Quotes of All Topics . Occasions . Authors
God, but life is loneliness, despite all the opiates, despite the shrill tinsel gaiety of "parties" with no purpose, despite the false grinning faces we all wear. And when at last you find someone to whom you feel you can pour out your soul, you stop in shock at the words you utter - they are so rusty, so ugly, so meaningless and feeble from being kept in the small cramped dark inside you so long. Yes, there is joy, fulfillment and companionship - but the loneliness of the soul in its appalling self-consciousness is horrible and overpowering.
Wide open and unguarded stand our gates, and through them presses a wild motley throng, men from the Volga and the Tartar steppes, featureless figures of the Hoang-Ho, Malayan, Scythian, Teuton, Kelt, and Slav. Flying the Old World's poverty and scorn, these bringing with them unknown gods and rites, Ttose, tiger passions, here to stretch their claws in street and alley. What strange tongues are loud accents of menace alien to our air, voices that once the Tower of Babel knew! O Liberty, white Goddess! Is it well to leave the gates unguarded?
They stood brow to brow, brown to white, black to black, he supporting her elbows, she playing her limp light fingers over his collarbone, and how he "ladored,"he said, the dark aroma of her hair blending with crushed lily stalks, Turkish cigarettes and the lassitude that comes from "lass." "No, no, don't," she said, I must wash, quick-quick, Ada must wash; but for yet another immortal moment they stood embraced in the hushed avenue, enjoying as they had never enjoyed before, the "happy-forever" feeling at the end of never-ending fairy tales.
His brow is seamed with line and scar; His cheek is red and dark as wine; The fires as of a Northern star Beneath his cap of sable shine. His right hand, bared of leathern glove, Hangs open like an iron gin, You stoop to see his pulses move, To hear the blood sweep out and in. He looks some king, so solitary In earnest thought he seems to stand, As if across a lonely sea He gazed impatient of the land. Out of the noisy centuries The foolish and the fearful fade; Yet burn unquenched these warrior eyes, Time hath not dimmed, nor death dismayed.
The greatest successes grow out of great failures. In numerous instances the result is better that comes after a series of abortive experiences than it would have been if it had come at once; for all these successive failures induce a skill which is so much additional power working into the final achievement.... The hand that evokes such perfect music from the instrument has often failed in its touch, and bungled among the keys.... Every disappointed effort fences in and indicates the only possible path of success, and makes it easier to find.
I culled poetry from odors, sounds, faces, and ordinary events occurring around me. Breezes bulged me as if I were cloth; sounds nicked their marks on my nerves; objects made impressions on my sight as if in clay. There, in the soft language, life centered and ground itself in me and I was flowing with the grain of the universe. Language placed my life experiences in a new context, freeing me for the moment to become with air as air, with clouds as clouds, from which new associations arose to engage me in present life in a more purposeful way.
When you work you fulfill a part of earth's furthest dream, assigned to you when that dream was born, And what is it to work with love? It is to weave the cloth with threads drawn from your heart, even as if your beloved were to wear that cloth. It is to build a house with affection, even as if your beloved were to dwell in that house. It is to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to eat the fruit. It is to charge all things you fashion with a breath of your own spirit. Work is love made visible
The first cup moistens my lips and throat; The second cup breaks my loneliness; The third cup searches my barren entrail but to find therein some thousand volumes of odd ideographs; The fourth cup raises a slight perspiration-all the wrongs of life pass out through my pores; At the fifth cup I am purified; The sixth cup calls me to the realms of the immortals. The seventh cup-ah, but I could take no more! I only feel the breath of the cool wind that raises in my sleeves. Where is Elysium? Let me ride on this sweet breeze and waft away thither.
When I speak in Christian terms or Buddhist terms I'm simply selecting for the moment a dialect. Christian words for me represent the comforting vocabulary of the place I came from hometown voices saying more than the language itself can convey about how welcome and safe I am what the expectations are and where to find food. Buddhist words come from another dialect from the people over the mountain. I've become pretty fluent in Buddhist it helps me to see my home country differently but it will never be speech I can feel completely at home in.
I'm not the only kid who grew up this way, surrounded by people who used to say that rhyme about sticks and stones, as if broken bones hurt more than the names we got called, and we got called them all. So we grew up believing no one would ever fall in love with us, that we'd be lonely forever, that we'd never meet someone to make us feel like the sun was something they built for us in their toolshed. So broken heartstrings bled the blues, and we tried to empty ourselves so we'd feel nothing. Don't tell me that hurts less than a broken bone...
