Quotes of All Topics . Occasions . Authors
Don't go outside your house to see flowers. My friend, don't bother with that excursion. Inside your body there are flowers. One flower has a thousand petals. That will do for a place to sit. Sitting there you will have a glimpse of beauty inside the body and out of it, before gardens and after gardens.
I think of something quite different from a snapshot. I know of a lot of poems, some very fine ones, that are like snapshots, but I'm more interested in poetry that is like an endless film, long stories, things that weave together many different strands, like a big piece of cloth, not like a photograph.
The style is the man. Rather say the style is the way the man takes himself; and to be at all charming or even bearable, the way is almost rigidly prescribed. If it is with outer seriousness, it must be with inner humor. If it is with outer humor, it must be with inner seriousness. No other way will do.
She realized that being starved for words was the same as being starved for food, because both left a hollow place inside you, a place you needed filled to make it through another day. Rachel remembered how growing up she’d thought living on a farm with just a father was as lonely as you could be. (130)
Separated lovers cheat absence by a thousand fancies which have their own reality. They are prevented from seeing one another and they cannot write; nevertheless they find countless mysterious ways of corresponding, by sending each other the song of birds, the scent of flowers, the laughter of children.
You have enemies? Why, it is the story of every man who has done a great deed or created a new idea. It is the cloud which thunders around everything that shines. Fame must have enemies, as light must have gnats. Do no bother yourself about it; disdain. Keep your mind serene as you keep your life clear.
Should we continue to look upwards? Is the light we can see in the sky one of those which will presently be extinguished? The ideal is terrifying to behold... brilliant but threatened on all sides by the dark forces that surround it: nevertheless, no more in danger than a star in the jaws of the clouds.
Great literature has always been written in a like spirit, and is, indeed, the Forgiveness of Sin, and when we find it becoming the Accusation of Sin, as in George Eliot, who plucks her Tito in pieces with as much assurance as if he had been clockwork, literature has begun to change into something else.
One wellcultivated talent, deepened and enlarged, is worth 100 shallow faculties. The first law of success in this day, when so many things are clamoring for attention, is concentration-to bend all the energies to one point, and to go directly to that point, looking neither to the right nor to the left.
There is one curious fact noticeable in regard to this thing called "luck," which is, that while it is made responsible for any turn of affairs that we feel to be discreditable to us, it rarely has credit for an opposite state of things; but, like most other faithful allies in victory, comes poorly off.
ROMEO to BALTHASAR But if thou, jealous, dost return to pry In what I further shall intend to do, By heaven, I will tear thee joint by joint And strew this hungry churchyard with thy limbs: The time and my intents are savage-wild, More fierce and more inexorable far Than empty tigers or the roaring sea.
If there were reason for these miseries, then into limits could I bind my woes. If the winds rages, doth not the sea wax mad, threat'ning the welkin with its big-swoll'n face? And wilt though have a reason for this coil? I am the sea. Hark how her sighs doth blow. She is the weeping welkin, I the earth.
And this tenderness was not like That which a certain poet At the beginning of the century called true And, for some reason, quiet. No, not at all It rang out, like the first waterfall, It crunched like the crust of bluish ice And it prayed with a swanlike voice, And it broke down right before our eyes.
In a letter (no matter how quickly it is written or honestly or freely or lovingly) it is more possible to be loving and lovable, more possible to reach out and to take in ... I feel I have somehow deceived you into thinking this is really a human relationship. It is a letter relationship between humans.
My mother actually left American in 1929 to be part of an alternative community of bohemians around her then father-in-law who was a well-known Greek poet. This group of people were living in this semi-Luddite reality and weaving their own clothes - proto-hippies in a way- -but around an artistic vision.
Love...no such thing. Whatever it is that binds families and married couples together, that's not love. That's stupidity or selfishness or fear. Love doesn't exist. Self interest exists, attachment based on personal gain exists, complacency exists. But not love. Love has to be reinvented, that’s certain.
