Without your permit ,I shall  charge  the free.
I ‘ve got  melodies that can’t be  heard
I  hear the sound of driftwood   on  the sea

Who was I and who can I now free?
Are there any  people left to stir?
Without you here ,I ‘m just hungry for that sea

I was just about to  kill a thousand fleas
This  spider sprang  from out of her  dark lair
I feel  the sounds  of    driftwood   on  the sea

That cup of tea was never, then,  quite free
She  spooked you off as if it were a Fair
Without you here ,I feel nothing can be.

She put you into rehab rather pre..
She brought death  to us with her  in her hair
I feel  just like I’m   drifting out  of me

They made you sow some seeds  and could not see
That you were  almost lying standing there
Without you living  ,I ‘m as long as me.

Quite soon  your vital  poems  had disappeared
You   were beaten whilst you were  jailed there
I feel inside  so black  with misery

Recognization  aching was    the   cue
I cannot I know the mind  in  such  affairs
I doubt a presence  now can salvage me.

Enchanting you by   webs  hung between her thighs
The  demon took your  hand ,I see it clear.
I feel inside.  I’d kill her to be me.

You left as fast as  smiling   can now be
Happy to escape  the  devil’s  glare
Without your  vision ,I am never me

I feel myself like ape or refugee.
Floating on  the tide, I know not where
Without your presence ,I’m no longer me.
I feel inside there is a mystery

Without your presence ,I’m no longer me.
I ‘ve got  memories that can’t be shared
I feel tlike   some old driftwood   on  the sea

Who was I and who can I now be?
Are there any  people left to care?
Without you here ,I am fno longer me.

I was just about to give you  that hot tea
This  woman sprang our of her  dark lair
I feel inside like  driftwood   on  the sea

That cup of tea was never, then, to be
She took you off as if it were a dare
Without you here ,I feel no longer me.

She put you into rehab misery.
She brought death inside with her like a prayer
I feel  just like I’m   drifting,   all at   sea

They made you go to gym and could not see
That you were  almost dying standing there
Without you living  ,I ‘m no longer me.

Quite soon  your vital signs  had disappeared
You   had not eaten whilst you were  jailed there
I feel inside like  driftwood ;I’m  at sea

Resuscitation  was  to be the  key
I cannot see  the wisdom  of  such fare
Without your presence ,I’m no longer me.

Enchanting you by   stars  hung from her tree
The  angel took your  hand ,as it was bare.
I feel inside like  driftwood , all at   sea

You left so fast but  gave a smile to me.
Happy to escape  the  carer’s  glare
Without your  being here ,I am not me

I feel myself like ape or refugee.
Floating on a raft, I know not where
Without your presence ,I’m no longer me.
I feel inside like  driftwood   on  the sea

Philip K. Dick, from The Selected Letters of Philip K. Dick 1972-1973:

A person’s authentic nature is a series of shifting, variegated planes that establish themselves as he relates to different people; it is created by and appears within the framework of his interpersonal relationships.

He  grabbed my love and did not  it return
Labelled me insensitive.unkind.
He  struck my heart without   care or tconcern
I learned that in his soul he ‘s deaf and  blind

He labeled me   insensitive.unkind.
Not the perfect mother of his dreams
In his  deepest soul, he is  still blind
Makes connections mainly for his schemes

I was not the perfect mother of his dreams
His need was for a breast  to like upon
He  wants   women mainly for his schemes
Which failed with me and so he is long gone,

His need was for a breast  to like upon
In ease and comfort like a new born  child
He  failed with me, and so he is long gone,
For I prefer my company more wild.

In ease and comfort,  he lay  like a  child
He  never thought to ask  what I’d  prefer
For I prefer my company more wild.
Only to the lion of God defer

https://en.wikipedia.org/wiki/Pantoum

Structure

The pantoum is a form of poetry similar to a villanelle in that there are repeating lines throughout the poem. It is composed of a series of quatrains; the second and fourth lines of each stanza are repeated as the first and third lines of the next. This pattern continues for any number of stanzas, except for the final stanza, which differs in the repeating pattern. The first and third lines of the last stanza are the second and fourth of the penultimate; the first line of the poem is the last line of the final stanza, and the third line of the first stanza is the second of the final. Ideally, the meaning of lines shifts when they are repeated although the words remain exactly the same: this can be done by shifting punctuation, punning, or simply recontextualizing.

A four-stanza pantoum is common (although more may be used), and in the final stanza, lines one and three from the first stanza can be repeated, or new lines can be written. The pantoum form is as follows:^[1]

Stanza 1
A
B
C
D

Stanza 2
B
E
D
F

Stanza 3
E
G
F
H

Stanza 4
G
I (or A or C)
H
J (or A or C)

Verse forms[edit]

The pantoum is derived from the pantun berkait, a series of interwoven quatrains. An English translation of such a pantun berkait appeared in William Marsden‘s A Dictionary and Grammar of the Malayan Language in 1812. Victor Hugo published an unrhymed French version by Ernest Fouinet of this poem in the notes to Les Orientales(1829) and subsequent French poets began to make their own attempts at composing original “pantoums”.^[2]Leconte de Lisle published five pantoums in his Poèmes tragiques (1884).

There is also the imperfect pantoum, in which the final stanza differs from the form stated above, and the second and fourth lines may be different from any preceding lines.

Baudelaire‘s famous poem “Harmonie du soir”^[3] is usually cited as an example of the form, but it is irregular. The stanzas rhyme abba rather than the expected abab, and the last line, which is supposed to be the same as the first, is original.