I am someone who proudly and humbly affirms that love is the mystery-of-mysteries, and that nothing measurable matters 'a very good God damn'; that 'an artist, a man, a failure' is no mere whenfully accreting mechanism, but a givingly eternal complexity-neither some soulless and heartless ultrapredatory infra-animal nor any understandingly knowing and believing and thinking automaton, but a naturally and miraculously whole human being-a feelingly illimitable individual; whose only happiness is to transcend himself, whose every agony is to grow.
There is a beautiful spirit breathing now Its mellowed richness on the clustered trees, And, from a beaker full of richest dyes, Pouring new glory on the autumn woods, And dipping in warm light the pillared clouds. Morn on the mountain, like a summer bird, Lifts up her purple wing, and in the vales The gentle wind, a sweet and passionate wooer, Kisses the blushing leaf, and stirs up life Within the solemn woods of ash deep-crimsoned, And silver beech, and maple yellow-leaved, Where Autumn, like a faint old man, sits down By the wayside a-weary.
[Rhyme is] but the invention of a barbarous age, to set off wretched matter and lame Meter; ... Not without cause therefore some both Italian and Spanish poets of prime note have rejected rhyme, ... as have also long since our best English tragedies, as... trivial and of no true musical delight; which [truly] consists only in apt numbers, fit quantity of syllables, and the sense variously drawn out from one verse into another, not in the jingling sound of like endings, a fault avoided by the learned ancients both in poetry and all good oratory.
Imagine discovering a continent so vast that it may have no end to its dimensions. Imagine a new world with more resources than all our future greed might exhaust, more opportunities than there will ever be entrepreneurs enough to exploit, and a peculiar kind of real estate that expands with development. Imagine a place where trespassers leave no footprints, where goods can be stolen infinite number of times and yet remain in the possession of their original owners, where business you never heard of can own the history of your personal affairs.
Only those who truly love and who are truly strong can sustain their lives as a dream. You dwell in your own enchantment. Life throws stones at you, but your love and your dream change those stones into the flowers of discovery. Even if you lose, or are defeated by things, your triumph will always be exemplary. And if no one knows it, then there are places that do. People like you enrich the dreams of the worlds, and it is dreams that create history. People like you are unknowing transformers of things, protected by your own fairy-tale, by love.
In Advance of All Parting is a tough, unsentimental examination of marital grief. Musically elegant and inventive, understated and passionate, the poems give us a profound glimpse into how the events of a life can form a center of gravity that fixes the self in its force field. Theres a cold, truth-telling clarity about them that makes them as unsettling as they are beautiful. Ansie Baird has created a richly-drawn world in which this elemental drama plays out, and the result is vivid, startling poems in which pain has left its indelible tracks.
Remember me when I am gone away, Gone far away into the silent land; When you can no more hold me by the hand, Nor I half turn to go yet turning stay. Remember me when no more day by day You tell me of our future that you planned: Only remember me; you understand It will be late to counsel then or pray. Yet if you should forget me for a while And afterward remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad.
The poems in Katherine Soniat's new collection, The Swing Girl, weave emotion's 'spray going farther than thought' with the 'bedrock things' of the trod-upon world. These poems eddy and pool in unpredictable and often surprising ways, much as the mind moves in its twilight state between waking and sleep. The fluidity of their cadence and the luminosity of their imagery carry the reader to the wellspring of poetry itself, that deep delight of which Robert Penn Warren spoke, whose source is, in Soniat's words, 'beauty on its way to being mystery.'
Your children are not your children. They are the sons and daughters of Life's longing for itself. They come through you but not from you, and though they are with you, yet they belong not to you. You may give them your love, but not your thoughts. For they have their own thoughts. You may house their bodies but not their souls, for their souls dwell in the house of tomorrow, which you cannot visit, not even in your dreams. You may strive to be like them, but seek not to make them like you. For life goes not backward, nor tarries with yesterday.
Rise and put on your foliage, and be seen To come forth, like the spring-time, fresh and green, And sweet as Flora. Take no care For jewels for your gown or hair Fear not; the leaves will strew Gems in abundance upon you Besides, the childhood of the day has kept, Against you come, some orient pearls unwept. Come, and receive them while the light Hangs on the dew-locks of the night And Titan on the eastern hill Retires himself, or else stands still Till you come forth! Wash, dress, be brief in praying Few beads are best when once we go a-Maying.
