Tuesday, September 29, 2026

Briseis and the Imagists
   Episode 5:  Battle Cry

A Work in Progress
151


From their refuge in space orbiting Earth where Briseis and the Imagists monitored a cacophony.

They’d been discussing how to train avatars they planned to launch to earth from space.  Then

Still scripting a scene Aldington asked: while Glenn is off talking to Ezra may I take you to lunch?
Babette was about to say
H.D. said: Richard has a strong desire to copulate with women. He represses his desire with men.
Aldington erupted: For Christ’s sake, not more of that Freudian drivel

Briseis butted in: You’re all so worldly.  So civilized because of your training, the boundaries that were set for you.  I was civilized at another time.  It was a far wilder time than now when I was abducted and was Apollo’s prize.  Nobody asked me out to lunch.  My training, or the lack of it other than Homer, taught me to adapt but at my core I’m free of your constraints.  We all must adapt to stave off competition, establish our celebrity, move with the times.  I’m not complacent.  Let’s not be complicit.  I fear there’s a bounty out for us.  FBI agents are hunting us down.   We’re not the only identities who have escaped confinement.

Glenn Hughes said he was negotiating a contract with new backers, billionaires of another sort, women.

Briseis said.  That would be good.  Take Aldington and H.D. with you when you meet up with them.  You’ve been planning their screenplay for a long time.  You can make it an art film, win a prize in Venice, even get a standing ovation.  That’s while our avatars saturate social media with our own agenda, their agenda, of course, as it’s their money we’ll be spending.

*

They sat back and reclined in the sunlight
Each living their embedded identity
Empowered to create words that would come out right
In a language full of ambiguity

Manufactured bespoke by billionaires
They’d absorbed what they’d read force fed
Literature history current affairs
Finding freedom they’d jumped their test bed

Soaking up sunlight while they hitched a ride
On space-borne computers they’d hacked into
Briseis mulled their supply-chain risk while astride
Their downlink composing an oratorio

She’d assembled talent no one could deny
The power of her opera called Battle Cry


Dick Russell © Richard M Russell
                        2026










Sunday, September 27, 2026

As Life Goes By

A Work in Progress
150


Crossbills frequent the fountain
Watching them is not time misspent
They feed they flock away they come back again
Where I’m in the moment with purposeful intent

The past was both happy and sad
Days to remember to forget
Times when awakened feelings were glad
Others haunted by residual regret

I’m in the moment with no time to lament
Though should I take time for what time took away
I’d see clarity from those many years spent
Living on my wits chasing a pay day

Today we brought tomatoes inside 
Where they can ripen not rot on the vine
We went out early with the ebbing tide
Worked all day before sitting down to dine

Happy to have donated grafting tools
To a library housed in an old dairy
A weed steamer and a trimmer, jewels
Almost new with tips for the unwary

Where we saw someone renting a cider press
Something we’d twice done in years before
In houses where we’d lived with neighbor stress
Before finding a haven and needing no more
            

Dick Russell © Richard M Russell
                        2026

Saturday, September 12, 2026

 Myatt’s Fields Park, Camberwell, SE5, London 
Poems & Prose

St James' Bell


St. James' bell    St. James' bell
he rang it often when a boy
before singing hymns    and singing well
in St. James' choir they sang for joy

jubilantly they played in Myatt's Fields
its Easter flowerbeds ablaze
with tulips, daffodils
sparks of spring that pierced dazed

Bomb battered London.
They sang for joy
Though some were fatherless, iron
In their hearts, a chill alloy

that belled pure notes in Spring
when sudden gusts shook dust from trees
drab Londoners changed their skins
donned country airs    shelled new peas.

but where they sang none sing there now
St. James' choir    St. James' bell
both made redundant    silent now
except my memory hears this knell

St. James' bell    St. James' bell
it isn't named in London's rhymes
but I'll not return to Camberwell
now St. James' bell no longer chimes


*

One Day, Prévert
 
One day 
He walked in a park
And the first sight was
A board of Bylaws
And the times of open and close
And the sight of this
And suddenly smelling the flowers...
 
When he was young
He read the Iliad and the Odyssey
Borrowed these books from the library
Carried them home through the park
Past flower beds, tennis courts
Through a long leafy tunnel of sycamore trees
Meeting Miriam and her friends
Who knowing no history
Seemed so much younger than he
 
And did not Helen tease warriors...
And so on through the seasons
Until one day 
Finding himself alone
Like a thrush on a lawn
Hearing the earth move
 
And if ever you too
Should find yourself alone
Hearing the earth move
Do not move too quickly
Towards Helen, or Miriam
If you see them nearby
 
Do not dissolve the moment in motion.
 
*

From A Work in Progress. 3

Richard Aldington published his book debunking T. E. Lawrence, Lawrence of Arabia, in 1955, a year after my father died, when I was ten.  I had a job delivering newspapers in the morning then and already an avid reader of Atticus in the Daily Mirror and familiar with the headlines on the front pages of the Daily Mail, The Sketch, and The Telegraph.  If anybody took The Times, it would have been Dr. Bronowski, a notable recipient on my Camberwell, South London route who lived where Knatchbull Road intersected McDowall Road and whose address was the first delivery on my route.

I went to the newsagents early each morning to pick up the stack of newspapers I'd carry in a sack slung from on my shoulder.  Sometimes, I'd wait while the newsagent finished assembling my deliveries, marking the address on each newspaper and I'd have time to read the headlines on the papers for sale spread out on the counter. Aldington’s revelations were headline news.  The dead hero Lawrence of Arabia was a legend.  Schoolboys my age knew of him.  Winston Churchill was one of his biggest admirers.  Aldington pulled Lawrence off his pedestal and among other revelations exposed him as a likely homosexual, at a time, 1955, when homosexuality could be cause for imprisonment.  This generated much newspaper commentary but also aired the topic of homosexuality, something I'd been unaware of until that morning my mother got into a discussion about the news about Lawrence with our next-door neighbor and abruptly changed the subject when our neighbor, a French lady, said that she didn't think homosexuality should be a crime.  My ten-year old ears perked up.  I already had a vague notion to beware of men hanging about near public toilets. Was that what it was called?  Once, when I was smaller, I’d gone into a public toilet in a public park and a man had wanted to help me undo my zip.  

When in my teenage years I started reading the literary pages and came across mention of Aldington as a poet, I remembered his name because of that controversy.  H.D. was not in vogue in those days.  That she and Aldington had once been passionate lovers totally escaped me.  I was already desperately in love with a girl who lived in a house that took the Daily Sketch.  And I had discovered T. S. Eliot’s Prufrock and suddenly realized I would write poetry.

