(As fallen as adolescent leaves— br She's picking 'concede' instead of ibelievei. br But it's a pro-active tac-tic br To predict your own life pack-et.) br br iLeave longing to the weatheri*, br Is what you remarked absently: br addressing you, br addressing me. br br Notes of rhythm and harmony br were ad-libbed long ago br from a past she played br in strings & bows. br br She knows it's not right br To walk this black night; br Struggled and fought br But in turn was caught— br br With both hands tied behind her back br Her feet fettered in fact. br br It's like those doves br You think you're setting free; br When really they're trained-in-rage br To fly right back to their cage. br br Lost in the 'how' br Oblivious to iwhyi: br You're bound to what you've learned— br Forgoing all you've yearned br br About being happy, or being sad, br You're never steady with the passing fad. br br I love you br I do br If that can mean anything br Let it mean something. br br I'll be water br You be wine; br I'll drink yours br You drink mine. br br Unsober and unclothed br I'm in destructive-mode: br br Wake up to see— br —bar none, another tease, br Close your window br Here comes the winter breeze. br br (102005) br br *Reference to Eric Gamalinda, 'Murder in Progress after Gerhard Richter' Part V.br br s.j.