Attraction Poems Quotes

I Am Vertical But I would rather be horizontal. I am not a tree with my root in the soil Sucking up minerals and motherly love So that each March I may gleam into leaf, Nor am I the beauty of a garden bed Attracting my share of Ahs and spectacularly painted, Unknowing I must soon unpetal. Compared with me, a tree is immortal And a flower-head not tall, but more startling, And I want the one's longevity and the other's daring.

The sun still lives his silent vows to the moon, by bowing to kiss her feet whenever she walks in the room.

If more people recognized the difference between friendship and mere attraction, or how love must partake of both to prosper, I expect there'd be more happy people." "And a lot fewer poems and plays," I said, laughing as I splashed about in the scented water.

A mask you ask? Optional I find! Masks lend appeal of a mysterious kind.

The heart can be the reality beneath the contrivance a sideshow attraction an ashtray full voice roughened by decades of Marlboro Reds

Butterflies, as if unaware that darkness is no impediment to love, are playing the primordial game with light.

You must never run from anything immortal. It attracts their attention. [...] Never run. [...] Walk slowly, and pretend to be thinking of something else. Sing a song, say a poem, do your tricks, but walk slowly and she may not follow.

You are the remedy of intensity i need in my life, to spin me out of the miserable monotony of working on life's daily assembly lines.

In Plaster I shall never get out of this! There are two of me now: This new absolutely white person and the old yellow one, And the white person is certainly the superior one. She doesn't need food, she is one of the real saints. 
At the beginning I hated her, she had no personality -- She lay in bed with me like a dead body 
And I was scared, because she was shaped just the way I was 
 Only much whiter and unbreakable and with no complaints. I couldn't sleep for a week, she was so cold. I blamed her for everything, but she didn't answer. 
I couldn't understand her stupid behavior! 
When I hit her she held still, like a true pacifist. 
Then I realized what she wanted was for me to love her: She began to warm up, and I saw her advantages. 

Without me, she wouldn't exist, so of course she was grateful. 
I gave her a soul, I bloomed out of her as a rose 
Blooms out of a vase of not very valuable porcelain, And it was I who attracted everybody's attention, 
Not her whiteness and beauty, as I had at first supposed. 
I patronized her a little, and she lapped it up -- 
You could tell almost at once she had a slave mentality. 

I didn't mind her waiting on me, and she adored it. 
In the morning she woke me early, reflecting the sun 
From her amazingly white torso, and I couldn't help but notice 
Her tidiness and her calmness and her patience: She humored my weakness like the best of nurses, 
Holding my bones in place so they would mend properly. In time our relationship grew more intense. 

She stopped fitting me so closely and seemed offish. 
I felt her criticizing me in spite of herself, 
As if my habits offended her in some way. She let in the drafts and became more and more absent-minded. 
And my skin itched and flaked away in soft pieces 
Simply because she looked after me so badly. Then I saw what the trouble was: she thought she was immortal. She wanted to leave me, she thought she was superior, 
And I'd been keeping her in the dark, and she was resentful -- Wasting her days waiting on a half-corpse! 
And secretly she began to hope I'd die. Then she could cover my mouth and eyes, cover me entirely, 
And wear my painted face the way a mummy-case Wears the face of a pharaoh, though it's made of mud and water. 

I wasn't in any position to get rid of her. She'd supported me for so long I was quite limp -- I had forgotten how to walk or sit, So I was careful not to upset her in any way 
Or brag ahead of time how I'd avenge myself. Living with her was like living with my own coffin: Yet I still depended on her, though I did it regretfully. I used to think we might make a go of it together -- 
After all, it was a kind of marriage, being so close. 
Now I see it must be one or the other of us. She may be a saint, and I may be ugly and hairy, 
But she'll soon find out that that doesn't matter a bit. I'm collecting my strength; one day I shall manage without her, 
And she'll perish with emptiness then, and begin to miss me. --written 26 Feburary 1961

Bait Goat There is a distance where magnets pull, we feel, having held them back. Likewise there is a distance where words attract. Set one out like a bait goat and wait and seven others will approach. But watch out: roving packs can pull your word away. You find your stake yanked and some rough bunch to thank.