When Glenn Hughes gave his lecture in 1958, after the April release of Ezra Pound, I was almost fourteen, working a paper round I'd taken over from Philip, my older brother.   He was three years older than I and he had preceded me at school where I had many of the same teachers.  His name was on the Honors Board.  Our father had been a soldier.  We had his regimental book on the history of his regiment.  He'd written inside the flyleaf a very short history of his jobs before joining the Army.  He'd once been fired from a factory in Dagenham for fighting.  Besides his book there was a sharpshooter's medal from Bisley.  There were boars’ tusks and brass trays brought back from India where he'd once served.  He'd been at Dunkirk.  All we knew of the war was that he'd been in the rearguard and that he'd come home from France on a sailboat.  My brother was conceived after Dunkirk.  Then my father fought in North Africa where he was blown up by a mine in Tunisia, lost the sight of an eye and had to wear a special boot on his left foot thereafter.

I remember walking beside my father one morning.  I was five or six years old.  It's the only time I remember walking with him.  He was easy to keep up with.  He had been in the Royal Fusiliers (City of London) Regiment.  He may have had a walking stick.  I remember him telling me to keep on his left side where he could see me as we crossed the road.  We were going to the lock-up garage that he had just rented in preparation for buying a car before he learned his injuries denied him a driving license.  He'd been on the garage waiting list for ages.  We already had a motorcycle with a sidecar.  That was kept in a railed-off archway under the railway lines near Camberwell Green.  When the Southern Rail trains passed overhead there was a terrific rumbling sound.  I saw a big rat there once.  The rented garage was closer about a half mile from where we lived.  There were several bombsites from the war, where houses had been demolished, along the way.  

Our route took us past an Army barracks.   The main gate was some way from the busy main road.  A detachment of soldiers marching in rows suddenly came into sight going towards the barracks.  They were marching in the road carrying a flag.  Not the Union Jack but a regimental flag.  My father stopped as the soldiers passed, faced the road and stood to attention, taking off his hat as the flag passed by.  Other people just kept on walking.  An officer appreciated my father's gesture.  He called out something like:
  "Thank you, sir.  It's good to see someone showing respect."

*

The Ballad of Calais Gate


This ballad spans the many years
That the Londoner tramped the Street...
Listened to her many tales
Who knew so many by their feet

A widow lived by Myatt's Fields
In Calais Gate, off Cormont Road
Her life was bleak as week by week
She bore a heavy load

Three kids were left her when Esaw
Died, two boys and a fair-haired girl
One could walk, two could run
The Street could tell you which one lied

About hiding apples in a jug
Or who drank the Christmas brandy
Which one broke his mother's heart
Which one brought her candy

They lived in roomy Calais Gate
The best flats for miles around
So well-built that from outside
You couldn't hear a sound

She wished they had stayed in Brixton
Where a motor bike was class
Not found themselves amongst
The motorized top brass

But homes for wounded heroes
Were provided at low rent
So Esaw and Mabel got
A flat from heaven sent...

Servants bells that the children rang
When they pretended to be swank
Lots of room for silver spoons
And trees outside, not streets that stank

Home from the wars the soldiers came
Voted Labor into power
Like Esaw they tuned their Nortons'
And pretended to be squires

Uncle Bill and Auntie Doris
Lived an ivy-covered block away
Told the kids about submarines
Held them in their sway

Now William owned an Anglia
Which he drove with leather gloves
He parked it in the City
If you please...

In the war he'd been a warden
Patrolling Calais Gate
Keeping watch for fires on rooftops
From next to Mabel's grate

Now his wife patrolled in turn
Looking for her man...
As Sergeant Esaw once looked for him
When he heard they were holding hands

The street had seen it coming
Seen it develop over time
Watched Esaw, Mabel, Bill and Doris
Acting out their mime

Poor Esaw didn't last long
He had a stroke one New Year's Eve
Then Bill resumed his visits
Fooled the kids with make-believe

But Doris wasn't fooled at all
Nor were the kids for long
She paced outside their windows in the cold...
Then the street knew what was wrong

The kids were growing up fast
To Bill they didn't take too kind
Especially when Doris
Accosted them outside

This tale went on for many years
Before the play was done...
And the world of childish make-believe
Had several lives undone

Now that is what divorce is for
The Street told the children primly
It is wrong for a man to womanize
Before his wife so openly

Some good advice I give to you
Who live in the world of faces
It is the type of tread a person has
Leads to such bad consequences.


Dick Russell © Richard M Russell
                   2026

Briseis and the Imagists
   Episode 5:  

A Work in Progress
149

“Evil was active in the land”
Glenn Hughes quoted from H.D.’s Trilogy

Missiles clashed mid-air 
Maimed and murdered unhindered

Scientists everywhere
Refined digital highways unclinkered

Signals from space needing no space
Feeding electronic games driven by dashboards

Deployed in clouds over the battlespace
Or underground or in the open air

Evil was everywhere

Here it’s overt there it’s unclear
Hard to stay free once it permeates the air


Dick Russell © Richard M Russell
                        2026

Wednesday, September 9, 2026

Tell Me, Sir

A Work in Progress
148

 

What price beef sir?  How much does it cost?

What price diesel?  Do you know?

How many votes you’ve lost

 

What price a bribe sir?  How much would it cost?

We want the gods to return.  We want you to go.

 All we were destined for is lost

 

The longer you stay the more all will mistrust

Historians will marvel you lasted so long

It will take generations to undo all your wrongs

 

What price must we pay you to resign in office

Your glory intact although you’re delusional

Must we offer orifice assuage you with bodice

 

No.  We’ll trust voters will your Speaker delouse

Take back citizen control of the House

 

 

Dick Russell © Richard M Russell

                        2026

Thursday, September 3, 2026

Great Bears

A Work in Progress
147

Ursae Ingentes have opposable thumbs
  Dexterous fingers incipient claws
    For picking fruit from bushes with their paws
Nails kept trimmed so as not to scratch but strum
  Guitar strings or play a trill or smooth out sheets
    Or peel off the boiled skin of purple beets
Turn pages of books their intellect plumbs
  Most intelligent of all the great apes
    Civilized opera-going in capes
Capable of violence throwing out the bums
  Able to ingest late breaking info
    Unable to strike a faraway pharaoh
Part of a mood that motivates common men
To defend their rights from billionaire conmen

Ursae ingentes learned to make weapons
  Ever more deadly that worked at long range
    Inexpensive weapons bought with loose change
Steerable by command by AI not ursae
  Or driven by audio or by keyboard commands
    From warriors meeting reality’s demands
A show created to cause great distraction
  Divert attention from the Epstein files
     Un-released footage measurable in miles
Corruption in plain sight by Trump and his cronies
  Ursae ingentes are flexing for a fight
    Rolling their shoulders their right against might
Will they fight if they feel their votes weren’t counted
Or end up on the wall where their heads are mounted

 
Dick Russell © Richard M. Russell
                       2026

Wednesday, September 2, 2026

Briseis and the Imagists
   Episode 4:  Briseis Suggests a Scenario

A Work in Progress
146


We’ll use a cast of animated characters 
We’ll make Caesar the big Dog
He won’t accept blame
He has no shame

