister-in-law to jealous Potiphar;
Ye love-sick Bards! repay her scorn for scorn;
Ye Artists lovelorn! madmen that ye are!
Make your best bow to her and bid adieu,
Then, if she likes it, she will follow you.

The Message

In his “On Fame”, Keats compares Fame to a woman, suggesting that the way to attain Fame, just like the way to gain a woman’s affections, is to act as though you’re not interested. It’s arguably not one of Keats’ greatest poems, but it is certainly interesting. He scolds his fellow bards and artists for being too obvious in their affections; in other words, he is suggesting that they are too desperate for attention (and are perhaps too pretentious by assuming an authority that they don’t yet have).

The Analysis

Metre & Structure

With an ABABCDCDEFEFGG rhyme scheme and fourteen lines made up of iambic pentameter, “On Fame” is actually a Shakespearean sonnet. Unlike his “Bright Star“, however, this poem isn’t really about love. There are two interpretations that can be had from this: firstly, that this is a subversion of the traditional form as Keats considers what people really care about (not love, but fame). Secondly, it could be argued that “On Fame” is actually about a form of self-love and its dangers.

Line by Line

  • “Fame” – As in “Bright Star“, where Keats addresses his sonnet to the star, he appears to here be addressing “Fame” and emphasising its importance by using this introduction to open the poem.
  • “Like a wayward girl” – It is interesting that Keats uses a “girl” to comment on being “wayward”; this is a comment on gender and hints at a form of misogyny.
  • “Coy” – This is an interesting choice of an adjective: fame is presented as subtle (in that it doesn’t overtly encourage men to follow it), yet is also alluring, compared again to a “girl”, but, this time, through the quintessential “girl”.
  • “Too” – The inclusion of this “too” may suggest that Keats is critiquing fame, perhaps suggesting that the extents they reach in order to reach it are too extreme?
  • “Slavish” – Both fame (and women, through the parallel Keats created in the poem’s first line) are presented as more powerful than men, as they make them “slavish”. This also presents ideas of ownership associated with the slave trade.
  • “Makes surrender to some thoughtless boy, / And dotes the more upon a heart at ease – Keats s basically suggesting that those who try too hard to gain fame (or a woman’s affections) will fail, but those who care less (and put less effort into receiving the rewards) will succeed.
  • “Gipsey” – Although fame “dotes” and is “coy” (in some respects portrayed as an obedient woman), Keats emphasises its “wayward” nature through his repetition of the word “Gipsey”. This is a comment both on the unreliability of fame and on the fickle, untrustworthy nature of women.
  • “Will not speak to those / Who have not learnt to be content without her” – Here Keats repeats his idea that the ones who gain fame are those who deserve it least, but this time suggests that those who are desperate for fame will not gain it – their “heart” must be “at ease”, not riled up and under pressure.
  • “Jilt” – Keats again presents fame as negative, as “Jilt” refers to a person (usually a woman) who is promiscuous and rejects lovers in a rather harsh way.
  • “Whisper’d close” – This phrase links to several things: the sexual privacy of a romantic relationship; a secrecy associated with the affairs of the “Jilt”; and the suggestion that fame is something private – a secret that not everyone can access.
  • “Who thinks they scandal her who talk about her” – These ideas of identity are a constant theme in Romantic literature as people moved from their farms to the cities and sought new ways of defining themselves. Reputation thus became a precious form of the self that should be protected from rumour and “scandal”.
  • “Nilus-born” – Keats was fascinated by classical mythology (a good depiction of this is in one of his more renowned poems, “On First Looking into Chapman’s Homer“). Nilus was the Greek god of the river Nile, suggesting that he represents exotic lands and new discoveries (such as fame?).
  • “Sister-in-law to jealous Potiphar” – In the biblical story of Joseph, Potiphar was given Joseph as a slave. After his wife makes attempts to have an affair with Joseph, Potiphar throws Joseph into a prison cell. Fame (“sister-in-law” to Potiphar) is the sister of Potiphar’s wife, suggesting that she desires attention from a certain man in the same way his wife did.
  • “Ye love sick Bards!” / “Ye Artists lovelorn!” – Keats is perhaps critiquing his fellow Romantic poets, his anger and impatience demonstrated through the repeated exclamation marks. He thinks they are foolish for giving fame the attention they are (although he is being a bit of a hypocrite…).
  • “Replay her scorn for scorn” – Keats indicates a fury at fame and suggests people should repay her cruelty with more cruelty. This language may also reflect the biblical passage, “An eye for an eye and a tooth for a tooth” (Matthew 5:38).
  • “Make your best bow to her and bid adieu, / Then, if she likes it, she will follow you” – Keats is suggesting people should give up on reaching fame and turn their backs on it. If they do this well, they will gain fame. If this is what Keats did, it certainly worked! There is also a comment about women and power here, though; man needs to reassert his power over women and have her “follow” him.


