Quotes of All Topics . Occasions . Authors
The man who wants a garden fair, or small or very big, With flowers growing here and there, Must bend his back and dig. The things are mighty few on earth That wishes can attain. Whate'er we want of any worth We've got to work to gain. It matters not what goal you seek, It's secret here reposes: You've got to dig from week to week To get Results or Roses.
Suddenly this defeat. This rain. The blues gone gray And the browns gone gray And yellow A terrible amber. In the cold streets Your warm body. In whatever room Your warm body. Among all the people Your absence The people who are always Not you. I have been easy with trees Too long. Too familiar with mountains. Joy has been a habit. Now Suddenly This rain.
The continuity of life is never broken; the river flows onward and is lost to our sight, but under its new horizon it carries the same waters which it gathered under ours, and its unseen valleys are made glad by the offerings which are borne down to them from the past,--flowers, perchance, the germs of which its own waves had planted on the banks of Time.
Anytime you see white men suppose to fight each other an you not white, well you know you got trouble, because they blah-blah loud about Democrat or Republican an they huffing an puff about democracy someplace else but relentless, see, the deal come down evil on somebody don have no shirt an tie, somebody don live in no whiteman house no whiteman country.
Through my grandmother's stories always life moved, moved heroically toward an end. Nobody ever cried in my grandmother's stories. They worked, or schemed, or fought. But no crying. When my grandmother died, I didn't cry, either. Something about my grandmother's stories (without her ever having said so) taught me the uselessness of crying about anything."
The First Book: Go ahead, it won't bite. Well... maybe a little. More a nip, like. A tingle. It's pleasurable, really. You see, it keeps on opening. You may fall in. Sure, it's hard to get started; remember learning to use knife and fork? Dig in: you'll never reach bottom. It's not like it's the end of the world -- just the world as you think you know it.
When anyone seriously pursues an art - painting, poetry, sculpture, composing - over twenty or thirty years, the sustained discipline carries the artist down to the countryside of grief, and that descent, resisted so long proves invigorating. . . . As I've gotten older, I find I am able to be nourished more by sorrow and to distinguish it from depression.
I am amazed at the seeker of purity When time for polishing comes Complaints of harsh treatment Love is a lawsuit Without evidence, you will not win My son, when one beats the rug The beating is not intended against the rug But against the dust inside the rug My son, that harsh treatment Is not intended against you But against the ill qualities inside you
My ethics, my sense of morality, my work ethic, my sense of compassion for suffering humanity, all of that comes directly out of the practice of poetry, as does my Buddhist practice. Poetry is a very important element in the history of Buddhism in general and in Zen in particular. It was really Zen that motivated me to change the way I perceive the world.
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Across the land a faint blue veil of mist Seems hung; the woods wear yet arrayment sober Till frost shall make them flame; silent and whist The drooping cherry orchards of October Like mournful pennons hang their shriveling leaves Russet and orange: all things now decay; Long since ye garnered in your autumn sheaves, And sad the robins pipe at set of day.
These wickets of the soul are plac'd so high, Because all sounds do highly move aloft; And that they may not pierce too violently, They are delay'd with turns and twinings oft. For should the voice directly strike the brain, It would astonish and confuse it much; Therefore these plaits and folds the sound restrain. That it the organ may more gently touch.
One day God felt he ought to give his workshop a spring clean... It was amazing what ragged bits and pieces came from under his workbench as he swept. Beginnings of creatures, bits that looked useful but had seemed wrong, ideas he'd mislaid and forgotten... There was even a tiny lump of sun. He scratched his head. What could be done with all this rubbish?
Humanity is our common lot. All men are made of the same clay. There is no difference, at least here on Earth, in the fate assigned to us. We come of the same void, inhabit the same flesh, are dissolved in the same ashes. But ignorance infecting the human substance turns it black, and that incurable blackness, gaining possession of the soul, becomes Evil.
To me, every hour of the light and dark is a miracle, every inch of space is a miracle, every square yard of the surface of the earth is spread with the same, every cubic foot of the interior swarms with the same; every spear of grass-the frames, limbs, organs, of men and women, and all that concerns them, all these to me are unspeakably perfect miracles.
The clouds that gather round the setting sun do take a sober colouring from an eye that hath kept watch o'er man's mortality; another race hath been, and other palms are won. Thanks to the human heart by which we live, thanks to its tenderness, its joys, and fears, to me the meanest flower that blows can give thoughts that do often lie too deep for tears.
To be a textual critic requires aptitude for thinking and willingness to think; and though it also requires other things, those things are supplements and cannot be substitutes. Knowledge is good, method is good, but one thing beyond all others is necessary; and that is to have a head, not a pumpkin, on your shoulders and brains, not pudding, in your head.