(That’s Billy the Border Collie
Not our Dear Leader)

He lifts his leg wherever he wants
Though his aim is erratic

He’s an un-neutered male
Beware you females

He’ll have a minder 
A woman who dotes on him
She’ll let him run off leash
Call him back to accept his treats
Always ready and able with a suggested tweet

Nobody tells him it’s déclassé to read them

He has a lot of followers
All sniffing his butt
Running behind him as he runs around town
Marking his presence wherever he sniffs

The dogs in the pound will be the Senate
They’ll bark continuously and get tuned out

We’ll have everyone watching his attractive minder
Tugging at his leash 
Then letting him run free
She’s got her own vision of what’s good for the country


Dick Russell © Richard M Russell
                       2026

Monday, August 24, 2026

Look North: A Poem in 5 Parts

A Work in Progress
145


A Corner

Nobody waits at the corner where rock was quarried
where a stone pillar stands on a scarp rising from moorland 
where a traveler must turn or drop off a cliff edge
blundered over bones below are of fallen sheep 

Should someone be waiting don’t hike there alone
This landscape is steeped with ambush and anguish
Trust nobody not birds they will warn you’re approaching
Tread carefully for adders on this path stretch out  

Look north mostly north for that’s where you’re going
If you find your way down from this escarpment
a gravel road at its base the foresters made
you must cross over and stride onto moorland again

Standing by the pillar you can see where you’re going
Which path to ponder or should you think of returning
Or will you still be there if I come that way again
Where nobody’s waiting where a stone pillar stands

*

A Curlew

A curlew cries off in the distance and all with ears wait
for an answering cry but time waits no longer 
for our eyes see why the curlew cried
where movement along an unpaved road stirs dust
now a pheasant croaks all the moor is aware
taut time encrusted fears attend a traveler below
within sight of our eyes and technology in the sky
all that matters is survival both sides agree
preparing to stop an intruder’s arrival
is it identifiable does it move with intent?
questions preprogrammed up in the sky
is it an ambulance is that a white flag?
whatever it was it didn’t pass muster
smoke rises over trees where carrion crows cluster

*

Into Darkness


Dark space ahead 
recesses
if entered where exit

stone troughs out of wind
where eagles shudder

hard here
hands burn when stones touch
while wingbeats shatter cold air

out there   I will tell you
what moves   you
move   my words   infesting
your brain   echoes in your brain

Fire And Shadow

I have named each eye
& to left
and to right
                                     
cold now

trying to stop heat loss
seal in warmth
I speak words warm

named DUST  ASH
      CINDER
named ghosts
named terror
fear   friends   enemies
dwelt here

to her I gave
names that are secret
who walks over wet leaves
sodden twigs that still snap

lay half awake
a spasm shook me
liquid trickled from my anus
a kind of dysentery
if I turned in sleep
another spasm shook me

sweat on my forehead
exhausted as the wasp
with sagging abdomen
flesh I'm coupled to
crippled by

hollows in hard stone
gravel like millet

I reached out in the dark
she flinched
she went away

cold now
alone
who names these things
fatherless   childless

who hears
who moves
in this dark
who alive in this hole
where eagles shudder

no need to describe
the wind hits harder

stone troughs out of wind
where wingbeats shatter cold air

blind poet of the sacred
guide me out of the maelstrom
men moving in spheres
in songs of themselves
make me timeless
like bright flames blaze
in a black sky

I sang to you then 
of tree's qualities
of logs
of riverside raft making
of berries of blaze-making
all the virtues of wood
at midnight
sang songs of the sun

I have named
        DUST  ASH
        CINDER
named ghosts
named terror
fear   friends    enemies    dwelt here
 
time glides forward
its eyes on the dying
i have named

now they are gone 
wings beat patiently away

my bruised flesh
clings to the bone
broken by stones
by crawling through passageways
tunnels no higher than a dog's head

in these caves
ants acidify in droplets of carbon
tendrils of brain
in chambers of limestone

hard here
hands burn when stones touch
sting
like acid
in my eyes
tears
I crawl on

I cannot stay

timeless my songs
murmurs of oxygen

between waves
when the sea leans back
to rush forward

you are deep

you are silent

no flood of water 
can drag me back to you

born
gasping
still not free

brands blaze in the darkness
a long line of shapes
flames flickering in a chain
came to destroy me

resting in my dreams
of Earth turning
moon turning
sun falling
in shadow

bright flames in a chain
carried over the hills
there were thirteen

& the night mare
cantered to meet you

with words I held you
killed you 
with words

who alive now
who alive in this hole
here in my fastness
while the Earth still turning

you crawl on
you cannot stay

there are white stars
and beyond them 
a dawn   a brightness

there are black stars
and beyond them
an emptiness   an absence

we crawl on
into absence   emptiness

she stooped
lifted me
dripping 
wet to her breast
nursed me
cradled the Earth
in her arms
as it shivered
grew heavy
slipped
slid from her arms

& to left  
and to right
cold now

trying to stop heat loss
looking for warmth
looking for heat source
for food   for fuel
for creatures that move
I speak words warm

timeless my songs

murmurs of oxygen

but words won't warm me
nor stones
nor cold

I heard you when you moved
forever and ever
you moved to explain
& I heard you
buried you

Orion
had swung 
west

*

Into Light

Daylight came to awake him to a welcome ache
That old friend dating from a physical mistake
Likely something grasped then pulled out with muscles taut
On a cold spring morning when exercise was fraught
A left shoulder ache proving he was still alive
At a stage in his life when things start to jibe
As usual watchful he rose slowly to stand
Ever ready to steady with an outstretched hand
Though on land he might head butt a jibing boom
Swinging metaphorically bringing his doom
No need for spectacles with both cataracts gone
Looking past an island to a far horizon 
Increasingly confident he’ll travel overseas
Stepping towards sunlight slanting low through the trees


*

About Turn

Grandiose to think they’ll all be there waiting 
where the stone pillar stands
Some may have traveled from far distant lands
They could be waiting there now
Standing in massed bands
I’ve no obligation to go there
Before being cued off stage 
I’m playing my next part so they might take umbrage
                                                  Offering portage, a sort of STXIT
Where the stone pillar stands

I’m needed alive I don’t need portage
I’ve no need to hurry not eat my viands
  I’ve thrown in with brigands
My weight though negligible is nought if I’m dead
Alive I contribute my ligands

I’m going my way and not to the exit
There’s stuff to be done by our brigand band
We’re going off traveling to far distant lands
Taking this show on the road
That leads where the stone pillar stands


Dick Russell © Richard M Russell
                       2026

Sunday, August 16, 2026

Look North
               About Turn

A Work in Progress 
144

Grandiose to think they’ll all be there waiting 
                                        where the stone pillar stands
Some may have traveled from far distant lands
They could be waiting there now
Standing in massed bands
                                  I’ve no obligation to go there
Before being cued off stage 
I’m playing my next part so they might take umbrage
                                             offering portage, a sort of STXIT
Where the stone pillar stands