The long poem of walking manipulates spatial organizations, no matter how panoptic they may be: it is neither foreign to them (it can take place only within them) nor in conformity with them (it does not receive its identity from them). It creates shadows and ambiguities within them. It inserts its multitudinous references and citations into them (social models, cultural mores, personal factors). Within them it is itself the effect of successive encounters and occasions that constantly alter it and make it the other's blazon: in other words, it is like a peddler carrying something surprising, transverse or attractive compared with the usual choice. These diverse aspects provide the basis of a rhetoric. They can even be said to define it.

. . . take cover North America, I am attracted to someone.

He ran,” the unicorn said. “You must never run from anything immortal. It attracts their attention.” Her voice was gentle, and without pity. “Never run,” she said. “Walk slowly, and pretend to be thinking of something else. Sing a song, say a poem, do your tricks, but walk slowly and she may not follow. Walk very slowly, magician.

I read your poem," I croaked. "'Fall.'" Then something I never thought would happen, happened: Marcus Flutie was shocked by something I said. "You did?" he said. "I thought you lost it!" "Well someone found it for me. Where do you get off saying," I lowered my voice, "we'll be naked without shame in paradise?" He didn't open his mouth. "I know what that means, you know. Who do you think I am?" He didn't open his mouth. "We are never going to be naked without shame in paradise." He didn't open his mouth. "We're NEVER going to have sex," I whispered, clearly over-stating my case. He didn't open his mouth. The mouth that used to bite mine. "And I'm just going to forget about that biting thing from the other night," I said. He looked at me right in the eyes. If he'd focused hard enough on my pupils, he could've seen his own reflection, his own face smirking at me. "You couldn't forget if you tried," he said, before walking away. He's right. And I don't know if I hate him or love him for that.

I'm attracted to ellipsis, to the unsaid, to suggestion, to eloquent, deliberate silence. The unsaid, for me, exerts great power: often I wish an entire poem could be made in this vocabulary. It is analogous to the unseen; for example, to the power of ruins, to works of art either damaged or incomplete. Such works inevitably allude to larger contexts they haunt because they are not whole, though wholeness is implied. . .

She doesn’t work in photos though. You see, what you must understand is her beauty is that thing she does in between words.

So I’m reading some poem by Louise . . . something, I forget her last name, but it’s about Hades and the underworld, and I don’t even notice that Paige has come up to my table until she says, ‘Doesn’t everyone want love?’ And I’m thinking, wow, that’s a pretty deep question, but then again Paige is really smart, and this is my chance to finally show her that I’m not just a dumb jock. So I say, ‘I heard this theory once that love means your subconscious is attracted to someone else’s subconscious.’” “Very deep,” Cade said. “Exactly. And I’m feeling proud of myself for that one, until she points to the book and says, ‘Oh, that wasn’t a question. I was just quoting a line from the poem.

You were just another stranger in the room, In a room full of bodies, I was attracted to you, I became your tiny dancer, I became everything to you, Little did you know, That I'm just a dancer, Not your fool.