I guess it was easier for me to find my voice in poetry than it was in fiction. I'm working on fiction again, and I find it a lot more difficult. It's a struggle. At a certain point, you have your voice and you go to it every time, so it's not like reinventing the wheel. That's the way I see it at least.
The fiction writer has a lot of balls to juggle. Setting, pacing, dialogue, and so on. And let's not forget: plot. That was always a hard one for me. And I always had this spastic tendency to wrap up a story before I'd seen it the whole way through, a sort of writer's pre-ejaculatory tendency: "The End!"
Twas in heaven pronounced - it was muttered in hell, / And echo caught faintly the sound as it fell; / On the confines of earth 'twas permitted to rest, / And the depth of the ocean its presence confessed. / Yet in shade let it rest, like a delicate flower, / Ah, breathe on it softly, it dies in an hour.
Where did all the women come from? The supply was endless. Each one of them was individual, different. Their pussies were different, their kisses were different, their breasts were different, but no man could drink them all, there were too many of them, crossing their legs, driving men mad. What a feast!
I think that I have less conviction than ever that poetry matters - that poetry changes or saves anything or anyone. But, in fact, that's tremendously freeing. If it doesn't matter much, the stakes are lower and you can't really fail. It's insurrection. It's a tiny alphabet revolution. A secret. A psalm.
In England especially, poetry's woven into the background fabric of society. And in Ireland, it's in the foreground. The place of the poet in Irish society is enormous. If you say you're a poet in Ireland, you'd better know what you're doing, because the standard and the expectations are incredibly high.
Nobody could like Donald Trump, surely, except his mother. No one really likes The Donald. But how can you not have respect for a guy who's been down on the floor and just keeps coming back? Nothing will keep Donald Trump down until they drive a wooden stake in his heart and a silver bullet in his brain.
I'm so suspicious of our own understanding of the past. I just think that your mind plays absolute tricks on you and fools you every minute of every day. And so when you're talking about the past, you're talking about something that never happened. At least it didn't happen the way you think it happened.
As noble Art has survived noble nature, so too she marches ahead of it, fashioning and awakening by her inspiration. Before Truth sends her triumphant light into the depths of the heart, imagination catches its rays, and the peaks of humanity will be glowing when humid night still lingers in the valleys.
Remember in the forms of speech comes change Within a thousand years, and words that then Were well esteemed, seem foolish now and strange; And yet they spake them so, time and again, And thrived in love as well as any men; And so to win their loves in sundry days, In sundry lands there are as many ways.
The everyday cares and duties, which men call drudgery, are the weights and counterpoises of the clock of time, giving its pendulum a true vibration and its hands a regular motion; and when they cease to hang upon its wheels, the pendulum no longer swings, the hands no longer move the clock stands still.
A soul that is ruined in the bud will frequently return to the springtime of its beginning and its promise-filled childhood, as though it could discover new hopes there and retie the broken threads of life. The shoots grow rapidly and eagerly, but it is only a sham life that will never be a genuine tree.
When people talk about imagination, they tend to think of fantasy or something made-up. But really imagination is a mode of perception. Which is maybe why so many artists have turned to the occult. Artists tend to feel like outsiders. Whether they are actually outsiders or not is also kind of irrelevant.
To a large degree, since the beginning of time, charisma or the lack of it has impacted upon those in quest of acclaim. As media expands, this has become ever more vital. Thus, demeanor if unappealing, can defeat one's likelihood of success, causing the death of prospects whilst they are still embryonic.
I wrote two poems about the '81 uprisings: 'Di Great Insohreckshan' and 'Mekin Histri.' I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.
I used to think that once you really knew a thing, its truth would shine on forever. Now it's pretty obvious to me that more often than not the batteries fade, and sometimes what you knew even goes out with a bang when you try and call on it, just like a light bulb cracking off when you throw the switch.
I love language. It doesn't bother me that its effects are partial. To me that is very sanity-producing. It would be weird if the effects of language were more than partial, if your whole life existed within your texts. That would be much scarier to me than language being an inadequate tool to represent.
