Browning Poet Quotes

Witch, scholar, poet, dreamer, and the rest...

God is the perfect poet.

Sure, I can make a boat,” he said, and then added, quoting the poet Joyce Kilmer, “‘But only God can make a tree.

If passion was a substance I would say it is dark brown, and then blood red. It's like wet grass, tons of it soaked in mud. It's warm and it stinks like shit and it's unaccountably and endlessly good. It's thick and it goes on for miles and it isn't so much deep as bottomless and it holds you in its grip, you never drown. And then it goes. That's all you know.

I've always said that you know you're a poet when you type an em dash and you hit the delete button, and you type a colon and you hit the delete button, and you type an em dash and you hit the delete button, and you type a colon and you hit the delete button. If you can do that for about three hours straight, trying to figure out which one is the best one, if you can do that for three hours and call that a good time, then you're probably a poet.

A cheerful genius suits the times, / And all true poets laugh unquenchably / Like Shakespeare and the gods.

But as poet Mizuta Masahide wrote, “Barn’s burnt down / now / I can see the moon.

He remembers a verse from the mystic poet, Rumi, Be grateful for whoever comes, because each has been sent as a guide from beyond.

Who was a queen and loved a poet once Humpbacked, a dwarf? ah, women can do that!

His answer was - not the common gallantries which come so easily to the lips of me - but simply that he loved me - he met argument with fact. He told me - that with himself also, the early freshness of youth had gone by, & that throughout it he had not been able to love any woman - that he loved now for the first time & the last.

A Letter from a Muse to Her Poet: Dear sir, I was called away and couldn’t bring you, but now I feel haunted. I know that sometimes you felt I was a part of you and that losing me would leave a hole in your heart, but that’s not true. I liked to pretend I was the core of your talent, but it wasn’t me. Everything you do, the ideas you weave, the lines you write, the words you choose, it was always only you. Please forgive me. I’m sorry that I didn’t say goodbye.

Repetita iuvant. Italy, a land of great saints, poets, sailors, artists, statesmen, businessmen, lawyers, intellectuals, professors, journalists, whores, gangsters, religious parasites and dickheads.

Tomorrow I shall write something beautiful, something so serene that storms will rise suddenly and protest with ferocious screams. I shall write poems for the poets and for the songster a single song That will tell a tale of such beauty the heart of earth shall moan. But today, today shall be special for all I will do is sit quietly alone and think of you and think of you.

Alas, it is too true. I visited him this morning and found him en deshabille, clasping his brown. He seized on me and demanded a rhyme to some word which I have forgot. So I left him." "Can no one convince Philippe that he is not a poet?" asked De Bergeret plaintively. De Vangrisse shook his head.

Even when the lights go out, even when someone says to me: "It's over---," even when from the stage a gray gust of emptiness drifts toward me, even when not one silent ancestor sits beside me anymore---not a woman, not even the boy with the brown squint-eye: I'll sit here anyway. One can always watch.

It is not a performance of Blackness; she is a Black woman.

Silly Poet. Haven't you wondered where Sevro is?

We understand we are the backbone despite the backhand.

See the stars, Lily?" She sighed, surrendering. "Of course." "Do you think they can see the sun coming up?" "I don't know. Probably?" "Do you think they're scared?" "They're burning balls of gas, Calder." "Oh, c'mon. Where's the poet in you?" She exhaled, and I sensed her smile. "I see. Well, in that case, yes. They've finally come home. They are triumphant in their midnight kingdom. But the enemy approaches. They have the numbers on their side, but the enemy is bigger, stronger, with a history of winning that goes back to the dawn of time. They're definitvely terrified." I nodded. She understood my analogy. "But they don't run, Calder.

What does it all mean, poet? Well, Your brains beat into rhythm, you tell What we felt only; you expressed You hold things beautiful the best, And pace them in rhyme so, side by side. ‘Tis something, nay ‘tis much: but then, Have you yourself what’s best for men? Are you—-poor, sick, old ere your time—- Nearer one whit your own sublime Than we who never have turned a rhyme? Sing, riding’s a joy! For me, I ride.