Have you ever wondered What happens to all the poems people write? The poems they never let anyone else read? Perhaps they are Too private and personal Perhaps they are just not good enough. Perhaps the prospect of such a heartfelt expression being seen as clumsy shallow silly pretentious saccharine unoriginal sentimental trite boring overwrought obscure stupid pointless or simply embarrassing is enough to give any aspiring poet good reason to hide their work from public view. forever. Naturally many poems are IMMEDIATELY DESTROYED. Burnt shredded flushed away Occasionally they are folded Into little squares And wedged under the corner of An unstable piece of furniture (So actually quite useful) Others are hidden behind a loose brick or drainpipe or sealed into the back of an old alarm clock or put between the pages of AN OBSCURE BOOK that is unlikely to ever be opened. someone might find them one day, BUT PROBABLY NOT The truth is that unread poetry Will almost always be just that. DOOMED to join a vast invisible river of waste that flows out of suburbia. well Almost always. On rare occasions, Some especially insistent pieces of writing will escape into a backyard or a laneway be blown along a roadside embankment and finally come to rest in a shopping center parking lot as so many things do It is here that something quite Remarkable takes place two or more pieces of poetry drift toward each other through a strange force of attraction unknown to science and ever so slowly cling together to form a tiny, shapeless ball. Left undisturbed, this ball gradually becomes larger and rounder as other free verses confessions secrets stray musings wishes and unsent love letters attach themselves one by one. Such a ball creeps through the streets Like a tumbleweed for months even years If it comes out only at night it has a good Chance of surviving traffic and children and through a slow rolling motion AVOIDS SNAILS (its number one predator) At a certain size, it instinctively shelters from bad weather, unnoticed but otherwise roams the streets searching for scraps of forgotten thought and feeling. Given time and luck the poetry ball becomes large HUGE ENORMOUS: A vast accumulation of papery bits That ultimately takes to the air, levitating by The sheer force of so much unspoken emotion. It floats gently above suburban rooftops when everybody is asleep inspiring lonely dogs to bark in the middle of the night. Sadly a big ball of paper no matter how large and buoyant, is still a fragile thing. Sooner or LATER it will be surprised by a sudden gust of wind Beaten by driving rain and REDUCED in a matter of minutes to a billion soggy shreds. One morning everyone will wake up to find a pulpy mess covering front lawns clogging up gutters and plastering car windscreens. Traffic will be delayed children delighted adults baffled unable to figure out where it all came from Stranger still Will be the Discovery that Every lump of Wet paper Contains various faded words pressed into accidental verse. Barely visible but undeniably present To each reader they will whisper something different something joyful something sad truthful absurd hilarious profound and perfect No one will be able to explain the Strange feeling of weightlessness or the private smile that remains Long after the street sweepers have come and gone.

Glossa Time goes by, time comes along, All is old and all is new; What is right and what is wrong, You must think and ask of you; Have no hope and have no fear, Waves that rise can never hold; If they urge or if they cheer, You remain aloof and cold. To our sight a lot will glisten, Many sounds will reach our ear; Who could take the time to listen And remember all we hear? Keep aside from all that patter, Seek yourself, far from the throng When with loud and idle clatter Time goes by, time comes along. Nor forget the tongue of reason Or its even scales depress When the moment, changing season, Wears the mask of happiness - It is born of reason's slumber And may last a wink as true: For the one who knows its number All is old and all is new. Be as to a play, spectator, As the world unfolds before: You will know the heart of matter Should they act two parts or four; When they cry or tear asunder From your seat enjoy along And you'll learn from art to wonder What is right and what is wrong. Past and future, ever blending, Are the twin sides of same page: New start will begin with ending When you know to learn from age; All that was or be tomorrow We have in the present, too; But what's vain and futile sorrow You must think and ask of you; For the living cannot sever From the means we've always had: Now, as years ago, and ever, Men are happy or are sad: Other masks, same play repeated; Diff'rent tongues, same words to hear; Of your dreams so often cheated, Have no hope and have no fear. Hope not when the villains cluster By success and glory drawn: Fools with perfect lack of luster Will outshine Hyperion! Fear it not, they'll push each other To reach higher in the fold, Do not side with them as brother, Waves that rise can never hold. Sounds of siren songs call steady Toward golden nets, astray; Life attracts you into eddies To change actors in the play; Steal aside from crowd and bustle, Do not look, seem not to hear From your path, away from hustle, If they urge or if they cheer; If they reach for you, go faster, Hold your tongue when slanders yell; Your advice they cannot master, Don't you know their measure well? Let them talk and let them chatter, Let all go past, young and old; Unattached to man or matter, You remain aloof and cold. You remain aloof and cold If they urge or if they cheer; Waves that rise can never hold, Have no hope and have no fear; You must think and ask of you What is right and what is wrong; All is old and all is new, Time goes by, time comes along.

Once you know what you want in life... Like a magnet you attract the resources necessary to manifest the world you desire.

A young hero is the world's greatest attraction.

A giver's purse can never be paused.

In the end we're all on a journey of sorts. We wait for a sign or something that attracts our attention. Look for a deeper meaning to it all. That's what poetry is for. Searching.