I've never thought of my poems as violent. Violence, to me, has so much negativity attached to it - maybe that's my trouble with the word. But ferocious - indeed, I'll take it. And yes, poetry does need a bit of ferocity. Poetry needs to be alive, unabashedly, and, for me, that entails seeing its complexity - the grit and grimness and jubilance and beauty.
[William Butler] Yeats has the phrase Hodos Chameliontos, chameleon-like, in that you don't know where the beginning or the middle or the end is, so it's an unrelieved hallucination, because you don't know where you're coming in and you don't know where you're going out. It ends, you're going into the hallucination, or maybe coming out of it, I don't know.
There's that older poem of John Ashbery's-"America"-with the pun "I'm a wrecker," so wreckage and building out of the ashes of that. We're haunted by the genocide that is America, the decimation of so many native cultures. As a mix-blood European ancestry American, you're a nexus of all those violences, and yet there's a relative personal identity as well.
I was drawn to all the wrong things: I liked to drink, I was lazy, I didn't have a god, politics, ideas, ideals. I was settled into nothingness; a kind of non-being, and I accepted it. I didn't make for an interesting person. I didn't want to be interesting, it was too hard. What I really wanted was only a soft, hazy space to live in, and to be left alone.
The first of our senses which we should take care never to let rust through disuse is that sixth sense, the imagination. I mean the wide-open eye which leads us to see truth more vividly, to apprehend more broadly, to concern ourselves more deeply, to be, all our life long, sensitive and awake to the powers and responsibilities given to us as human beings.
let it go -- the smashed word broken open vow or the oath cracked length wise -- let it go it was sworn to go let them go -- the truthful liars and the false fair friends and the boths and neithers -- you must let them go they were born to go let all go -- the big small middling tall bigger really the biggest and all things -- let all go dear so comes love
When I taught at the University of Houston in the Creative Writing program we required the poets to take workshops in fiction writing and we required the fiction writers to take workshops in poetry. And the reason for that is because the fiction writers seemed to need to learn how to pay greater attention to language itself, to the way that language works.
Be not too slow in the breaking of a sinful custom; a quick, courageous resolution is better than a gradual deliberation; in such a combat he is the bravest soldier that lays about him without fear or wit. Wit pleads, fear disheartens; he that would kill Hydra had better strike off one neck than five heads: fell the tree, and the branches are soon cut off.
Men famed for wit, of dangerous talents vain, Treat those of common parts with proud disdain; The powers that wisdom would, improving, hide, They blaze abroad, with inconsid'rate pride; While yet but mere probationers for fame, They seize the honor they should then disclaim: Honor so hurried to the light must fade, The lasting laurels nourish in the shade.
Have you also learned that secret from the river; that there is no such thing as time?" That the river is everywhere at the same time, at the source and at the mouth, at the waterfall, at the ferry, at the current, in the ocean and in the mountains, everywhere and that the present only exists for it, not the shadow of the past nor the shadow of the future.
The very essence of truth is plainness and brightness; the darkness and crookedness is our own. The wisdom of God created understanding, fit and proportionable to truth, the object and end of it, as the eye to the thing visible. If our understanding have a film of ignorance over it, or be blear with gazing on other false glitterings, what is that to truth?
That deepest thing, that recognition, that knowledge, that sense of kinship began the first time I saw you,and it is the same now - only a thousand times deeper and tenderer. I shall love you to eternity. I loved you long before we met in this flesh. I knew that when I first saw you. It was destiny. We are together like this and nothing can shake us apart.
Harriet Levin [is] a shining poet in her generation.... The dynamics of her language and her vigorous voice distinguish all her poems. Levin's fearless willingness to tackle any subject combines with her subtle intelligence to produce a rare reading experience, the moving, psychologically sophisticated and intriguing work of a poet with both guts and craft
I had looked forward to old age as a time of quietness, a time to draw my horizons about me, to watch memories ripening in the sunlight of a walled garden. But there is the void over my head and the distance within that the tireless signals come from. And astronaut on impossible journeys to the far side of the self I return with messages I cannot decipher.
I humbly thank the gods benign, For all the blessings that are mine... The morning drips her dew for me, Noon spreads an opal canopy. Home-bound, the drifting cloud-crafts rest Where sunset ambers all the west; Soft o'er the poppy-fields of sleep, The drowsy winds of dreamland creep. What idle things are wealth and fame Beside the treasures one could name!
Nature is a wary wily long-breathed old Witch, tough-lived as a Turtle and divisible as the Polyp, repullulative in a thousand Snips and Cuttings, integra et in toto! She is sure to get the better of Lady MIND in the long run, and to take her revenge too transforms our To Day into a Canvass dead-colored to receive the dull featureless Portait of Yesterday.
