WoPoLi

It’s not to late: 1997

It’s not to late: 1997

Verse one:
Lord, What would I say
if I saw you today,
in this place
face to face?
Would I hide in shame
or shift the blame
or fall at your feet
and bitterly weep?

Verse two:
For the enemy is great
and this hour is late
and this time is bleak
and Lord I am weak.
On this battle field
I have seen many killed
for they have not heard
the saving grace of your word.

Verse three:
And Lord what would you say
if you saw me today,
in this place
face to face?
Would you know my pain?
Would you know my name?
Knowing I did stray,
Lord would you turn away?
Oh Lord, I pray,
Don’t turn away.

Verse four:
For Lord you are great
but this hour is late
and this time is bleak
and Lord I am weak.
I would pray for your shield
and that I might be healed.
I would pray for your sword
to be strengthened by your word.

Verse five:

That today’s sorrow
might be joy tomorrow
and freed from blame
you might call me by name
and face to face
I might be saved by your grace
and fall at your feet
and in joy weep.

Verse six:
For lord you are great
and it’s not to late,
for me to seek
other souls that are weak.
I shall take your shield
unto the battle field
and with your sword
I shall proclaim your word,
continued

Verse seven:
and today’s sorrow
shall be joy tomorrow
and freed from blame
you shall call us by name
and face to face
we shall be saved by your grace
and fall at your feet
and in joy weep.

Verse eight:
For Lord you are great
and it’s not to late
for us to seek
other souls that are weak.
We shall take your shield
unto the battle field
and with your sword
we shall proclaim your word,

Verse eight:
and today’s sorrow
shall be joy tomorrow
and freed from blame
you shall call us by name
and face to face
we shall be saved by your grace
and fall at your feet
and in joy weep.

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About the Author: Sarah B. Royal

Sarah B. Royal’s writing defies convention. Her poetry and prose traverse the boundaries between structure and spontaneity, often weaving together philosophical inquiry, cultural reflection, and personal narrative. With a background in experimental literature, she is known for crafting works that challenge readers to engage intellectually and emotionally.

Her acclaimed palindrome performance play, 777 – A Story of Idol Worship and Murder, showcases her fascination with mirrored storytelling and thematic symmetry. In o x ∞ = ♥: The Poet and The Mathematician, Royal explores the intersection of poetic intuition and mathematical logic, revealing a unique voice that is both analytical and lyrical.

Royal’s collections—such as Lost in the Lost and Found, Haiku For You, Lantern and Tanka Too, and the WoPoLi Chapbook Series—highlight her commitment to neurodivergent expression and poetic experimentation. Whether through childhood verse or contemporary fusion poetry, her work invites readers into a world where language is both a tool and a playground.

Sarah B. Royal continues to expand the possibilities of poetic form, offering readers a deeply personal yet universally resonant experience. Her writing is a testament to the power of creative risk, intellectual depth, and emotional authenticity.

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