The poet Robert Browning caused considerable consternation by including the word twat in one of his poems, thinking it an innocent term. The work was Pippa Passes, written in 1841 and now remembered for the line "God's in His heaven, all's right with the world." But it also contains this disconcerting passage: Then owls and bats Cowls and twats Monks and nuns in a cloister's moods, Adjourn to the oak-stump pantry! Browning had apparently somewhere come across the word twat--which meant precisely the same then as it does now--but pronounced it with a flat a and somehow took it to mean a piece of headgear for nuns. The verse became a source of twittering amusement for generations of schoolboys and a perennial embarrassment to their elders, but the word was never altered and Browning was allowed to live out his life in wholesome ignorance because no one could think of a suitably delicate way of explaining his mistake to him.

Brown and Dilke walked with me and back from the Christmas pantomime. I had not a dispute but a disquisition, with Dilke on various subjects; several things dove-tailed in my mind, and at once it struck me what quality went to form a Man of Achievement, especially in Literature, and which Shakespeare possessed so enormously - I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason - Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half-knowledge. This pursued through volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.

NOVEMBER Now chill & grey November Come slowly o'er the plain, Drearily the winter wind Sings songs of future pain. Wrapped closely in deep grey, She scarcely will let pass A little ray of sun To cheer the sodden grass. She scatters with her hand The leaves dried up and brown, The few that yet remain From gay October's crown. Her eyes and dark and sad, Sad for the dying year, And often in the mist There falls a silent tear. Beneath a cheerless sky The trees are standing bare, The fog has risen thick And she is no more there.

What dreams have they forced you to defer? Did you want to be a pilot and fly planes? Did they say you wouldn't make it in the Ivy League? Did you want to be a poet and write your poems in the stars like the ones that came before? Maybe the darkness inside stole your dreams? Left you broken and buried In a womb of despair Did you have the rise up out of the dirt, too, Learn to cultivate the light again, too? Did you ever think you would watch your parents crawling around on the floor, chasing the white ghost? Did you ever think would be next? What kind of dreams you got festering, burning inside you? How many nights you had to sit on the ceiling, Waiting for dem dreams? Chasing dem dreams Hoping they wouldn't steal dem dreams? Tell me 'bout dem dreams Tell me what dey was What dreams have they forced you to defer? And what do you plan to do about it?

There’s nothing easy about helping someone start the journey from life to death. “They also serve who only stand and wait,” the poet Milton said. It’s a line I often hear in my head at work, where standing and waiting can be the best service we offer.

TEN GREATEST ENGLISH POETS Chaucer, Spenser, Shakespeare, Milton, Burns, Wordsworth, Keats, Shelley, Tennyson, Browning. TEN GREATEST ENGLISH ESSAYISTS Bacon, Addison, Steele, Macaulay, Lamb, Jeffrey, De Quincey, Carlyle, Thackeray and Matthew Arnold.

I began to watch places with an interest so exact it might have been memory. There was that street corner, with the small newsagent which sold copies of the Irish Independent and honeycomb toffee in summer. I could imagine myself there, a child of nine, buying peppermints and walking back down by the canal, the lock brown and splintered as ever, and boys diving from it. It became a powerful impulse, a slow intense reconstruction of a childhood which had never happened. A fragrance or a trick of light was enough. Or a house I entered which I wanted not just to appreciate but to remember, and then I would begin.

To the Thawing Wind" Come with rain, O loud Southwester! Bring the singer, bring the nester; Give the buried flower a dream; Make the settled snow-bank steam; Find the brown beneath the white; But whate'er you do to-night, Bathe my window, make it flow, Melt it as the ice will go; Melt the glass and leave the sticks Like a hermit's crucifix; Burst into my narrow stall; Swing the picture on the wall; Run the rattling pages o'er; Scatter poems on the floor; Turn the poet out of door.

Offered a job as book critic for Time magazine as a young man, Bellow had been interviewed by Chambers and asked to give his opinion about William Wordsworth. Replying perhaps too quickly that Wordsworth had been a Romantic poet, he had been brusquely informed by Chambers that there was no place for him at the magazine. Bellow had often wondered, he told us, what he ought to have said. I suggested that he might have got the job if he'd replied that Wordsworth was a once-revolutionary poet who later became a conservative and was denounced by Browning and others as a turncoat. This seemed to Bellow to be probably right. More interesting was the related question: What if he'd kept that job?