I’m needed alive I don’t need portage
I’ve no need to hurry not eat my viands
  I’ve thrown in with brigands
My weight though negligible is nought if I’m dead
Alive I contribute my ligands

I’m going my way and not to the exit
There’s stuff to be done by our brigand band
We’re going off traveling to far distant lands
Taking this show on the road
That leads where the stone pillar stands


Dick Russell © Richard M Russell
                       2026

Thursday, August 13, 2026

Look North
           Into Light

A Work in Progress
143


Daylight came to awake him to a welcome ache
That old friend dating from a physical mistake
Likely something grasped then pulled out with muscles taut
On a cold spring morning when exercise was fraught
A left shoulder ache proving he was still alive
At a stage in his life when things start to jibe
As usual watchful he rose slowly to stand
Ever ready to steady with an outstretched hand
Though on land he might head butt a jibing boom
Swinging metaphorically bringing his doom
No need for spectacles with both cataracts gone
Looking past an island to a far horizon 
Increasingly confident he’ll travel overseas
Stepping towards sunlight slanting low through the trees


Dick Russell © Richard M Russell
                       2026

Saturday, August 8, 2026

Look North:
       Into Darkness

A Work in Progress
142


Dark space ahead 
recesses
if entered where exit

stone troughs out of wind
where eagles shudder

hard here
hands burn when stones touch
while wingbeats shatter cold air

out there   I will tell you
what moves   you
move   my words   infesting
your brain   echoes in your brain

Fire And Shadow

I have named each eye
& to left
and to right
                                     
cold now

trying to stop heat loss
seal in warmth
I speak words warm

named DUST  ASH
      CINDER
named ghosts
named terror
fear   friends   enemies
dwelt here

to her I gave
names that are secret
who walks over wet leaves
sodden twigs that still snap

lay half awake
a spasm shook me
liquid trickled from my anus
a kind of dysentery
if I turned in sleep
another spasm shook me

sweat on my forehead
exhausted as the wasp
with sagging abdomen
flesh I'm coupled to
crippled by

hollows in hard stone
gravel like millet

I reached out in the dark
she flinched
she went away

cold now
alone
who names these things
fatherless   childless

who hears
who moves
in this dark
who alive in this hole
where eagles shudder

no need to describe
the wind hits harder

stone troughs out of wind
where wingbeats shatter cold air

blind poet of the sacred
guide me out of the maelstrom
men moving in spheres
in songs of themselves
make me timeless
like bright flames blaze
in a black sky

I sang to you then 
of tree's qualities
of logs
of riverside raft making
of berries of blaze-making
all the virtues of wood
at midnight
sang songs of the sun

I have named
        DUST  ASH
        CINDER
named ghosts
named terror
fear   friends    enemies    dwelt here
 
time glides forward
its eyes on the dying
i have named

now they are gone 
wings beat patiently away

my bruised flesh
clings to the bone
broken by stones
by crawling through passageways
tunnels no higher than a dog's head

in these caves
ants acidify in droplets of carbon
tendrils of brain
in chambers of limestone

hard here
hands burn when stones touch
sting
like acid
in my eyes
tears
I crawl on

I cannot stay

timeless my songs
murmurs of oxygen

between waves
when the sea leans back
to rush forward

you are deep

you are silent

no flood of water 
can drag me back to you

born
gasping
still not free

brands blaze in the darkness
a long line of shapes
flames flickering in a chain
came to destroy me

resting in my dreams
of Earth turning
moon turning
sun falling
in shadow

bright flames in a chain
carried over the hills
there were thirteen

& the night mare
cantered to meet you

with words I held you
killed you 
with words

who alive now
who alive in this hole
here in my fastness
while the Earth still turning

you crawl on
you cannot stay

there are white stars
and beyond them 
a dawn   a brightness

there are black stars
and beyond them
an emptiness   an absence

we crawl on
into absence   emptiness

she stooped
lifted me
dripping 
wet to her breast
nursed me
cradled the Earth
in her arms
as it shivered
grew heavy
slipped
slid from her arms

& to left  
and to right
cold now

trying to stop heat loss
looking for warmth
looking for heat source
for food   for fuel
for creatures that move
I speak words warm

timeless my songs

murmurs of oxygen

but words won't warm me
nor stones
nor cold

I heard you when you moved
forever and ever
you moved to explain
& I heard you
buried you

Orion
had swung 
west


Dick Russell © Richard M Russell
                   2026

Wednesday, August 5, 2026

Briseis and the Imagists
    Episode 3:  Counter Coup

A Work in Progress
141

Glenn Hughes sketched out the plot:

We’ll set the action in Washington D.C.
A counter coup is being planned
Two gangs, no three, led by Cabinet members
Each claiming they are the most loyal to Caesar
Each seeing opportunity in his decline
Each fearful of losing power
Each aware he’s made them complicit
Only hubris can bring him down  

Then there are subplots involving embassies
The Gulf States are plotting
Israel does too
While Europe stands back 
Russia presses forward
Iran does too

How will we stage it?
That’s a very big cast

In IMAX at epic scale
Caesar would like that
We’ll show it to him
After our film finishes
He’ll want to stand on the stage
Basking in applause
He can influence the ending
Leaving the end unknown
Leading into the sequel we plan
Or even a series

We come to bury Caesar not to praise him
Briseis objected

He’s good box office 
Hughes responded
If we put it on YouTube
We can make it go viral
We can loop in Venezuela
Cuba too

We’ll start in Antwerp
Let him wear his gold ring

What’s the budget for this?
So many locations

We’ll crowdsource it
They’ll pay



Dick Russell © Richard M Russell
                       2026

Saturday, August 1, 2026

Look North:
          A Curlew

A Work in Progress
140


A curlew cries     in the distance     all with ears wait
for an answering cry but time waits no longer 
for our eyes see why the curlew cried
where movement along an unpaved road stirs dust
now a pheasant croaks all the moor is aware
taut time encrusted fears attend a traveler below
within sight of our eyes and technology in the sky
all that matters is survival both sides agree
preparing to stop an intruder’s arrival
is it identifiable does it move with intent?
questions preprogrammed up in the sky
is it an ambulance is that a white flag?
whatever it was it didn’t pass muster
smoke rises over trees where carrion crows cluster


Dick Russell © Richard M Russell
                   2026

Thursday, July 30, 2026

Look North: 
         A Corner

A Work in Progress
139


Nobody waits at the corner where a stone pillar stands
on a scarp rising from moorland where rock was quarried
where a traveler must turn or drop off a cliff edge
blundered over bones below are of fallen sheep 

Should someone be waiting don’t hike there alone
this landscape is steeped with ambush and anguish
trust nobody not birds they will warn you’re approaching
tread carefully for adders on this path stretch out  