on-fame-keats.jpg“On Fame” is, in my opinion, entirely hypocritical. Keats suggests that to gain fame, a person should act as though they do not desire fame (although they almost certainly do), yet by writing a sonnet entitled “On Fame” that opens with the word “Fame”, Keats is giving fame the attention that he maintains it will reject.

Probably the most admirable thing about this poem is the parallel between fame and women, because, although it generally discredits and disempowers women, it makes Keats’ ideas about rejecting fame in order to receive it a lot clearer. Nevertheless, I do think it strange that this poem is written as a sonnet. Does Keats appreciate the fickle, hard-to-please nature of fame, and so is glorifying it through a poem? This doesn’t quite correspond with his content, but it’s a question to think on. Regardless, this is certainly an interesting poem that comments on power, gender and identity.

Thank you so much for taking the time to read this analysis – I hope it was of use to someone! If you’re interested, you can also check out my analyses of some of Keats’ other poems, such as “On First Seeing Chapman’s Homer” and “Bright Star“.

“Bright Star”: Analysis

The Poem

Bright Star

By John Keats

Bright star! would I were steadfast as thou art
Not in lone splendour hung aloft the night
And watching, with eternal lids apart,
Like nature’s patient, sleepless Eremite,
The moving waters at their priestlike task
Of pure ablution round earth’s human shores,
Or gazing on the new soft-fallen mask
Of snow upon the mountains and the moors
No yet still steadfast, still unchangeable,
Pillow’d upon my fair love’s ripening breast,
To feel for ever its soft fall and swell,
Awake for ever in a sweet unrest,
Still, still to hear her tender-taken breath,
And so live ever – or else swoon to death.

The Message

As the title of this poem suggests, “Bright star” is all about a star. It depicts Keats talking to the star, and considering its negatives and positives, namely: it is lonely and powerless, but it doesn’t have to change or grow old – it doesn’t even have to die. Keats decides in this poem that he wants a little of both worlds; he desires the unchangeable nature of the star, but only so that he can have more time at his lover’s side.

The Analysis

Metre & Structure

This poem is written in (mainly) iambic pentameter, but this is not a rigid meter. It is often broken, particularly by spondees (where there are two stressed syllables in a poetic foot). This is arguably true of the opening words, where “bright” is said with the same amount of stress as “star”. The rhythm is also disrupted around the linebreaks (dashes), which emphasises Keats’ changing opinions, and the altering of his mood.

With an ABABCDCDEFEFGG rhyme scheme, this poem is also a Shakespearean sonnet, which is relevant as this form of sonnet is traditionally associated with themes of love, and, in this poem, Keats spends a lot of time considering his lover.

