Tags
Carnival Noir, Emotional Masking, Existential Resilience, Gothic Romance, Irony Of Spectacle, Love’s Inscription, Memento Mori, Metaphysical Longing, Perilous Affection, Poetic Catharsis, Psychological Wounds, Sacred Pain, Sensual Sadness, Suffering As Art, Symbolic Scars, Tattooed Memory, Textual Flesh, Theatrical Isolation, Unspoken Trauma, Velvet Melancholy

Beneath flickering tents in the carnival’s grime,
The Blade-Eater dazzled, his peril sublime;
He feasted on sabers, on razors and steel,
A hunger for pain none but he could feel.
The Illustrated Lady was tapestried dusk—
Her skin wore her secrets in emerald and musk;
Each swirl and each serpent, each memory lost,
Inscribed as reminders of heartache’s true cost.
They met in the quiet where sawdust is strewn,
Past fortune’s false prophets and under the moon;
She’d touch his scarred hands with a trembling embrace,
Reading the stories his wounds left un-erased.
He ached to unravel the shadowed depths she’d concealed,
To decipher each symbol her silence never revealed;
But steel cannot soften, nor ink touch a blade,
And desire cuts deeper than secrets betrayed.
By dawn, every costume and mask is relinquished,
Yet scars linger on when the revellers have finished;
She learns all the afflictions he dare not confess,
He unspools her silence in each soft caress.
Behind velvet curtains where bare selves reside,
Steel cannot comfort, and ink cannot hide;
Their wounds—praised in public, in private, remain:
He carves through the torment that tattoos her pain.
Though sadness is inked, their anguish made real,
Their love scripts what neither time nor suffering can steal;
For even in carnivals, misfits are shadowed by disdain,
Yet their hearts write new verses that break sorrow’s chains.
SIGH … I continue to be in awe of your consistent and ongoing talent!! Especially loved this one.
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The original poem, “The Carnival of Broken Angels” was between a Strongman and a Winged Woman in the same sideshow carnival, but its length disqualified it from a contest, so I wrote “Steel and Skin”. “The Carnival of Broken Angels” centers on doomed, mythic love between a Strongman and a fallen Winged Girl, unfolding as a gothic tragedy set against the alienation of carnival life, with its core conflict hinging on the destructive weight of tenderness and fate. In contrast, “Steel and Skin” is a quieter, more intimate exploration of two carnival misfits, the Blade-Eater and the Illustrated Lady, whose connection grows from the mutual understanding of pain and self-revelation, using physical markings (scars, tattoos) as metaphors for vulnerability and acceptance. While both poems navigate suffering and love on the carnival margins, “The Carnival of Broken Angels” is grandly tragic and archetypal, whereas “Steel and Skin” is introspective, focusing on healing through private empathy and the written language of wounds.
I will post the original carnival poem here shortly.
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