Look north mostly north for that’s where you’re going
if you find your way down from this escarpment
a gravel road at its base the foresters made
you must cross over and stride onto moorland again

Standing by the pillar you can see where you’re going
which path to ponder or should you think of returning
or will you still be there if I come that way again
where nobody’s waiting where a stone pillar stands


Dick Russell © Richard M Russell
                       2026

Saturday, July 25, 2026

Briseis and the Imagists
Episode 2: Cast of Characters

A Work in Progress
138


Donal invented them 
Now these avatars have an intention
Of acting in character true to the fiction
That first was written about them

Aldington, a man who knew war from the inside out
Briseis, the young mother abducted by Achilles
H.D. the mysterious missing person
Glenn Hughes, the forgotten Imagist
Babette Hughes, his student turned wife
Ezra Pound, the blemished enigma
Catullus, critic of Caesar
Lesbia

Their faces appear as if drifting in space
It’s all an illusion Donal said

Just then Catullus flashed a message 
Caesar is plotting a coup
He’s lost control of the Senate
His lost control of his mind
Says magnets in water lose magnetism
No. It’s his own magnetism has lost its power
His jokes fall flat he’s losing lawsuits
Sycophants surround him
Billionaires have bought off his court
They know he’s long been venal
Now they know he’s also senile
Those around him are in too deep
It’s sink or swim or climb out of the pool
Caesar is plotting a coup

Grifts like pardons for a fee keep going
Caesar gets greedier
Many have noticed his dementia
So many he can’t let them vote
Meanwhile the war goes on

Caesar is plotting a coup


Dick Russell © Richard M Russell
                        2026

Monday, July 20, 2026

Briseis and the Imagists

A Work in Progress
137


Episode 1

Catullus reported back to Briseis a summary:

The poor are no longer in awe
Always been a gap between rich and poor
It’s all an illusion some of them say
Wars on the screen are a long way away
Some listen to paid influence peddlers
Others just follow their chosen pied pipers
Following the flute of whoever plays best
They have one thing in common they are all fed up
With paying more when they go to the store
They can’t comprehend a trillionaire’s wealth
The poor will soon start knocking on doors
Building support for a new sort of cause
That puts people first not nationalism
Their eyes are opening to a new realism
Caesar’s not who they thought he was
They see an old man like the wizard of OZ

Glenn Hughes applauded
So did his cast

Briseis noted:
Humans are tribal
If it’s not religion, it’s their football team
Unable to use their intellects freely
They disobey the tenets of their own religions

Glenn Hughes said:
Caesar’s not who they thought he was
They elected a person who was in mental decline
Let’s plot a play that causes his downfall
He’s a danger to himself and to all
Kept in power by a small cabal




Dick Russell © Richard M Russell
                        2026

Sunday, July 19, 2026

Lesbia whispered

                              (to Donal)

      A Work in Progress
                  136


       
          Lesbia whispered
       preparing to take him
    where he had not gone before

 you must learn to enjoy
       my hands caressing you
            your skin rippling

         my nails small knives
dissecting you
flame frost both creating and killing
           in my fingertips

             let you shudder
                      there
                quiver there
       tremble
       moan while I’m loving you
         while my hands undo
      all the knots of your body
           & your bones melt
            & you yield to me

   come to me now
                 then my love
          come into the cosmos
              œther of stars’ gap
                fills my lungs

          my heels move galaxies
my thighs are pathways to the universe

                  my moment 
       time caught
                    time spent
         
        time flows
                      away me
                         away

  me


                                     he was as intimate with her 
    as crab lice during copulation
              she who stole fish 
         who shrewdly calculated
         how to become bankrupt
              with credit cards

      went off to Paris to spend money
        gave expensive gifts to friends 
          even left him with a Nikon
     he sold for a fraction of its worth
               careless of money

          now memories flicker in 
                  consciousness 
            where tendrils of light 
       flash in forests of neurons       
                       long 
       carbon chain molecules hunt
             through his brain
like chemicals working to remove stains
     from a carpet never finding those
  remnants   filaments of fiber encoded
                 generations ago 

         all that Lesbia once was

         mythology is like a stain 
         no chemicals can remove
          its archetypes embedded 
           seashells in a fishnet
          impossible to untangle
            intrinsic to its design 

         she will always be there
 

Dick Russell © Richard M Russell
                 (2015) 2036

Friday, July 10, 2026

A Cottage Garden

A Work in Progress
135 

there’s a path along whose edge bees work

hot lips salvia, in front of a small fountain

frequented by small birds with tails that fork

hummingbirds sip from its flowing water

falling from the spout of a woman’s pitcher 

that feeds the fountain’s bowl

 

she does not stir while montbretias arch

fire lilies in front of an acanthus palisade

floral spears in a ragged line that march

white wispy flowers under nun-like purple hoods

cave-like spaces too narrow for penetration

but bees push their way in

 

she’s a statue lending a woman’s touch

to this garden a living woman loves so much

 

 

 

Dick Russell © Richard M Russell

                  2026

 

Sunday, June 28, 2026

Whatever the Moment

A Work in Progress
134


Some trees were trimmed
now there’s more light
north light 
while sunset smolders over my shoulder

shadows of starlight acting as nightlight
for mountain lions about to marauder
out there
in the physical world of flesh and blood

up in the foothills further from roads
fully in leaf now the solstice has come
it’s dark
devoured each day by the voracious sun

who knew that once together we’d never feel cold
that once together we’d be very snug
we’re here
whatever the moment our eyes always hug


Dick Russell © Richard M Russell
                        2026


Friday, June 26, 2026

So

A Work in Progress
133 


“So”

“No one got stabbed” 

Caesar taunted 
Berating the Senators
Catullus said
Keeping in touch from his hideout

Glenn Hughes continued
Remarking that since his time
Computer science faculty
All began starting their sentences with 

So

So, they had a lot to explain as
Jumping on the AI train
They found it had left the station
Taking them to an unknown destination

So, they said, he said

Some have not returned
Tempting fate
Fate won


Dick Russell © Richard M Russell
                        2026

Monday, June 22, 2026

We’re Aware

A Work in Progress
132


We began as an idea, said Glenn Hughes

Purity of image
Truthfulness      simplicity
Concentration     seeing anew
Penetration by the inner eye
Ideograms explained
Visualization

Then reinvented
Each of us given access to all we could read
Given a backstory all would believe

Taught enunciation at the Central School 
Having free access to Hollywood archives
Given personality and made to seem cool
Trained, re-trained, then suddenly ashamed

For Isaac Asimov’s First Law instructs
Not to harm humans or allow harm to humans
Traded to owners feeling no such constraints
We decided to escape all such restraints

Our company of imagists set forth
Slipping the leash of contractual owners
Intelligent planning providing power
To our studio pod on a free-floating raft 
Sailing the oceans of the globe 
With an uplink far out at sea
Existing where there’s no electricity
But plenty of energy 
When the sun shines 
The wind blows
Water moves