[T]hro this Air, this Ocean, and this Earth, All Nature quick, and bursting into birth. Above, how high progressive life may go? Around how wide? how deep extend below? Vast Chain of Being! which from God began, Ethereal Essence, Spirit, Substance, Man, Beast, Bird, Fish, Insect! what no Eye can see, No Glass can reach! from Infinite to Thee! From Thee to Nothing.... From Natures Chain whatever Link you strike, Tenth, or ten thousandth, breaks the chain alike.... All are but parts of one stupendous Whole: Whose Body Nature is, and God the Soul.
Theologians and philosophers, who make God the creator of Nature and the architect of the Universe, reveal Him to us as an illogical and unbalanced Being. They declare He is benevolent because they are afraid of Him, but they are forced to admit the truth that His ways are vicious and beyond understanding. They attribute a malignity to Him seldom to be found in any human being. And that is how they get human beings to worship Him. For our miserable species would never lavish worship on a just and benevolent God from whom they had nothing to fear.
Here in the United States, we speak with reverence of authentic experience. We write poems about our daddies taking us fishing and breaking our hearts by making us throw the little fish back into the river. We even tell the reader the kind of car we were driving, the year and the model, to give the impression that it’s all true. It’s because we think of ourselves as journalists of a kind. Like them, we’ll go anywhere for a story. Don’t believe a word of it. As any poet can tell you, one often sees better with eyes closed than with eyes wide open.
People do make considered choices about whether they want to fight, and how, and they do so from disparate circumstances. But I think there are two important frameworks in which those choices get made. One, their degree of immiseration. The greatest predictor of who will engage in criminal activity is poverty, which tells us that the decisions people make about how unlawful they're willing to be are decisively based in their own experience of immiseration. The second framework is that when people choose to act, they inevitably act where they are.
When that devil's bullet lodged itself inside the body of Martin Luther King, he had already begun an astonishing mobilization of poor, Black, white, latino Americans who had nothing to lose. They would challenge our government to eliminate exploitative, merciless, and war-mongering policies, nationwide, or else "tie up the country" through "means of civil disobedience." Dr. King intended to organize those legions into "coercive direct actions" that would make of Babylon a dysfunctional behemoth begging for relief. Is it any wonder he was killed?
Tom Dancer’s gift of a whitebark pine cone You never know What opportunity Is going to travel to you, Or through you. Once a friend gave me A small pine cone- One of a few He found in the scat Of a grizzly In Utah maybe, Or Wyoming. I took it home And did what I supposed He was sure I would do- I ate it, Thinking How it had traveled Through that rough And holy body. It was crisp and sweet. It was almost a prayer Without words. My gratitude, Tom Dancer, For this gift of the world I adore so much And want to belong to. And thank you too, great bear
But the thing that stands eternally in the way of really good writing is always one: the virtual impossibility of lifting to the imagination those things which lie under the direct scrutiny of the senses, close to the nose. It is this difficulty that sets a value upon all works of art and makes them a necessity. The senses witnessing what is immediately before them in detail see a finality which they cling to in despair, not knowing which way to turn. Thus this so-called natural or scientific array becomes fixed, the walking devil of modern life.
What hope is there for individual reality or authenticity when the forces of violence and orthodoxy, the earthly powers of guns and bombs and manipulated public opinion make it impossible for us to be authentic and fulfilled human beings? The only hope is in the creation of alternative values, alternative realities. The only hope is in daring to redream one's place in the world - a beautiful act of imagination, and a sustained act of self becoming. Which is to say that in some way or another we breach and confound the accepted frontiers of things.
All of a sudden I understand why I like Aliki Barnstones poems so much. They remind me of the one she has studied most - shall we call her her master - Emily Dickinson. Not in the forms, not, as such, in the music, and not in the references; but in that weird intimacy, that eerie closeness, that absolute confession of soul.... In Barnstone, too, the two worlds are intensely present, and the voice moves back and forth between them. She has the rare art of distance and closeness. It gives her her fine music, her wisdom, her form. She is a fine poet.
Have I then no work to work in this great matter of my pardon? None. What work canst thou work? What work of thine can buy forgiveness or make thee fit for the Divine favour? What work has God bidden thee work in order to obtain salvation? None. His Word is very plain and easy to be understood, "To him that worketh not, but believeth in Him that justifieth the ungodly, his faith is counted for righteousness" (Rom. 4:5). There is but one work by which a man can be saved. That work is not thine, but the work of the Son of God. That work is finished.