Love with your eyes, and it'll fade in a year, Love with your horns, it'll fade even sooner. Fall in love with the being beyond the body, And you'll have your messy but sweet everafter.

BOOK BEAUTY Here's the end of that story about the old woman who wanted to lure a man with strange cosmetics. She made a paste of pages from the Qur'an to fill the deep creases on her face and neck with. This is not about an old woman, dear reader. It's about you, or anyone who tries to use books to make themselves attractive. There she is, sticking scripture, thick with saliva, on her face. Of course, the bits keep falling off. "The devil," she yells, and he appears! "This is a trick I've never seen. You don't need me. You are yourself a troop of demons!" So people steal inspired words to get compliments. Don't bother. Death comes and all talking, stolen or not, stops. Pity anyone unfamiliar with silence when that happens. Polish your heart with mediation and quietness. Let the inner life grow generous and handsome like Joseph. Zuleika did that and her "old woman's spring cold snap" turned to mid-July. Dry lips wet from within. Ink is not rouge. Let language lie bygone. Now is where love breathes.

I’m sorry I cannot say I love you when you say you love me. The words, like moist fingers, appear before me full of promise but then run away to a narrow black room that is always dark, where they are silent, elegant, like antique gold, devouring the thing I feel. I want the force of attraction to crush the force of repulsion and my inner and outer worlds to pierce one another, like a horse whipped by a man. I don’t want words to sever me from reality. I don’t want to need them. I want nothing to reveal feeling but feeling—as in freedom, or the knowledge of peace in a realm beyond, or the sound of water poured into a bowl.

Among the Haida Indians of the Pacific Northwest, the verb for "making poetry" is the same as the verb "to breathe." Such tidbits of ethnic lore delighted Amanda, and she vowed from that time onward she would try to regulate each breath as if she were composing a poem.

Broadening or burrowing to the moon's phases, turbid with pulverized wastemantle, on through flatter, duller, hotter, cotton-gin country it scours, approaching the tidal mark where it puts off majesty, disintegrates, and through swamps of a delta, punting-pole, fowling-piece, oyster-tongs country, wearies to its final act of surrender, effacement, atonement in a huge amorphous aggregate no cuddled attractive child ever dreams of, non-country, image of death as a spherical dew-drop of life. Unlovely monsters, our tales believe, can be translated too, even as water, the selfless mother of all especials.

We are engaged in a world war of stories—a war between incompatible versions of reality—and we need to learn how to fight it. A tyrant has arisen in Russia and brutality engulfs Ukraine, whose people, led by a satirist turned hero, offer heroic resistance, and are already creating a legend of freedom. The tyrant creates false narratives to justify his assault—the Ukrainians are Nazis, and Russia is menaced by Western conspiracies. He seeks to brainwash his own citizens with such lying stories. Meanwhile, America is sliding back towards the Middle Ages, as white supremacy exerts itself not only over Black bodies, but over women’s bodies too. False narratives rooted in antiquated religiosity and bigoted ideas from hundreds of years ago are used to justify this, and find willing audiences and believers. In India, religious sectarianism and political authoritarianism go hand in hand, and violence grows as democracy dies. Once again, false narratives of Indian history are in play, narratives that privilege the majority and oppress minorities; and these narratives, let it be said, are popular, just as the Russian tyrant’s lies are believed. This, now, is the ugly dailiness of the world. How should we respond? It has been said, I have said it myself, that the powerful may own the present, but writers own the future, for it is through our work, or the best of it at least, the work which endures into that future, that the present misdeeds of the powerful will be judged. But how can we think of the future when the present screams for our attention, and what, if we turn away from posterity and pay attention to this dreadful moment, can we usefully or effectively do? A poem will not stop a bullet. A novel cannot defuse a bomb. Not all our satirists are heroes. But we are not helpless. Even after Orpheus was torn to pieces, his severed head, floating down the river Hebrus, went on singing, reminding us that the song is stronger than death. We can sing the truth and name the liars, we can join in solidarity with our fellows on the front lines and magnify their voices by adding our own to them. Above all, we must understand that stories are at the heart of what’s happening, and the dishonest narratives of oppressors have proved attractive to many. So we must work to overturn the false narratives of tyrants, populists, and fools by telling better stories than they do, stories within which people want to live. The battleground is not only on the battlefield. The stories we live in are contested territories too. Perhaps we can seek to emulate Joyce’s Dedalus, who sought to forge, in the smithy of his soul, the uncreated conscience of his race. We can emulate Orpheus and sing on in the face of horror, and not stop singing until the tide turns, and a better day begins.

