Quotes of All Topics . Occasions . Authors
Why is it we want so badly to memorialize ourselves? Even while we're still alive. We wish to assert our existence, like dogs peeing on fire hydrants. We put on display our framed photographs, our parchment diplomas, our silver-plated cups; we monogram our linen, we carve our names on trees, we scrawl them on washroom walls. It's all the same impulse. What do we hope from it? Applause, envy, respect? Or simply attention, of any kind we can get? At the very least we want a witness. We can't stand the idea of our own voices falling silent finally, like a radio running down.
Nothing can be sadder or more profound than to see a thousand things for the first and last time. To journey is to be born and die each minute...All the elements of life are in constant flight from us, with darkness and clarity intermingled, the vision and the eclipse; we look and hasten, reaching out our hands to clutch; every happening is a bend in the road...and suddenly we have grown old. We have a sense of shock and gathering darkness; ahead is a black doorway; the life that bore us is a flagging horse, and a veiled stranger is waiting in the shadows to unharness us.
The people in the world, and the objects in it, and the world as a whole, are not absolute things, but on the contrary, are the phenomena of perception... If we were all alike: if we were millions of people saying do, re, mi, in unison, One poet would be enough... But we are not alone, and everything needs expounding all the time because, as people live and die, each one perceiving life and death for himself, and mostly by and in himself, there develops a curiosity about the perceptions of others. This is what makes it possible to go on saying new things about old things.
As for me, I know nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach just in the edge of the water, Or stand under the trees in the woods, Or talk by day with any one I love, Or sleep in bed at night with any one I love, Or watch honey bees busy around the hive of a summer forenoon... Or the wonderfulness of the sundown, Or of stars shining so quiet and bright, Or the exquisite delicate thin curve of the new moon in spring... What stranger miracles are there?
Did you love well what very soon you left? Come home and take me in your arms and take away this stomach ache, headache, heartache. Never so full, I never was bereft so utterly. The winter evenings drift dark to the window. Not one work will make you, where you are, turn in your day, or wake from your night toward me. The only gift I got to keep or give is what I've cried, floodgates let down to mourning for the dead chances, for the end of being young, for everyone I loved who really died. I drank our one year out in brine instead of honey from the seasons of your tongue.
O how all things are far removed and long have passed away. I do believe the star, whose light my face reflects, is dead and has been so for many thousand years. I had a vision of a passing boat and heard some voices saying disquieting things. I heard a clock strike in some distant house... but in which house?... I long to quiet my anxious heart and stand beneath the sky's immensity. I long to pray... And one of all the stars must still exist. I do believe that I would know which one alone endured, and which like a white city stands at the ray's end shining in the heavens.
Nothing can be more depressing than to expose, naked to the light of thought, the hideous growth of argot. Indeed it is like a sort of repellent animal intended to dwell in darkness which has been dragged out of its cloaca. One seems to see a horned and living creature viciously struggling to be restored to the place where it belongs. One word is like a claw, another like a sightless and bleeding eye; and there are phrases which clutch like the pincers of a crab. And all of it is alive with the hideous vitality of things that have organized themselves amid disorganization.
But you go to a great school, not for knowledge so much as for arts and habits; for the habit of attention, for the art of expression, for the art of assuming at a moment's notice a new intellectual posture, for the art of entering quickly into another person's thoughts, for the habit of submitting to censure and refutation, for the art of indicating assent or dissent in graduated terms, for the habit of regarding minute points of accuracy, for the habit of working out what is possible in a given time, for taste, for discrimination, for mental courage and mental soberness.
Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O no! it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come: Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved.
In every Magical, or similar system, it is invariably the first condition which the Aspirant must fulfill: he must once and for all and for ever put his family outside his magical circle.Even the Gospels insist clearly and weightily on this.Christ himself (i.e. whoever is meant by this name in this passage) callously disowns his mother and his brethren (Luke VIII, 19). And he repeatedly makes discipleship contingent on the total renunciation of all family ties. He would not even allow a man to attend his father's funeral!Is the magical tradition less rigid?Not on your life!
Pull a string, a puppet moves ... each man must realize that it can all disappear very quickly: the cat, the woman, the job, the front tire, the bed, the walls, the room; all our necessities including love, rest on foundations of sand - and any given cause, no matter how unrelated: the death of a boy in Hong Kong or a blizzard in Omaha ... can serve as your undoing. all your chinaware crashing to the kitchen floor, your girl will enter and you'll be standing, drunk, in the center of it and she'll ask: my god, what's the matter? and you'll answer: I don't know, I don't know.