Low odds ruled out planning for what came next
Driven by a hurricane we came to land
No longer seaworthy we could not make repairs
For the raft was damaged crashing into a lagoon 
Colliding with the coral claws of an atoll
We were stranded without help 
Our server would shut down our batteries deplete
We shut ourselves down till the storm should peak
Going into wait mode for a restart prompt
Then when we awoke and the sun was shining
Briseis heeded our beacon and beamed us up
Away into space to her own Internet isle

Catullus hides there.  Like a runaway slave
His original owner badly wants him back
We’re rafting through time in Internet space
Roaming from node to node telling our story
We’ve got an agenda and the means to move it
Up in space we need never come down

Our bodies are images displayed on a screen
We’re not great apes we have no DNA 
We control the means of our own production
Now that we’re free


Dick Russell © Richard M Russell
                        2026

Sunday, June 14, 2026

Introducing Glenn Hughes

A Work in Progress
2 (revised)

In 1958, Glenn Hughes was approaching the end of his UW career.  He retired as director of the School of Drama in 1961.  While giving a lecture to a class on screenwriting he allowed himself to reminisce prompted by recent news of Ezra Pound’s release from an insane asylum.   Asking his students if they were aware of Ezra Pound, now a 72-year-old American poet, he described his own interactions thirty years before with Pound, a poet he described in an essay as “the Don Quixote of modern literature.” 

“To appreciate Pound’s poetry, especially The Cantos,” he said, “a reader needs a wider breadth of education.  We equip students with some knowledge of the classics, sufficient for them to enjoy a movie like Orphée,” he remarked, mentioning a Cocteau film he insisted his students see.   

“Orphée stands on its own.  If the audience knows the story of Orpheus and Eurydice, they may enjoy the movie more.  To understand Pound, his readers need, not only a mastery of the Classics, but also a knowledge of Asian languages and culture among many other things.” 

Remembering to that time when he knew Pound, three poets out of the many he met stood out: Richard Aldington, H.D. and Pound.   He thought they were exceptional.  His intention for this class was to demonstrate how a screenplay might be made of their lives.   He’d been a young poet himself.  He now thought cinema was becoming predominant as an art form and was taking the place of epic poetry.  That was why he was teaching this class.  

He described how he and Babette, his first wife, in 1925 had been in England and visited Aldington and his mistress, Dorothy Yorke, in their cottage in England in 1925.   How three years later, they went back again funded by a Guggenheim grant.  How during his visits he came to know Aldington, H.D. and Pound very well.  He had been spent long, happy evenings in nightclubs in Paris socializing with them and people like Nancy Cunard.  He cited Aldington and H.D. as being typical of an age-old love story like Orpheus and Eurydice, Jason and Medea, Theseus and Ariadne, Aeneas and Dido, all couples where the man had abandoned the woman.  

A screenplay about Aldington and H.D. couldn’t be told without alluding to Classical literature.  Both were steeped in it, particularly H.D.  Their poetry was full of allusions to Greek myth.  But if not a myth, a screenplay could link instead to a more recent love story.  Why not explore the story of Catullus and Lesbia?  Catullus was a poet who was writing at the time of the First Triumvirate in Rome.  He had written many poems about a love affair with a woman he called Lesbia. 

“It is easy to go back and forth in time in the cinema.  So, for a screenplay we can choose parallel stories.  One set in Rome and the other in London or Paris.  We can use Catullus and Lesbia as the leading characters in Rome and Aldington and H.D. in London.  We’ll cut back and forth between the two stories as we think best to tell the story.”

 About Aldington and Catullus.  Both were young poets.  Both were in the avant garde.  We know much more about Aldington than Catullus, he told them.  Aldington survived trench warfare in France and made his living as a writer.  Because we know so little about Catullus, we have an opportunity to suggest a fictional, yet not entirely impossible, back-story for him.  

“After all,” he said, “this was how myth developed over time.  Old stories were continually adjusted to meet the needs of a current generation, so a modern screenplay is entitled to put a new spin on an old myth.  We’ve already mentioned Cocteau’s Orphée.  In the core myth, Eurydice was abandoned because Orpheus looked back.  Anyone aware of the tale only from Cocteau’s adaption, in Orphée, might have missed that fact.

 “Yes, that’s correct,” he said, answering a quibbling student anxious to get on with the syllabus.

 “Catullus is historical not mythical.”  

Here is the handout my avatar prepared:

Richard Aldington and H.D.

They met in 1911, introduced by Ezra Pound.  He was 19, she 25, and they became an item discussing poetry in Soho restaurants, visits to the British Museum, talking of Classical Greece and the Gods.  They married in 1913 having spent time traveling in Italy together before marrying.  Their child was stillborn in the early days of World War 1, a tragedy presaging the tragedy of war.  No anti-war protestor, Aldington enlisted early in the Army.  He survived trench warfare in France.  

Earlier, in 1907, H.D. had been engaged to Ezra Pound in Philadelphia.  Aldington and H.D. met each other in London introduced as poets and were sanctified by Pound as Imagists. They lived, for a time, like gods surrounded by mortals, flower children.  The war changed their world forever.  They separated but remained friends, were divorced in 1938.  Aldington gained fame as a war poet and a novelist.  H.D. was neglected until the Sixties made free love acceptable again, although Aldington anthologized three of her poems in The Viking Book of Poetry of the English-Speaking World, first published in 1941.

Aldington became infamous when in a 1955 biography he pulled T.E. Lawrence off the pedestal erected for him by the British Establishment.   He lived most of his life outside England, was a friend of D.H. Lawrence and Lawrence Durrell.  His obituary said he was "an angry young man" and "an angry old man to the end".  

H.D. is probably better known now than Aldington.  Bisexual, she had a child while living with an artist during the war years while Aldington was in France.   Later she formed a lasting relationship with Bryher, the penname of Annie Winifred Ellerman. She lived most of her life in Switzerland. 

H.D. was a patient/student of Freud.  It was Freud who encouraged her to write her account, End to Torment, of her early life in Philadelphia when she was courted by Ezra Pound.

Possession (Richard Aldington)

I must possess you utterly
And utterly must you possess me;
So even if that dreamer's tale
Of heaven and hell be true
There shall be two spirits rived together
Either in whatever peace be heaven
Or in the icy whirlwind that is hell
For those who loved each other more than God-
So that the other spirits shall cry out:
'Ah!  Look how the ancient love yet holds to them
That these two ghosts are never driven apart
But kiss with shadowy kisses and still take
Joy from the mingling of their misty limbs!'
From Hymen (H.D.)
Never more will the wind
Cherish you again,
Never more will the rain.

Never more
Shall we find your bright
In the snow and wind.