The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality. ................ Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'. ....... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.

Heroic poetry tends in its simplest form to be concerned with immediate events and local heroes. A certain length of tradition is required before the epic poem, telling the story of the hero, becomes current. Heroic poetry assumes that the audience knew what the outcome of the battle was, and is concerned with individual feats; the context is of little importance. Epic poems only become attractive as a form when the audience needs to be told who the heroes were.

A reflection on Robert Lowell Robert Lowell knew I was not one of his devotees. I attended his famous “office hours” salon only a few times. Life Studies was not a book of central importance for me, though I respected it. I admired his writing, but not the way many of my Boston friends did. Among poets in his generation, poems by Elizabeth Bishop, Alan Dugan, and Allen Ginsberg meant more to me than Lowell’s. I think he probably sensed some of that. To his credit, Lowell nevertheless was generous to me (as he was to many other young poets) just the same. In that generosity, and a kind of open, omnivorous curiosity, he was different from my dear teacher at Stanford, Yvor Winters. Like Lowell, Winters attracted followers—but Lowell seemed almost dismayed or a little bewildered by imitators; Winters seemed to want disciples: “Wintersians,” they were called. A few years before I met Lowell, when I was still in California, I read his review of Winters’s Selected Poems. Lowell wrote that, for him, Winters’s poetry passed A. E. Housman’s test: he felt that if he recited it while he was shaving, he would cut himself. One thing Lowell and Winters shared, that I still revere in both of them, was a fiery devotion to the vocal essence of poetry: the work and interplay of sentences and lines, rhythm and pitch. The poetry in the sounds of the poetry, in a reader’s voice: neither page nor stage. Winters criticizing the violence of Lowell’s enjambments, or Lowell admiring a poem in pentameter for its “drill-sergeant quality”: they shared that way of thinking, not matters of opinion but the matter itself, passionately engaged in the art and its vocal—call it “technical”—materials. Lowell loved to talk about poetry and poems. His appetite for that kind of conversation seemed inexhaustible. It tended to be about historical poetry, mixed in with his contemporaries. When he asked you, what was Pope’s best work, it was as though he was talking about a living colleague . . . which in a way he was. He could be amusing about that same sort of thing. He described Julius Caesar’s entourage waiting in the street outside Cicero’s house while Caesar chatted up Cicero about writers. “They talked about poetry,” said Lowell in his peculiar drawl. “Caesar asked Cicero what he thought of Jim Dickey.” His considerable comic gift had to do with a humor of self and incongruity, rather than wit. More surreal than donnish. He had a memorable conversation with my daughter Caroline when she was six years old. A tall, bespectacled man with a fringe of long gray hair came into her living room, with a certain air. “You look like somebody famous,” she said to him, “but I can’t remember who.” “Do I?” “Yes . . . now I remember!— Benjamin Franklin.” “He was a terrible man, just awful.” “Or no, I don’t mean Benjamin Franklin. I mean you look like a Christmas ornament my friend Heather made out of Play-Doh, that looked like Benjamin Franklin.” That left Robert Lowell with nothing to do but repeat himself: “Well, he was a terrible man.” That silly conversation suggests the kind of social static or weirdness the man generated. It also happens to exemplify his peculiar largeness of mind . . . even, in a way, his engagement with the past. When he died, I realized that a large vacuum had appeared at the center of the world I knew.

