Is it possible to love online?

Yes, it is. Written words which come from the heart have the power to touch another heart. Emotions are expressed. Lives thousands of miles apart come into contact, and aspects of those lives become entwined through what is expressed and shared . . .

And as in real life, love can go unrecognised, or one person may make a greater emotional commitment than the other. Or you can merrily go along thinking that you’re just going to be friends, but an attachment you never intended forms anyway. Emotions don’t normally behave rationally; it would be irrational to expect them to.

I wrote these two haiku some months ago, in such a situation.


Bit by tiny bit
I gave all my heart to you.
Didn’t you notice?


I miss your kisses
and my heart breaks as I see
your kiss on his lips.

Well, here I am again, quoting somebody else’s poems instead of writing my own . . .

In my defence, I was stunned by the first post I read on Erobintica and immediately wanted encourage you to visit the site for yourself. It’s a mixture of poetry and other writing, sensitively expressed. Some is erotic, some not, but it all has a feeling of sensitivity and intimacy which I really like.

Here is one short poem from the site:

Poetry Slut

Loose words
casual punctuation
too liberal use of—
em dashes
slit skirt showing off
a poem’s legs
up to the garter belt
maybe beyond

(In case you’re wondering, that isn’t the same post I mentioned earlier—but I think both are wonderful.)

If you like that poem, please visit the site and see what else is there.

Poem © Robin Elizabeth Sampson 2010. Used with permission.

Today I happened to stumble on Black Satin, a blog of erotic poetry by Jacque Zyon. I’m reluctant to post an entire poem, but here to give you an idea of what to expect are the first few lines of Breathless, which won third prize at the 2009 Seattle Erotic Art Festival:


upon my bed
her rose in bloom

and what do you do with a


marvel at its
many folds…

gently brush your lips against it

. . .

and so it continues: delicately expressed, all in metaphor, and at the same time quite explicit without ever using an explicit word. What I like about the poem is the way that even though it’s powerfully sexual, it’s dominated by a sense of tenderness and wonder.

The blog has only been going a short while, but I hope it continues. And that you’ll pay a visit. (Note: some of the poems do use explicit language. If that bothers you, you have been warned.)

You can read the rest of the poem here, and I hope you will.

Update: Two of the above links weren’t working. I’ve now corrected them. Nov 15, 2010

I don’t really think of myself as a poet, but I enjoy trying to write haiku—maybe because they’re nice and short so I have a fighting chance of finishing one.

Proper Japanese ones have a traditional structure involving a seasonal reference, a “cutting word” and a contrast of ideas, but it’s popular now simply to take a pattern of seventeen syllables—five then seven then five—and use that to create a short poem in English.

These three are intensely personal. The first expresses my basic belief in respect and in the amazing preciousness of friendship; the other two talk about the times when friendship isn’t quite enough, but is all I have. The heart is not the only part of a person which can feel loneliness.

They all began in the 5-7-5 pattern, but I’ve done some editing since. Interestingly, even seventeen syllables is sometimes too many. It’s best not to be legalistic.


The most sacred place
is another human heart:
treat with reverence.


Skin against bare skin
tenderly exploring you
—I wake, alone.

The truth

Hearts need their friendships
but bodies too want love:
mine is alone.


I’ve changed the last line of the second one since I first posted it. I originally didn’t like the repetition of “alone” between the second and third poems. But they’re meant as indivdual poems, so I’ve changed it to the version I most like even though it’s now a bit odd when they’re read together.

And now I’ve amended the first one slightly too . . . And the third. OK, they’re now ALL different . . . !