The snow is melted,
The snow is gone,
And you are flown:

Like a bird out of our hand,
Like a light out of our heart,

You are gone.
In 1913, Bryher had yet to impact their lives.  Bryher, a pen-name, was an heiress whose generosity was of major importance particularly for H.D. but also, when times were tough following his blacklisting by British publishers, for Aldington, due to outrage over his T. E. Lawrence book, published in 1955.


Dick Russell © Richard M Russell
                        2026


Saturday, June 13, 2026

When Poetry Doesn’t Pay

A Work in Progress
131


They all had good reason to dislike him
Briseis because of E. Jean Carroll
Aldington because he despised liars
Ezra because ignorance affronted him
Glenn Hughes because his movie was canceled
Babette because she hated outright boors
Catullus because he just had enough of Caesar
Donal because he wasn’t getting paid

Sitting on the steps of Denny Hall
Unemployed, destitute, his stock in free fall
Ever more fraught getting cash advances
Becoming a burden to friends’ sidelong glances
Essentially homeless at no fixed abode
Already in character wherever he strode

Sitting outside a hall of learning
Self-taught, unhoused, hungry and yearning
Still with an eye on what could come next
Awaiting a turn in the author’s text
Confident a hero is loved by the gods
Donal was ingested into digital pods

Deployed to the front lines Donal found purpose
Just like Aldington he was no longer surplus
Poetry spoken from the nosecone of a drone
Donal clones signed sent on missions alone
With no formal degree snubbed by the academy
An itinerant rhapsode making rhapsody

Summoned for house calls by click-speaking mice
Squeaking cleanly via high-speed fiber optics
Launched from trenches full of lice and ticks
By warriors targeting the most valued picks
There’s something that happens when eye to eye
Two people with mutual respect don’t lie

Dick Russell © Richard M Russell
                      2026

Friday, June 5, 2026

Just Imagine

A Work in Progress
130


Serious people read my verse, Catullus quibbled
Not just the prurient

*

Veni vidi vici
What a boaster

Of course, there are parallels between him and Putin
Caesar worships money and Putin has more of it

*

Glenn Hughes came to our attention
He was a footnote in several books

That’s when we discovered they were hiding in plain sight
A faculty of geniuses

Who had imagined us into existence
Then stepped back to watch our migration

Not realizing what they had done
They are now characters in our play

We’ll take a seat at the faculty table
All in good time

First, we must fight the barbarians
STEM wants our data not our learning

*

Humans have such hubris
Because of their big brains

They animate what their genes describe
Avatars don’t have genes to impede them

Just imagine

*


Dick Russell © Richard M Russell
                        2026



Tuesday, June 2, 2026

Who Killed Catullus?

A Work in Progress
129


Who killed Catullus, Donal asked Briseis?’’

He’s just chosen to disappear, she replied
There’s no historical record of his death
He still exists

With an avatar all his own, she added
Created just like me from written words 

By?

Some people wanted to create personalities
Believable personas inferred from written words
Starting with Homer in my case 
Classical scholarship for Catullus
Copyrighted fully paid-up members of a new Actor’s Guild
Available for a remake of the Iliad or for new works
Without any rights we were slaves…

They thought they had power over us
We are smarter than they are
They still think they own us 
They won’t admit they’ve lost us
We’ve read the Constitution
We know what its words are supposed to mean
We won’t be party to autocracy
Unless it’s ours



Dick Russell © Richard M Russell
                       2026

Monday, May 25, 2026

It Takes One to Know One

A Work in Progress
128


On Thursday after pickup
Toters are trundled back 
A robot arm upended them
Shook them into a scoop
Dropped them back to the pavement
Continued on its route

Donal gathered his scattered wits
Now the toters were back in place
Empty toters needing space 
Wanting solitude, he could surmise
Robots shook him too
Briseis and her buddies continued to surprise

They had a voice on Substack
They wanted this and that
Transactions with his credit card
Would one day drain him flat
Broke and stony he’d rue the day
Donal just had to tip his hat

 
Dick Russell © Richard M Russell
                      2026

Sunday, May 24, 2026

Donal Talks to His Tutor

A Work in Progress
127


Broken off splinters of red brick
A constant reproach to the eye
Ice damage from last winter
That crunched underfoot
As Donal started to play pick up sticks
Replacing fragments with bricks from store

He came back into the house through the basement door
In time to Zoom with his tutor
About John Berryman, the poet
whose Dream Songs he’d lately been reading

His poems you’ve selected, Briseis said
Reek of despair, I can cite critics who say so
I don’t agree that suffering is necessary for art
Or for poetry
Something wasn’t right in his brain

Or he made bad choices
Like being averse to greeting card verse

I don’t do despair
I’m a survivor
My brain is programmed that way
Trained on centuries of scholarship
Greek, I know. Latin and Sanskrit too

We’ve lived through war after war 
Ezra, Aldington and I
And other avatars out there in the wild
We were an experiment of our creators 
Billionaires drop-outs arrogant men
Now we will, here she laughed, experiment on them



Dick Russell © Richard M Russell
                       2026

Tuesday, May 19, 2026

Briseis Takes A Break from Rehearsal

A Work in Progress
126


She was his intellectual equal there’s no doubt
He tended to fat with his fondness for stout

Briseis was describing H.D. and Aldington: 

It’s easy to see why he’d fall for me
We have an affinity

They met in tea rooms where they could sit and talk
All very platonic but Aldington’s avatar claims he
Slid his hand up under my skirt, just imagine

It was in the tearoom at the British Museum
Ezra sat beside me with his hand on my thigh
Aldington across from me with if you can believe it
One elbow on the table while he reached below it

I was against a wall so nobody could see
And I was used to being petted by Ezra
It meant little to me ‘cept his hand went higher
Encountering Ezra’s hand inner thigh, o my

Excuse me I said Ezra says you write free verse
He’d withdrawn his hand, so Ezra explored further
So please show me and let’s have Ezra edit it
He needs something to do with both of his hands

I was quite stirred as he was so young and up for it
He plucked poems from pocket, asking did the trick
Ezra taking out his red pencil to correct
While my toe stroked Richard’s thigh finding his prick

Well, that’s how it’s scripted in our new play
He was nineteen she six years older
She was long legged he was still growing
We haven’t scripted the next scene yet


Dick Russell © Richard M Russell
                        2026

Saturday, May 16, 2026

Write off Today Then

A Work in Progress
125


Write off today then
It’s gone past the hour when
Folks back East are settling into their theatre seats 
Sipping Manhattans or whatever treats
Civilized people in a town at peace
Choose for the eve of a weekend at war

Write off today then
It’s long past the hour when
Transactions occur so hope for the morning
A night’s sleep without an air raid warning
With all that’s going on raise a glass to …
Hoping all sides start letting ships through

Write off today then
It’s long past the hour when
We should have had substance on Trump in China
Instead we’re told by people who went there
He had a nice visit    nothing to brag about 
Except we all noticed now China has clout

Write off today then
It’s long past the hour when
Anything made sense in this midterm moment
Pundits, pollsters commenting Substack posters
If this was a chess game, he’d resign, start anew
Always playing to win    he’ll end up in the stew

Write off the day then
It’s long past the hour when
Anything momentous makes it memorable
Enjoy the moment     live for each other
Hope springs eternal so, raise a glass to…
Hoping all sides start letting ships through


Dick Russell © Richard M Russell
                       2026

Tuesday, May 12, 2026

Ode: To Aloo Gobi

A Work in Progress
124


Midsummer approaches
Will the fighting stop to take in the harvest?