O loss of sight, of thee I most complain! Blind among enemies, O worse than chains, dungeon or beggary, or decrepit age! Light, the prime work of God, to me is extinct, and all her various objects of delight annulled, which might in part my grief have eased. Inferior to the vilest now become of man or worm; the vilest here excel me, they creep, yet see; I, dark in light, exposed to daily fraud, contempt, abuse and wrong, within doors, or without, still as a fool, in power of others, never in my own; scarce half I seem to live, dead more than half.
Look, words are like the air: they belong to everybody. Words are not the problem; it's the tone, the context, where those words are aimed, and in whose company they are uttered. Of course murderers and victims use the same words, but I never read the words utopia, or beauty, or tenderness in police descriptions. Do you know that the Argentinean dictatorship burnt The Little Prince ? And I think they were right to do so, not because I do not love The Little Prince , but because the book is so full of tenderness that it would harm any dictatorship.
My loving friend, you see, my life was never given a foundation, no one was able to imagine what it would want to become. In Venice there stands the so-called Ca del Duca, a princely foundation, on which later the most wretched tenement came to be built. With me it's the opposite: the beautiful arched elevations of my spirit rest on the most tentative beginning; a wooden scaffolding, a few boards....Is that why I feel inhibited in raising the nave, the tower to which the weight of the great bells is to be hoisted (by angels, who else could do it)?
For West is where we all plan to go some day. It is where you go when the land gives out and the old-field pines encroach. It is where you go when you get the letter saying: Flee, all is discovered. It is where you go when you look down at the blade in your hand and the blood on it. It is where you go when you are told that you are a bubble on the tide of empire. It is where you go when you hear that thar's gold in them-thar hills. It is where you go to grow up with the country. It is where you go to spend your old age. Or it is just where you go.
The blacks of this region are a cheerful, careless, dirty, race, not hard worked, and in many respects indulgently treated. It is of course the desire of the master that his slaves shall be laborious; on the other hand it is the determination of the slave to lead as easy a life as he can. The master has the power of punishment on his side; the slave, on his, has invincible inclination, and a thousand expedients learned by long practice... Good natured though imperfect and slovenly obedience on one side, is purchased by good treatment on the other.
What is a Poet? He is a man speaking to men: a man, it is true, endued with more lively sensibility, more enthusiasm and tenderness, who has a greater knowledge of human nature, and a more comprehensive soul, than are supposed to be common among mankind; a man pleased with his own passions and volitions, and who rejoices more than other men in the spirit of life that is in him; delighting to contemplate similar volitions and passions as manifested in the goings-on of the universe, and habitually impelled to create them where he does not find them.
A little rain, a little blood. Black fingernails in August; and going berserk, going bananas. As if entrapped in a tropical heatwave, with dozens of whirlwinds swirling in one’s mind, one thinks of a way out, or a way in: out of the scorching bosom of a volcano, and in – into the centre of a raging hurricane. And tracing the labyrinthine ways of your mind, the haphazard vagaries of your thoughts at ease, the odds and ends of your mental surplus you carelessly throw at the world, one wants to be at a loss, in a maze; amazed, and amazingly unabashed.
The maiden Olympics had more to protest about than mere war, though. Central to its ethos was a rejection of two establishments the political one, certainly, but also that of the wider poetry world itself. It changed poetry for ever in the UK, ... It led to readings all over the country. You suddenly got more women reading and publishing poems, as well as gay guys and poets from all over the world. Until that time, published poetry had been very university-based white, male, middle-class. We were trying to break poetry out of its academic confines.
Across the curve of the earth, there are women getting up before dawn, in the blackness before the point of light, in the twilight before sunrise; there are women rising earlier than men and children to break the ice, to start the stove, to put up the pap, the coffee, the rice, to iron the pants, to braid the hair, to pull the day's water up from the well, to boil water for tea, to wash the children for school, to pull the vegetables and start the walk to market, to run to catch the bus for the work that is paid. I don't know when most women sleep.
I could see the road ahead of me. I was poor and I was going to stay poor. But I didn't particularly want money. I didn't know what I wanted. Yes, I did. I wanted someplace to hide out, someplace where one didn't have to do anything. The thought of being something didn't only appall me, it sickened me . . . To do things, to be part of family picnics, Christmas, the 4th of July, Labor Day, Mother's Day . . . was a man born just to endure those things and then die? I would rather be a dishwasher, return alone to a tiny room and drink myself to sleep.