Line by Line

  • “Bright star!” – In some versions of this poem, the “s” of “star” is capitalised, turning it into a proper noun and suggesting that Keats is speaking to the star as though it were a person. The exclamation mark also emphasises Keats’ passion as he looks upon the star.
  • “Would I were steadfast as thou art” – Keats wishes he could be as “steadfast” as the star; just like in his famous “Ode on a Grecian Urn”, Keats discusses the benefits and disadvantages of being in stasis (frozen in time). It is therefore likely that Keats is considering the North Star in this poem, as this is the one star that doesn’t appear to move as the earth turns on its axis.
  • “-“ – These line breaks generally show a change of mood in the poem (as Keats moves between considering the advantages and disadvantages of stasis).
  • “Lone splendour – Keats now contradicts his previous desire to be like the star by considering its desperate loneliness. Nevertheless, even this negativity is questioned, as Keats considers this loneliness to be a kind of “splendour”.
  • “Splendour” / “Aloft” – It is important to note that Keats, unlike his fellow Romantic poets, belonged to the working class. Elaborate, elevated language such as “splendour” and “aloft” may indicate his desire to reach the upper classes.
  • “Hung” – Here is another negative aspect of stasis: the star can only hang, unable to move or have any control over its own autonomy. Note how this is described in the passive voice, emphasising this suggestion of powerlessness.
  • “Eternal lids” – The star can only ever watch, meaning it witnesses the good and the bad. This could be viewed both negatively and positively, although the term “eternal” again hints at the helpless nature of the star.
  • “Like Nature’s patient sleepless Eremite” – Note the use of a simile (traditionally associated with Ancient Greece). This statement is probably negative, for, although the star is “patient”, it is also “sleepless” – it doesn’t even have enough power or freedom to sleep!
  • “Eremite – “Eremite” is synonymous with the word, ‘hermit’, but also links to classical Greece. Keats was fascinated by this world after he discovered it through translations (as he was one of the working class and did not, unusually for a Romantic poet, understand Greek). His passion for this ancient world can be seen in “On First Looking into Chapman’s Homer“.
  • “Moving waters” / “Earth’s human shores” – The “moving waters” and “human shores” (on account of the latter being “human”, as humans are famously affected by time) contrast with the star and emphasise Keats’ dilemma regarding stasis.
  • “Priestlike” / “Ablution” – Both these terms carry religious connotations. It is often suggested that Keats was an athiest, which, if this is to be believed, would suggest that these associations regard another negative aspect of stasis, as the star is forced to eternally watch religion. However, the star is also overlooking these human events, and so it could be argued that it, in some way, usurps the role of God.
  • “Or” – Emphasising the dilemma/conflict within the poem.
  • “Fallen mask / Of snow” – Keats here considers a “mask / Of snow” to emphasise the changeable nature of human existence as the snow changes the landscape around him. These changes/disguises seem to be the reason why Keats envies the star (because he wants to escape them).
  • “The mountains and the moors – Both “mountains” and “moors”, despite their differences in terms of landscape, are changed by the snow, illustrating the power of change (and time). These places are also generally uninhabited; not only is the star alone, but it also has to look at lonely places.
  • “Still steadfast, still unchangeable” – Whilst Keats doesn’t want to be as lonely as the star, he emphasises his desire for stasis through this repetition.
  • “Ripening” – Associations of spring and new life are conveyed through the mention of the narrator’s “love”, yet they contradict with Keats’ longing for stasis – unless this virginal state of spring is permanently preserved?
  • “Awake for ever in a sweet unrest” – Keats finally reveals the true reason why he wishes to avoid change: he wishes to stay at his lover’s side, both of them able to remain young and beautiful. The phrase “awake for ever” also harkens back to the idea of the star having its “lids” eternally “apart”.
  • “Still, still” – Repetition here emphasises Keats’ longing for stasis.
  • “And so live ever – or else swoon to death” – Keats’ conclusion to this poem suggests that he will either live like a star (unchanged at his lover’s side), or he will “swoon to death”. He may also suggest that he does not have a choice as, unfortunately, a part of change is death. The end stop emphasises this finality.


Bright Star, Keat.jpgAs you may have noticed, “Bright Star” is all about stasis. It is all about how humans change and grow old, but some objects, such as stars, don’t go through this process (at least in terms of a human lifetime). Keats is not suggesting that he wants to be wholly like a star, because he could not stand the loneliness and wants to be with his lover, yet this fixed nature of the star is something that he greatly admires.

This poem also picks up on other issues, such as religion, class and gender (as the female lover is glorified and described with particularly soft language). More than anything else, though, it’s about human existence, and it’s about Keats fearing the processes of age and death. Emphasising words such as “breath”, “fall and swell” (echoing the movement of a breathing chest), it is perfectly clear that Keats is very much attached to his human existence.

I hope you enjoyed this poem analysis. I’m back into the revision period at university so should be sending a fair few more posts like these your way (for my own benefit, if nothing else). Thank you for reading, though, and please do check out my other analyses, including, my review of Keats’ “On First Looking into Chapman’s Homer“.

An Empty Bed

Heavy heartbeats
Inside my chest;
Across the sheets:
A living unrest
(I do detest).

And gasping sighs
Slip from my heart:
Endless goodbyes
That will never start
(Not on your part).

And fingertips
Wanting to feel,
Wanting those lips,
Wanting their steel
(You always conceal).

And an aching head
That can’t accept
This empty bed:
a cot unslept.
(And then I wept).


This little poem was written for the purposes of the prompt competition over at Creative Writing Ink, inspired by the above photo. Thank you for reading and please do leave a comment below – it’ll make my day!