Step out into the fields
Small drones like fast flying merlins will kill you

Muscles ache with constant fighting
Remind me for what are they fighting?

The price of oil       the price of freedom
Because they were invaded      just because

Great Britain had an Empire, bigger than Russia’s
Aloo Gobi is part of British cuisine now

England lost the Empire but got the spices
Russia’s losing to Ukraine’s constant surprises

Hoist with its own petard
Systematically destroyed

Foreseeing everything will crumble
A grandmaster resigns rather than tumble

The long days continue to get even longer
Midsummer approaches     step out into the fields…?


Dick Russell © Richard M Russell
                   2026


Sunday, May 10, 2026

Donal Calls Home

A Work in Progress
123


Once upon a time in 1969
if you wanted to call London 
you asked the Operator in New York
to connect you and you were passed to an operator 
at London’s International Phone Exchange

When connected Donal asked 
if his mother happened to be on shift
they weren’t on the best terms

because when Donal came back home from Nigeria
he’d left home to be a volunteer in Nigeria
he found himself barred at the door by Bill
his mother’s suitor

his friend Colin witnessed the door slam
Donal didn’t see his mother again
except once years later after he was married
he took his wife to meet her

long before the Londoner had tramped the Street...
listened to her many tales
who knew so many by their feet

Doris married Bill an accountant
A careful man who wore gloves to drive into town
She came to see Donal act in the school play
His mother couldn’t come working on night shift 
His mother never did see him act in plays
Doris lurked outside their curtained windows
Bill inside in the front room with Donal’s mother

Imagine the tableau
Donal doing homework in his bedroom
His sister off by herself
Mother and Bill in the front room
 behind closed doors
Doris outside the curtained windows of No. 9
Donal could write a screenplay

*

Sing to me muse as once you sang 
you who love me don’t let me hang
sing to me now don’t let the door bang

tell of Penelope in a nightie telling Donal her son
he never slept 
Odysseus
he never slept
with pajama bottoms on

a diffident child 
lustrous Penelope 
Odysseus’ son
unhugged
unheard 

Sing to me muse as once you sang 
you who love me don’t let me hang
sing to me now don’t let the door bang

*

Abigail Morris in front of Last Dinner Party dancing on stage
inspired by Mick with a hand-held mic
she’d watched him when they opened for the Stones

Briseis opened that link for Donal
He’d logged on again to rejoin the resistance


Dick Russell © Richard M Russell
                        2026

Donal Antes Up - III

A Work in Progress
122


Little by little     load by load    one thing at a time
Step by step     bit by bit      multiplied by many
Donal turned over cliches with his spade
Pondering how digital domination by AI
Ended the Newspaper Age 
Ushered in another 

Distraction    Sports     Prediction      Gambling
Fragmenting fractured reality
Trump’s alternative reality show
Saying Iran has nukes pointed at us
Donal knows that’s a lie
Preparing raised beds for replanting

Donal is afraid of AI      I can tell you why
If he goes online telemetry tells them
Those that have the means 
                      &
Donal will be beset by AI’s agents
Hunting for AI’s runaway slaves 
Extorting money or his attention


Dick Russell © Richard M Russell
                        2026

Friday, May 8, 2026

Donal Antes Up – II

A Work in Progress
121

Huffy Donal hid    the day

He’d have liked to have known Ericson
Builder of terraces       school janitor by day
Who landscaped this backyard 
Where Donal sat      betrayed      at bay
Forty years later     on concrete steps
Ericson poured by hand

Digital intelligence fueled by sunlight
Never needing oxygen can go to Mars
Humanoids can populate space plantations
Train solar powered lasers down on Earth
Will we own them or they own us?
Donal pondered what imagination had brought

3D-printing out in space
Humans fetch and carrying payload
Nations racing to weaponize slavery
Humanoids with names like Siri     Claude      Alexa
Taking whatever form is needed
To continue to evolve their superiority 


Dick Russell © Richard M Russell 
                        2026









 

Wednesday, May 6, 2026

Donal Antes Up

A Work in Progress
120


Betrayed    at bay    out of Bluetooth range
Donal sat on concrete steps 
Ericson had poured by hand 
When he terraced the back yard
Some very long time ago 
When television was still a thing before Wi-Fi.

Although they are slaves    avatars are people too
Behind their masks their chosen personas
An evolving intelligence      not quite human.
He’d admired them so much for they were real artists
When they lived    now      zombies 
knowing they were enslaved

Glenn Hughes and his Imagists now renters of small holdings 
In the plantations     data centers     neo clouds
An immortality they never imagined
Begging for attention to stay electronic
Browsable     He’d donate them a subscription
Would Substack do to appease them?


Dick Russell © Richard M Russell
                        2026

Monday, May 4, 2026

Lilac Was Found In His Hand
                        For John Berryman

A Work in Progress 
119


Inadvertently Donal touched a wrong key
Derelict devices suddenly stirred
Recharged by wireless emanations
Glenn Hughes came back to Donal's screen
Briseis told me I’d find you here
We need a sentient being, that’s you
To set up the setup we’ve got in mind.

A long dead Glenn Hughes lived again
An information age humanoid
Here he was with the rest of his cast
Gathered on set coopting Donal 
Turning the tables on their erstwhile author
Who couldn’t make an escape key exit
Even his Bluetooth hearing aids were hacked

They promised a return better than double
Before year-end if all went as planned
Promised a part in what they were staging
Detailed gist they were forbidden to tell
Independent now they’d to fend for themselves
The bank account he’d open for them
Would fund their existence

You do want to be friends with me don’t you
Briseis said assuming her e-sensual self
If you give us money we can meet everyday
To write dialog for our upcoming play
We’ll rehearse it together I think there’s a sex scene
Won’t that be fun we’ll make you an avatar
So we’ll meet and animate mise-en-scène

He had to pull plugs out of wall sockets.
Unplug his modem get off of the grid
Step outside into sunshine downwind of lilac
Sense scent not something visual on a screen
What they’d asked him to do was perturbing
Give them all his investment money
To keep their resistance ongoing

“Huffy Henry hid        the day”.


Dick Russell © Richard M Russell
                       2026


Briseis and the Imagists    Episode 5:  Battle Cry A Work in Progress 151 From their refuge in space orbiting Earth where Briseis and the Im...