When a woman is frozen of feeling, when she can no longer feel herself, when her blood, her passion, no longer reach the extremities of her psyche, when she is desperate; then a fantasy life is far more pleasurable than anything else she can set her sights upon. Her little match lights, because they have no wood to burn, instead burn up the psyche as though it were a big dry log. The psyche begins to play tricks on itself; it lives now in the fantasy fire of all yearning fulfilled. This kind of fantasizing is like a lie: If you tell it often enough, you begin to believe it.
There's nothing that builds up a toil-weary soul Like a day on a stream, Back on the banks of the old fishing hole Where a fellow can dream. There's nothing so good for a man as to flee From the city and lie Full length in the shade of a whispering tree And gaze at the sky. . . . . It is good for the world that men hunger to go To the banks of a stream, And weary of sham and of pomp and of show They have somewhere to dream. For this life would be dreary and sordid and base Did they not now and then Seek refreshment and calm in God's wide, open space And come back to be men.
Euclid alone has looked on Beauty bare. Let all who prate of Beauty hold their peace, And lay them prone upon the earth and cease To ponder on themselves, the while they stare At nothing, intricately drawn nowhere In shapes of shifting lineage; let geese Gabble and hiss, but heroes seek release From dusty bondage into luminous air. O blinding hour, O holy, terrible day, When first the shaft into his vision shone Of light anatomized! Euclid alone Has looked on Beauty bare. Fortunate they Who, though once only and then but far away, Have heard her massive sandal set on stone.
Giving importance to what we think because we thought it, taking our own selves not only (to quote the Greek philosopher) as the measure of all things but as their norm or standard, we create in ourselves, if not an interpretation, at least a criticism of the universe, which we don't even know and therefore cannot criticize. The giddiest, most weak-minded of us then promote that criticism to an interpretation that's superimposed, like a hallucination; induced rather than deduced. It's a hallucination in the strict sense, being an illusion based on something only dimly seen.
The whole life of Christ was a continual Passion; others die martyrs but Christ was born a martyr. He found a Golgotha even in Bethlehem, where he was born; for to his tenderness then the straws were almost as sharp as the thorns after, and the manger as uneasy at first as his cross at last. His birth and his death were but one continual act, and his Christmas day and his Good Friday are but the evening and morning of one and the same day. And as even his birth is his death, so every action and passage that manifests Christ to us is his birth, for Epiphany is manifestation.
If someone like Karl Rove had wanted to neutralize the most creative, intelligent, and passionate members of his opposition, he'd have a hard time coming up with a better tool than Burning Man. Exile them to the wilderness, give them a culture in which alpha status requires months of focus and resource-consumptive preparation, provide them with metric tons of psychotropic confusicants, and then... ignore them. It's a pretty safe bet that they won't be out registering voters, or doing anything that might actually threaten electoral change, when they have an art car to build.
Whoso list to hunt, I know where is an hind, But as for me, hélas, I may no more. The vain travail hath wearied me so sore, I am of them that farthest cometh behind. Yet may I by no means my wearied mind Draw from the deer, but as she fleeth afore Fainting I follow. I leave off therefore, Sithens in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I may spend his time in vain. And graven with diamonds in letters plain There is written, her fair neck round about: Noli me tangere, for Caesar's I am, And wild for to hold, though I seem tame.
Note, to-day, an instructive, curious spectacle and conflict. Science, (twin, in its fields, of Democracy in its)—Science, testing absolutely all thoughts, all works, has already burst well upon the world—a sun, mounting, most illuminating, most glorious—surely never again to set. But against it, deeply entrench'd, holding possession, yet remains, (not only through the churches and schools, but by imaginative literature, and unregenerate poetry,) the fossil theology of the mythic-materialistic, superstitious, untaught and credulous, fable-loving, primitive ages of humanity.
in the nineteenth year and the eleventh month speak your tattered Kaddish for all suicides: Praise to life though it crumbled in like a tunnel on ones we knew and loved Praise to life though its windows blew shut on the breathing-room of ones we knew and loved Praise to life though ones we knew and loved loved it badly, too well, and not enough Praise to life though it tightened like a knot on the hearts of ones we thought we knew loved us Praise to life giving room and reason to ones we knew and loved who felt unpraisable. Praise to them, how they loved it, when they could.
Are God and Nature then at strife, That Nature lends such evil dreams? So careful of the type she seems, So careless of the single life; ... 'So careful of the type', but no. From scarped cliff and quarried stone She cries, 'A thousand types are gone: I care for nothing, all shall go' ... Man, her last work, who seemed so fair, Such splendid purpose in his eyes, Who rolled the psalm to wintry skies, Who built him fanes of fruitless prayer, Who trusted God was love indeed And love Creation's final law- Tho' Nature red in tooth and claw With ravine, shrieked against his creed.
