Titles are demanding, prescriptive things. Only by a weighty lover-load of irony can a title go against its semantic, literal or all the otherwise in poetry's bosom, and still fulfill the basic expectations of 'title'. This poem seems to straddle certain of the differances that may arise between its title and the poem itself.

"Adam's Curse" is not a word-set that can very well stray from its point of origin, the Bible. Whatever else one might make of the poem's disposition(s), the old tradition of the 'muse' (female) and the inclusion of two women, and the irresolutions about poetry, love, and the bother that each incurs makes all of what the poet as male has to relate to be in the nature of a curse: some curses we willing follow, poetry and love certainly two of the top ones still in major practice. God - thanks for tlhe ribbery.

Still, love and poetry, like most if not all things within our doing, can wear to being 'weary-hearted' - emotions tend to go as up the down-hill path as do our physical bodies, the amount of 'time' each of us gets in this clipped-round called 'life'. Beauty of whatever nature is as beauty does, then all or a telling something changes, an ending awakens in our presence and asks 'what, you here already' - and this is always tip-off to Charon either directly or by many of his various lackies.

"blue-green of the sky"/moon - drear cyanosis, stoneyness. Let me quote from a poem of my own from years ago - 'the moon smiles, then laughs, then yawns'. It will return. regardless of us, our poetry, or our love, done in words or silence.

Outta computer time.

Carpe Verve all