Milton argued, in 1649, after the execution of Charles I, that a people 'free by nature' had a right to overthrow a tyrant; a subject that recalls vividly the questions examined by Shakespeare in his major tragedies about fifty years before. Milton continued to defend his ideals of freedom and republicanism. But at the Restoration, by which time he was blind, he was arrested. Various powerful contacts allowed him to be released after paying a fine, and his remaining years were devoted to the composition - orally, in the form of dictation to his third wife - of his epic poem on the fall of humanity, Paradise Lost, which was published in 1667. It is interesting that - like Spenser and Malory before him, and like Tennyson two centuries later - Milton was attracted to the Arthurian legends as the subject for his great epic. But the theme of the Fall goes far beyond a national epic, and gave the poet scope to analyse the whole question of freedom, free will, and individual choice. He wished, he said, to 'assert eternal providence,/And justify the ways of God to men'. This has been seen as confirmation of Milton's arrogance, but it also signals the last great attempt to rationalise the spirit of the Renaissance: mankind would not exist outside Paradise if Satan had not engineered the temptation and fall of Adam and Eve. For many critics, including the poets Blake and Shelley, Satan, the figure of the Devil, is the hero of the poem.

Today you are young.your beauty attract every man But the day when you will feel older yourself when you will feel magic of body vanish On that day time will remind you,that man who fall in love with your soul but you will not find him,because you killed him in All The day when you will feel wrinkles on your skin and will understand,no one want to touch it,not soft any more On that day time will remind that man who die for aroma of your skin,for him its always remain best fragrance But you will not find him, because you killed him by your ignorance The day you will feel,you are now not able to feed sex hunger and you will understand men around you but not with you On that day time will remind you that man who never hungry for your body,who just feed love and emotions to your soul and to your heart But you will not find him,because, you killed him by put your betrayed knife in his heart maybe it will not happen,maybe your life will full of love maybe you will never remember past.maybe you will forget All But on the day when you will die,and your loving people will bury you inside your grave,when you will realize, all that who loves you,all that with you spend days & nights all that for whom you cooked you serve,all that whose bed you warm all that who impress by your beauty,all that who claim to love you they all buried you here alone and gone in that your loneliness,time will remind you,that man who just dream to lay with you inside your grave, who dream to bury together in one grave But you will not find him That day will realize you,whom you killed That day will realize you,you killed a man who don't wanted to be just partner of you life but to partner of your death who don't wanted to be just partner of your bed but to partner of your grave Then you will realize you betrayed killed,partner of your grave Partner Of Your Grave,

HOW ATTRACTION HAPPENS Moses is talking to someone drunk with worshiping the golden calf. "What happened to your doubt? You used to be so skeptical of me. The Red Sea parted. Food came every day in the wilderness for forty years. A fountain sprang out of a rock. You saw these things and still reject the idea of prophethood. Then the magician Samiri does a trick to make the metal cow low, and immediately you kneel! What did that hollow statue say? Have you heard a dullness like your own?" This is how attraction happens: people with nothing they value delight in worthlessness. Someone who thinks there's no meaning or purpose feels drawn to images of futility. Each moves to be with its own. The ox does not turn toward a lion. Wolves have no interest in Joseph, unless to devour him. But if a wolf is cured of wolfishness, it will sleep close by Joseph, like a dog in the presence of meditators. Soul companionship gives safety and light to a cave full of friends.

She told me she met the love of her life,” Zohra says at last, still staring out the window. “You read poems about it, you hear stories about it, you hear Sicilians talk about being struck by lightning. We know there’s no love of your life. Love isn’t terrifying like that. It’s walking the fucking dog so the other one can sleep in, it’s doing taxes, it’s cleaning the bathroom without hard feelings. It’s having an ally in life. It’s not fire, it’s not lightning. It’s what she always had with me. Isn’t it? But what if she’s right, Arthur? What if the Sicilians are right? That it’s this earth-shattering thing she felt? Something I’ve never felt. Have you?” Less begins to breath unevenly. She turns to him: “What if one day you meet someone, Arthur, and it feels like it could never be anyone else? Not because other people are less attractive, or drink too much, or have issues in bed, or have to alphabetize every fucking book or organize the dishwasher in some way you just can’t live with. It’s because they aren’t this person. This woman Janet met. Maybe you can go through your whole life and never meet them, and think love is all these other things, but if you do meet them, God help you! Because then: ka-blam! You’re screwed. The way Janet is. She ruined our life for it! But what if that’s real?