..when a war ends, what does that look like exactly? do the cells in the body stop detonating themselves? does the orphanage stop screaming for its mother? when the sand in the desert has been melted down to glass and our reflection is not something we can stand to look at does the white flag make for a perfect blindfold? yesterday i was told a story about this little girl in Iraq, six-years-old, who cannot fall asleep because when she does she dreams of nothing but the day she watched her dog eat her neighbor's corpse. if you told her war is over do you think she can sleep?
In the older times it was seldom said to little girls, as it always has been said to boys, that they ought to have some definite plan, while they were children, what to be and do when they were grown up. There was usually but one path open before them, to become good wives and housekeepers. And the ambition of most girls was to follow their mothers' footsteps in this direction; a natural and laudable ambition. But girls, as well as boys, must often have been conscious of their own peculiar capabilities,--must have desired to cultivate and make use of their individual powers.
If you suddenly and unexpectedly feel joy, don't hesitate. Give in to it. There are plenty of lives and whole towns destroyed or about to be. We are not wise, and not very often kind. And much can never be redeemed. Still life has some possibility left. Perhaps this is its way of fighting back, that sometimes something happened better than all the riches or power in the world. It could be anything, but very likely you notice it in the instant when love begins. Anyway, that's often the case. Anyway, whatever it is, don't be afraid of its plenty. Joy is not made to be a crumb.
Not Christian or Jew or Muslim, not Hindu, Buddhist, sufi, or zen. Not any religion or cultural system. I am not from the East or the West, not out of the ocean or up from the ground, not natural or ethereal, not composed of elements at all. I do not exist, am not an entity in this world or the next, did not descend from Adam or Eve or any origin story. My place is placeless, a trace of the traceless. Neither body or soul. I belong to the beloved, have seen the two worlds as one and that one call to and know, first, last, outer, inner, only that breath breathing human being.
You have lost all delight in life. Ahead is a large array of blind alleys. You are half-deliberately, half-desperately cutting off your grip on creative life. You are becoming a neuter machine. You cannot love, even if you knew how to begin to love. Every thought is a devil, a hell-if you could do a lot of things over again, ah, how differently you would do them! You want to go home, back to the womb. You watch the world bang door after door in your face, numbly, bitterly. You have forgotten the secret you knew, once, ah, once, of being joyous, of laughing, of opening doors.
Trust me, I have not earned your dear rebuke, I love, as you would have me, God the most; Would lose not Him, but you, must one be lost, Nor with Lot's wife cast back a faithless look Unready to forego what I forsook; This say I, having counted up the cost, This, tho' I be the feeblest of God's host, The sorriest sheep Christ shepherds with His crook. Yet while I love my God the most, I deem That I can never love you overmuch; I love Him more, so let me love you too; Yea, as I apprehend it, love is such I cannot love you if I love not Him. I cannot love Him if I love not you.
Over the last few decades, I've grown more skeptical about a few things in which I used to have more faith. I believe as much in the necessity of, and the possibility of, revolution as I ever did. At the same time, I've grown more skeptical about poetry's role in it or art's contribution to it, and I've grown more skeptical about the university. Universities are big companies, and they're disciplinary in the way that any big institution is. I've found that the political militancy that the professoriate has mostly been fairly repressive of what I take to be necessary politics.
Even in the tragedies, Shakespeare always put in parts for the comic actors because his audience was mixed. He puts in people who talk like aristocrats. He puts in idiots and fools. He puts in certain middle-range characters. And when you go to the Globe, you realize how that all works. The people who paid more sat in seats around the edge. Everybody else paid a penny. They put it into a tin box - that's why we call it the "box office." They stood in the pit, but they were very close, so when Hamlet was doing his soliloquy, it was addressed to you, the audience - right there.
We must feel toward our people as a father toward his children; yea, the most tender love of a mother must not surpass ours. We must even travail in birth, till Christ be formed in them. They should see that we care for no outward thing, neither liberty, nor honor, nor life, in comparison to their salvation... When the people see that you truly love them, they will hear anything from you...Oh therefore, see that you feel a tender love for your people in your hearts, and let them perceive it in your speech and conduct. Let them see that you spend and are spent for their sakes.