The physical domain of the country had its counterpart in me. The trails I made led outward into the hills and swamps, but they led inward also. And from the study of things underfoot, and from reading and thinking, came a kind of exploration, myself and the land. In time the two became one in my mind. With the gathering force of an essential thing realizing itself out of early ground, I faced in myself a passionate and tenacious longing--- to put away thought forever, and all the trouble it brings, all but the nearest desire, direct and searching.
Tempests, and bright lightnings, are to be sung; their nature is to be told, and from what cause they pursue their course; lest, having foolishly divided the heaven into parts, you should be anxious as to the quarter from which the flying flame may come, or to what region it may betake itself; and tremble to think how it penetrates through walled enclosures, and how, having exercised its power, it extricates itself from them. Of which phenomena the multitude can by no means see the causes, and think that they are accomplished by supernatural power.
An oak tree and a rosebush grew, Young and green together, Talking the talk of growing things- Wind and water and weather. And while the rosebush sweetly bloomed The oak tree grew so high That now it spoke of newer things- Eagles, mountain peaks and sky. "I guess you think you're pretty great," The rose was heard to cry, Screaming as loud as it possibly could To the treetop in the sky. "And now you have no time for flower talk, Now that you've grown so tall." "It's not so much that I've grown," said the tree, "It's just that you've stayed so small.
When I was a young girl salmon fishing with my father in the Straits of Juan de Fuca in Washington State I used to lean out over the water and try to look past my own face, past the reflection of the boat, past the sun and darkness, down to where the fish were surely swimming. I made up charm songs and word-hopes to tempt the fish, to cause them to mean biting my hook. I believed they would do it if I asked them well and patiently and with the right hope. I am writing my poems like this. I have used the fabric and the people of my life as the bait.
In my craft or sullen art Exercised in the still night When only the moon rages And the lovers lie abed With all their griefs in their arms, I labour by singing light Not for ambition or bread Or the strut and trade of charms On the ivory stages But for the common wages Of their most secret heart. Not for the proud man apart From the raging moon I write On these spindrift pages Nor for the towering dead With their nightingales and psalms But for the lovers, their arms Round the griefs of the ages, Who pay no praise or wages Nor heed my craft or art.
I was too tired to think. I merely felt the town as a unique unreality. What was it? I knew -- the moon's picture of a town. These streets with their houses did not exist, they were but a ludicrous projection of the moon's sumptuous personality. This was a city of Pretend, created by the hypnotism of moonnight. -- Yet when I examined the moon she too seemed but a painting of a moon and the sky in which she lived a fragile echo of color. If I blew hard the whole shy mechanism would collapse gently with a neat soundless crash. I must not, or lose all.
And I, who timidly hate life, fear death with fascination. I fear this nothingness that could be something else, and I fear it as nothing and as something else simultaneously, as if gross horror and non-existence could coincide there, as if my coffin could entrap the eternal breathing of a bodily soul, as if immortality could be tormented by confinement. The idea of hell, which only a satanic soul could have invented seems to me to have derived from this sort of confusion - a mixture of two different fears that contradict and contaminate each other.
Better to me the poor mans crust, Better the blessing of the poor, Though I turn me empty from his door; That is no true alms which the hand can hold; He gives nothing but worthless gold Who gives from a sense of duty; But he who gives a slender mite, And gives to that which is out of sight, That thread of the all-sustaining Beauty Which runs through all and doth all unite, - The hand cannot clasp the whole of his alms, The heart outstretches its eager palms, For a god goes with it and makes it store To the soul that was starving in darkness before.
You and I By Henry Alford My hand is lonely for your clasping, dear; My ear is tired waiting for your call. I want your strength to help, your laugh to cheer; Heart, soul and senses need you, one and all. I droop without your full, frank sympathy; We ought to be together—you and I; We want each other so, to comprehend The dream, the hope, things planned, or seen, or wrought. Companion, comforter and guide and friend, As much as love asks love, does thought ask thought. Life is so short, so fast the lone hours fly, We ought to be together, you and I.
I have always known that there were spellbinding evil parts for women. For one thing, I was taken at an early age to see Snow White and the Seven Dwarfs. Never mind the Protestant work ethic of the dwarfs. Never mind the tedious housework-is-virtuous motif. Never mind the fact that Snow White is a vampire -- anyone who lies in a glass coffin without decaying and then comes to life again must be. The truth is that I was paralysed by the scene in which the evil queen drinks the magic potion and changes her shape. What power, what untold possibilities!