I lay and cried, and began to feel again, to admit I was human, vulnerable, sensitive. I began to remember how it had been before; how there was that germ of positive creativeness. Character is fate; and damn, I'd better work on my character. I had been withdrawing into a retreat of numbness: it is so much safer to NOT feel, NOT to let the world touch one.
Do you know what friendship is?' he asked. 'Yes,' replied the gypsy; 'it is to be brother and sister; two souls which touch without mingling, two fingers on one hand.' 'And love?' pursued Gringoire. 'Oh! love!' said she, and her voice trembled, and her eye beamed. 'That is to be two and to be but one. A man and a woman mingled into one angel. It is heaven.
Oh, Constellations of the early night That sparkled brighter as the twilight died, And made the darkness glorious! I have seen Your rays grow dim upon the horizon's edge And sink behind the mountains. I have seen The great Orion, with his jewelled belt, That large-limbed warrior of the skies, go down Into the gloom. Beside him sank a crowd Of shining ones.
Alas! if my best Friend, who laid down His life for me, were to remember all the instances in which I have neglected Him, and to plead them against me in judgment, where should I hide my guilty head in the day of recompense? I will pray, therefore, for blessings on my friends, even though they cease to be so, and upon my enemies, though they continue such.
Because I love narrative but am more lyrically inclined, I've learned that if I freight titles with narrative information (the who, what, when, where, why of the poem), I can get to my main interest, which is the language, and where it wants to take me. If I can establish the poem's occasion in the title, then so much the better for my freedom to associate.
I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.
A giant as we hoped, in truth, a dwarf; A barrel of slop that shines on Lethe's wharf', Which at first seemed a vessel with sweet wine For thirsty lips. So down the swift decline You went through sloven spirit, craven heart And cynic indolence. And here the art Of molding clay has caught you for the nonce And made your shame our shame ~ Your head in bronze!
I sing your restless longing for the statue, your fear of the feelings that await you in the street. I sing the small sea siren who sings to you, riding her bicycle of corals and conches. But above all I sing a common thought that joins us in the dark and golden hours. The light that blinds our eyes is not art. Rather it is love, friendship, crossed swords.
The reason for you complaint lies, it seems to me, in the constraint which your intellect imposes upon your imagination. Here I will make an observation, and illustrate it by an allegory. Apparently, it is not good-and indeed it hinders the creative work of the mind-if the if the intellect examines too closely the ideas pouring in, as it were, at the gates.
In the belly of the furnace of creativity is a sexual fire; the flames twine about each other in fear and delight. The same sort of coiling, at a cooler, slower pace, is what the life of this planet looks like. The enormous spirals of typhoons, the twists and turns of mountain ranges and gorges, the waves and the deep ocean currents - a dragonlike writhing.
As for me, I delight in the every day Way Among mist-wrapped vines and rocky caves Here in the wilderness I am completely free With my friends, the white clouds, idling forever There are roads, but they do not reach the world Since I am mindless, who can rouse my thoughts On a bed of stone I sit, alone in the night While a round moon climbs up Cold Mountain
I have a most peaceable disposition. My desires are for a modest hut, a thatched roof, but a good bed, good food, very fresh milk and butter, flowers in front of my window and a few pretty trees by my door. And should the good Lord wish to make me really happy, he will allow me the pleasure of seeing about six or seven of my enemies hanged upon those trees.
So you couldn't protect yourself? The absolute erodes; the boundary, the wall around the self erodes. If I was waiting I had been invaded by time. But do you think you're free? I think I recognize the patterns of my nature. Bud do you think you're free? I had nothing and I was still changed. Like a costume, my numbness was taken away. Then hunger was added.
This singularity of meaning--I was my face, I was ugliness--though sometimes unbearable, also offered a possible point of escape. It became the launching pad from which to lift off, the one immediately recognizable place to point to when asked what was wrong with my life. Everything led to it, everything receded from it--my face as personal vanishing point.
It's a critical fallacy of our times ... that a writer should 'grow,' 'change,' or 'develop.' This fallacy causes us to expect from children or radishes: 'grow,' or there's something wrong with you. But writers are not radishes. If you look at what most writers actually do, it resembles a theme with variations more than it does the popular notion of growth.
When it's over, I want to say: all my life I was a bride married to amazement. I was the bridegroom, taking the world into my arms. When it is over, I don't want to wonder if I have made of my life something particular, and real. I don't want to find myself sighing and frightened, or full of argument. I don't want to end up simply having visited this world.
LITTLE DOGS RHAPSODY IN THE NIGHT (PERCY THREE) He puts his cheek against mine and makes small, expressive sounds. And when I'm awake, or awake enough he turns upside down, his four paws in the air and his eyes dark and fervent. Tell me you love me, he says. Tell me again. Could there be a sweeter arrangement? Over and over he gets to ask it. I get to tell.