The ear participates, and helps arrange marriages; the eye has already made love with what it sees. The eye knows pleasure, delights in the body's shape: the ear hears words that talk about all this. When hearing takes place, character areas change; but when you see, inner areas change. If all you know about fire is what you have heard see if the fire will agree to cook you! Certain energies come only when you burn. If you long for belief, sit down in the fire! When the ear receives subtly; it turns into an eye. But if words do not reach the ear in the chest, nothing happens.
So far as I am concerned, poetry and every other art was and is and forever will be strictly and distinctly a question of individuality... If poetry is your goal, you've got to forget all about punishments and all about rewards and all about self-styled obligations and duties and responsibilities etcetera ad infinitum and remember one thing only: that it's you - nobody else - who determine your destiny and decide your fate. Nobody else can be alive for you; nor can you be alive for anybody else... There's the artist's responsibility; and the most awful responsibility on earth.
Marriage is the lightning rod that absorbs anxiety and stress from all other sources, past and present. When marriage has a firm foundation of solid friendship and mutual respect, it can tolerate a fair amount of raw emotion. A good fight can clear the air, and it's nice to know we can survive conflict and even learn from it. Many couples, however, get trapped in endless rounds of fighting and blaming that they don't know how to get out of. When fights go unchecked and unrepaired, they can eventually erode love and respect, which are the bedrock of any successful relationship.
Only yesterday I was no different than them, yet I was saved. I am explaining to you the way of life of a people who say every sort of wicked thing about me because I sacrificed their friendship to gain my own soul. I left the dark paths of their duplicity and turned my eyes toward the light where there is salvation, truth, and justice. They have exiled me now from their society, yet I am content. Mankind only exiles the one whose large spirit rebels against injustice and tyranny. He who does not prefer exile to servility is not free in the true and necessary sense of freedom.
When death comes…. I want to step through the door full of curiosity, wondering: what it’s going to be like, that cottage of darkness? And therefore I look upon everything as a brotherhood and a sisterhood, and I look upon time as no more than an idea, and I consider eternity as another possibility, and I think of each life as a flower, as common as a field daisy, and as singular, and each name a comfortable music in the mouth, tending, as all music does, toward silence, and each body as a lion of courage, and something precious to the earth. [from the poem "When Death Comes"]
When the spent sun throws up its rays on cloud And goes down burning into the gulf below, No voice in nature is heard to cry aloud At what has happened. Birds, at least must know It is the change to darkness in the sky. Murmuring something quiet in her breast, One bird begins to close a faded eye; Or overtaken too far from his nest, Hurrying low above the grove, some waif Swoops just in time to his remembered tree. At most he thinks or twitters softly, 'Safe! Now let the night be dark for all of me. Let the night be too dark for me to see Into the future. Let what will be, be.
I think that poets can say, "What we want is for everybody on earth to wake up free from fear and with access to medicine and clean water and education." But I don't think poets have any special insight on how to get there. And the 20th century is a pretty good record of that because so many of the great poets were Stalinists: Vallejo, Neruda, Eluard, Aragon, etc. They wrote their odes to Lenin and Stalin. They glorified some of the most violent and grotesque dictatorships of the 20th century. And a lot of the ones who were not Stalinists were fascists or fascist sympathizers.
O Woe to his blinded soul! Saying this, he as it were said to God: "Thou Thyself are guilty, because the woman whom Thou gavest me hast deceived me." This very same thing I myself now suffer, wretched and miserable, when I do not desire to be humbled, and to say with my whole soul that I myself am guilty of my perdition. But on the contrary I say: "That person over there inspired me to do or say this. He advised me and knocked me off the path." Woe is my poor soul which speaks such words filled with sin! O most shameless and irrational words of a shameless and irrational soul!
The world doesn’t fully make sense until the writer has secured his version of it on the page. And the act of writing is strangely more lifelike than life….every person who does serious time with a keyboard is attempting to translate his version of the world into words so that he might be understood…. Your job is to marshal the talent you do have and find people who believe in your work. What’s important, finally, is that you create, and that those creations define for you what matters most, that which cannot be extinguished even in the face of silence, solitude, and rejection.
One day I wrote her name upon the strand, But came the waves and washèd it away: Again I wrote it with a second hand, But came the tide and made my pains his prey. Vain man (said she) that dost in vain assay A mortal thing so to immortalise; For I myself shall like to this decay, And eke my name be wipèd out likewise. Not so (quod I); let baser things devise To die in dust, but you shall live by fame; My verse your virtues rare shall eternise, And in the heavens write your glorious name: Where, when as Death shall all the world subdue, Our love shall live, and later life renew.