"Listen," he said, reaching for her wrist distractedly, eyes on the page of the book as he pulled her closer. Holding the Dark, the title read. By a poet named Melanie Cameron. Emeline leaned back against the shelves, watching him. " 'I didn't know it would go like this,' " he recited. " 'I didn't know I would find you in the dark...' " Emeline stared at his mouth, captivated by the cadence of his voice. His expression was hungry as he read on, as if he'd discovered some delicious secret and wanted to feed it to her. Like a ripe red strawberry dipped in chocolate. "When I lie against you with my eyes closed, I bring your body with me, into the darkness, I bring your whole body inside me. And in that darkness I know you so much better than hands and mouth can know, I know you, as though you were the darkness inside me." He glanced up from the page, fixing her in place with that same hungry gaze. Warmth pooled in her belly. "It's nice," she murmured. He raised an eyebrow. "Nice?" The corner of his mouth turned up as he lifted his hand, bracing it against the shelf beside her. She wrinkled her nose at him. "Pretty, then." "How about tender. And..." His eyes dropped to her mouth. "Intimate." There was the oddest feeling in Emeline's chest. Like a million tiny stars on the cusp of bursting. Sparks crackled in the air between them.

He ambled towards the abyss again, Acquiescing to the adroit turns of his Abtenauer, his Altai horse, his Appaloosa, His Ardennais, and his Australian Brumby….. Agilely each equine adumbrates the aesthetics Of aestivating, much like aficionados of nature And much like ailurophiles, too…… Ambrosial aromas attract his attention to the Assemblage of amaranth foliage growing At the abyss’s edge. “Anglophile!” “Antediluvian!” “Aplomb!” “Apocryphal!” “Apophenia!” “Apothecary!” Each petal calls out to him as he captures their vision in his Aqueous humor. Now an arabesque they display, Then some archipelago formation, as they (those purple perennials) Give in to the Wind’s whimsy. “What’s in my arsenal?” He asks himself. “Do I have Authenticity, like Astrophysics and Astronomy?” “Am I at last in my Autumn, torn asunder by Avarice? Shall I now step toward Winter to wither and waste away, without rebirth?” The Summer’s azure skies call him back, reminding him of his herd. Homeward he must turn. The pony pushes him back to the plain. And, as he trudges away from the abyss, the warriors of darkness— His old battle buddies who left him behind as they raced toward Providence— Rattle in his mind with their Paleolithic war toys, on the war path, chanting: “The greatest battles we face are in the silent chambers of our own souls…..” -----from the poem 'Summer Battle' in the book HOT STUFF: CELEBRATING SUMMER'S SIMMER AND SIZZLE, by Mariecor Ruediger

Partner Of Grave," Today, you are young. Your beauty attracts everyone. But the day when you will feel older yourself when you will feel the magic of the body vanish. On that day, time will remind you of the man who fell in love with your soul. but you will not find him because you killed him in All The day when you will feel wrinkles on your skin and will understand; no one wants to touch it. It's not soft anymore. On that day, time will remind that man who dies for the aroma of your skin; for him, it was always the best fragrance. But you will not find him because you killed him in your ignorance. The day you will feel that you are now unable to feed sexual hunger and you will understand men around you but not with you. On that day, time will remind you of that man. who was never hungry for your body, who just feeds love and emotions to your soul and to your heart But you will not find him because You killed him by putting your betrayal knife in his heart. Maybe it will never happen, and maybe your life will be full of love. Maybe you will never remember the past. Maybe you will forget All But on the day when you die, your loving people will bury you. Inside your grave, At that time, you will realize, All the people who love you, all the people who spend their days and nights with you All that for whom you cooked you served, all that whose bed you warm All those who are impressed by your beauty, all those who claim to love you They all buried you here alone and gone. In that your loneliness, time will remind you, that man who just dreamed to lay with you inside your grave, who dream to be buried together in one grave But you will not find him. That day, you will realize who you killed. That day, you will realize you killed a man. who desired to be not only your life partner but also your death partner. who desired to be not only the partner of your bed but also the partner of your grave. Then you'll realize your betrayal killed your partner of grave Partner Of Your Grave," ― Mohammed Zaki Ansari