Farewells can be shattering, but returns are surely worse. Solid flesh can never live up to the bright shadow cast by its absence. Time and distance blur the edges; then suddenly the beloved has arrived, and it's noon with its merciless light, and every spot and pore and wrinkle and bristle stands clear.
Never mind. Point being that you don't have to get too worked up about us, dear educated minds. You don't have to think of us aas real girls, real flesh and blood, real pain, real injustice. That might be too upsetting. Just discard the sordid part. Consider us pure symbol. We're no more real than money.
The hardest part about what I do, the most vulnerable place is my relationship with my family and Sara, my amazing partner, because I'm leaving a lot. And as a touring artist, I'm constantly coming and going, but also when I'm at home, my studio's at home. I'm leaving to go into a music world in my head.
With a changing key, you unlock the house where the snow of what’s silenced drifts. Just like the blood that bursts from Your eye or mouth or ear, so your key changes. Changing your key changes the word That may drift with flakes. Just like the wind that rebuffs you, Clenched round your word is the snow.
One only passes from the darkness of ignorance to the enlightenment of science if one re-reads with ever-increasing love the works of the ancients. Let the dogs bark, let the pigs grunt! I will nonetheless be a disciple of the ancients. All my care will be for them and the dawn will see me studying them.
You're trying not to tell him you love him, and you're trying to choke down the feeling, and you're trembling, but he reaches over and he touches you, like a prayer for which no words exist, and you feel your heart taking root in your body, like you've discovered something you don't even have a name for.
The best argument for teaching poetry is to put a three-year-old or a four-year-old and read Dr. Seuss, or Robert Louis Stevenson, and to feel how the child and you are engaging in something that's really basic to the animal, which is passing on in these rhythmic ways, something that came from somewhere.
There is no security in a good disposition if the support of good principles--that is to say, of religion, of Christian faith--be wanting. It may be soured by misfortune, it may be corrupted by wealth, it may be blighted by neediness, it may lose all its original brightness, if destitute of that support.
You do not see clearly the evil in yourself, else you would hate yourself with all your soul. Like the lion who sprang at his image in the water, you are only hurting yourself, O foolish man. When you reach the bottom of the well of your own nature, then you will know that the vileness was from yourself.
Never to see or describe any interesting appearance in nature, without connecting it by dim analogies with the moral world, proves faintness of Impression. Nature has her proper interest; & he will know what it is, who believes & feels, that every Thing has a life of it's own, & that we are all one Life.
Corliss wondered what happens to a book that sits unread on a library shelf for thirty years. Can a book rightfully be called a book if it never gets read? If a tree falls in a forest and gets pulped to make paper for a book that never gets read, but there's nobody there to read it, does it make a sound?
I find myself absolutely fulfilled when I have written a poem, when I'm writing one. Having written one, then you fall away very rapidly from having been a poet to becoming a sort of poet in rest, which isn't the same thing at all. But I think the actual experience of writing a poem is a magnificent one.
For years following the death of my mother, I wanted to write about her. I started writing what I thought of as personal essays about growing up as her child, but I never could finish any of them. I think I was too close to that loss, and too eager to try and resolve things, to make her death make sense.
Attacking bad books is not only a waste of time but also bad for the character. If I find a book really bad, the only interest I can derive from writing about it has to come from myself, from such display of intelligence, wit and malice as I can contrive. One cannot review a bad book without showing off.
Summer boarders often left clothes behind, and of what use were they to the landladies, for no rag-and-bone man ever called at their houses. The truth of the matter was that in less than a week I was well dressed from head to foot, all of these things being voluntary offerings, when in quest of eatables.
Lo, the most excellent sun so calm and haughty, The violet and purple morn with just-felt breezes, The gentle soft-born measureless light, The miracle spreading bathing all, the fulfill'd noon, The coming eve delicious, the welcome night and the stars, Over my cities shining all, enveloping man and land.
The spleen is seldom felt where Flora reigns; The low'ring eye, the petulance, the frown, And sullen sadness, that o'ershade, distort, And mar the face of beauty, when no cause For such immeasurable woe appears; These Flora banishes, and gives the fair Sweet smiles, and bloom less transient than her own.