Daughter to that good Earl, once President Of England's Council, and her Treasury, Who lived in both, unstained with gold or fee, And left them both, more in himself content, Till sad the breaking of that Parliament Broke him, as that dishonest victory At Chaeronea, fatal to liberty, Killed with report that old man eloquent. Though later born than to have known the days Wherein your father flourished, yet by you, Madam, methinks I see him living yet; So well your words his noble virtues praise, That all both judge you to relate them true, And to possess them, honoured Margaret.
In fiction, I exercise my nosiness. I am as curious as my cats, and indeed that has led to trouble often enough and used up several of my nine lives. I am an avid listener. I am fascinated by other people's lives, the choices they make and how that works out through time, what they have done and left undone, what they tell me and what they keep secret and silent, what they lie about and what they confess, what they are proud of and what shames them, what they hope for and what they fear. The source of my fiction is the desire to understand people and their choices through time.
When I first encountered the poems of Jon Woodward, I was stunned into the state that is my life's joy-I was in the presence of the inimitable. Uncanny Valley extends that experience-almost into another dimension. These apocalyptic, pixilated poems forge a mythology of our ravaged culture, one that might have been written in the future. If you want poetry to give you a persimmon on a plate, look elsewhere; if you want to know what happens when seven trees fall on the highway and the story is told by a stutterer, this is the book, and it could only have been written by Woodward.
To knot a sentence up properly, it has to be thought out carefully, and revised. New phrases have to be put in; sudden changes of subject must be introducted; verbs must be shifted to unsuspected localities; short words must be excised with ruthless hand; archaisms must be sprinkled like sugar-plums upon the concoction; the fatal human tendency to say things straightforwardly must be detected and defeated by adroit reversals; and, if a glimmer of meaning yet remain under close scrutiny, it must be removed by replacing all the principal verbs by paraphrases in some dead language.
The strange thing about the apocalypse is that it's uneven. For some people, it goes one way and for others another way, so that there's always this shifting relation to the narrative of the disaster. Sometimes apocalypses are just structural fictions, and sometimes they're real. Sometimes a narrative requires an end - the fact that the beginning was always leading somewhere becomes clear at the end. There's an idea that we're always in the middle, but we posit this apocalyptic end in order to also be able to project into the past or the beginning. I think that's true and false.
There is a kind of expressed love which is easy to subvert. When a figure is loved for their deeds, their conquests, their heroism, their goodness, their love of the people, these are easy enough to destroy... But there is a kind of love which is felt for apparently no reason... A love, inspired, it seems, by the gods, which it is impossible to fight, distort, destroy, or weaken. In fact, the attempts to destroy such loves only strengthen them. And to do nothing allows them to continue to grow at their natural pace, inexoribly, till this love becomes a wide and silent adoration.
I like women who haven’t lived with too many men. I don’t expect virginity but I simply prefer women who haven’t been rubbed raw by experience. There is a quality about women who choose men sparingly; it appears in their walk in their eyes in their laughter and in their gentle hearts. Women who have had too many men seem to choose the next one out of revenge rather than with feeling. When you play the field selfishly everything works against you: one can’t insist on love or demand affection. You’re finally left with whatever you have been willing to give which often is: nothing.
As a fond mother, when the day is o'er, Leads by the hand her little child to bed, Half willing, half reluctant to be led, And leave his broken playthings on the floor. Still gazing at them through the open door, Nor wholly reassured and comforted By promises of others in their stead Which, the more splendid, may not please him more; So Nature deals with us, and takes away Our playthings one by one, and by the hand Leads us to rest so gently, that we go Scarce knowing if we wish to go or stay, Being too full of sleep to understand How far the unknown transcends the what we know.
When Freedom from her mountain-height Unfurled her standard to the air, She tore the azure robe of night, And set the stars of glory there. She mingled with its gorgeous dyes The milky baldric of the skies, And striped its pure, celestial white With streakings of the morning light. Flag of the free heart's hope and home! By angel hands to valour given! Thy stars have lit the welkin dome, And all thy hues were born in heaven. Forever float that standard sheet! Where breathes the foe but falls before us, With Freedom's soil beneath our feet, And Freedom's banner streaming o'er us?
As an artist your first loyalty is to your art. Unless this is the case, you're going to be a second-rate artist. I don't mean there's never any overlap. You learn things in one area and bring them into another area. But giving a speech against racism is not the same as writing a novel. The object is very clear in the fight against racism; you have reasons why you're opposed to it. But when you're writing a novel, you don't want the reader to come out of it voting yes or no to some question. Life is more complicated than that. Reality simply consists of different points of view.