The Bombing of Gon Fanfew
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The Bombing of Gon Fanfew
A gang of the Reds were hanging a Jew
In the Murderer’s Rest Saloon
And the girl at the accordion
Was whanging, “The Devil’s Own Tune”;
Over by the Hangman’s Counter
Sat Anarchist Gon Fanfew
Notching the ears of his light-o’-love,
A murderess known as Lou.
When out of the night where the bullets hummed,
Into the smoking dive
A stranger shot his way within,
Waving a forty-five.
He came with a run as he pulled his gun
And he fired shot three or four
And then he gathered the bodies up
And hove them out the door.
He cut the throat of the music-girl
And sat down on the stool
And if that fellow couldn’t play,
Well, I’m a Royal fool.
He played such tunes as the “Cutthroat’s League”
And “The Murderer’s March” and then
He swung into a tune of his own,
’Twas much like “The Devil’s Den”.
He played of the far-famed “good-old-days”
Sweethearts and lover’s moon,
And as he played we seemed to see
A snug and cozy saloon.
And the rush of the Royal troops,
He shifted the accordion screws,
“No work, no pay!” it seemed to say,
And we shrieked our lust for booze.
And then the stranger wheeled about
And he pulled out his gun,
“And boys,” said he, “you don’t know me
But you will before I’m done.”
“I’ve got some word I wish to say
And they are but a few
But one of you is a bourgeoisie
And that one is Gon Fanfew!”
I ducked and somebody set off a fuse
Two bombs blazed in the dark
Somebody started throwing knives
And guns began to bark.
Somebody blew the roof clear off
And the Northern Lights streamed in
Somebody set the saloon on fire
And splashed the walls with gin.
Pitched on his head and widely spread
Lay Anarchist Gon Fanfew
And there with the stranger’s head in her hand
Lay the woman known as Lou.
This work is from the United States and in the public domain because it was not legally published with the permission of the copyright holder before January 1, 2003 and the author died 88 years ago. This is a posthumous work and its copyright in certain countries and areas may depend on years since posthumous publication, rather than years since the author's death. Translations or editions published later may be copyrighted.
The longest-living author of this work died in 1936, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 87 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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