Work is love made visible. And what is it to work with love?” the poet Khalil Gibran wrote. In the hospital, working with love sometimes requires putting people in danger.

In the face of her beauty My rhythm shudders And I am no longer a poet But just another woman in love.

Well, then, I am getting deeper and deeper into correspondence with Robert Browning, poet and mystic, and we are growing to be the truest of friends.

Wordsworth is a philosophical and Christian poet, with depths in his soul to which poor Byron could never reach.

I am writing the success of my every breath.

I think of myself as a descendant of traditions that would not have wanted me. Right? So, as long as I'm a queer writer, I'm Whitman's descendant. And he can't do nothing about it.

What some call health, if purchased by perpetual anxiety about diet, isn’t much better than tedious disease.” —Alexander Pope, eighteenth-century English poet

So what? We’re supposed to whip Titus? Kill him? That would be Law.” “Would it? Or would it just be vengeance?” “You’re the poet. You figure it out.” I kick a stone off the ramparts.

When men of intense reality, as all great poets must be, give their hearts to be trodden on & tied up with ribbons in turn, by men of masks, there will be torture if here is not desecration.

Even the iconoclastic poet William Blake hinted that we should read between the lines.” Langdon was familiar with the verse: BOTH READ THE BIBLE DAY AND NIGHT, BUT THOU READ BLACK WHERE I READ WHITE.

It had nothing to do with hash browns!” “Everything has to do with hash browns,” she said. “As the poet wrote: So much depends upon the golden hash browns, glazed with oil, beside the scrambled eggs.

I had seen the girl somewhere before. She was a slender girl in a glistening blue gown that exhibited a generous spread of front, back and arms that were worth showing. She had a mass of dark brown hair above an oval face of the color that pink ought to be. Her eyes were wide-set and of a gray shade that wasn't altogether unlike the shadows on polished silver that the poet had compared them to. "The Girl With The Silver Eyes

And so I turned, canny for my years, from the professors to the poets, listening – to the lyric tenor of Swinburne and the tenor robusto of Shelley, to Shakespeare with his first bass and his fine range, to Tennyson with his second badd and his occasional falsetto, to Milton and Marlow, bassos profundos. I gave ear to Browning chatting, Byron declaiming and Wordsworth droning. This, at least, did me no harm. I learned a little of beauty – enough to know that it had nothing to do with truth – and I found, moreover, that there was no great literary tradition; there was only the tradition of the eventual death of every literary tradition…

Love was a word that poets and songwriters used. They vested the emotion with tremendous powers over the human heart and mind, but they were wrong. it didn't transform lives like the saccharine lyrics claimed it could.

The spring of 1838 was marked by two events of interest to Miss Barrett and her family. In the first place, Mr. Barrett’s apparently interminable search for a house ended in his selection of 50 Wimpole Street, which continued to be his home for the rest of his life, and which is, consequently, more than any other house in London, to be associated with his daughter’s memory. The second event was the publication of ‘The Seraphim, and other Poems,’ which was Miss Barrett’s first serious appearance before the public, and in her own name, as a poet. The early letters of this year refer to the preparation of this volume, as well as to the authoress’s health, which was at this time in a very serious condition, owing to the breaking of a blood-vessel. Indeed, from this time until her marriage in 1846 she held her life on the frailest of tenures, and lived in all respects the life of an invalid.

Without anything being said, there were no women at our lunches. Not that we were talking pussy. Or not much. But it was a chaps thing. Seasoned observers all, we set the world, such as it was, to rights, offsetting our intellectual know-how with truly wondrous flights of fancy. It was at the time of the ruinous yet avoidable civil war in Angola, in which far too many people died, or, in our immortal parlance, became 'deadified.' It might have been anyone—actually, I [Christopher Hitchens] am sure it was our poet friend Craig Raine—who came up with the appalling yet unforgettable idea that there is a design flaw in the female form, and that the breasts and the buttocks really ought to be on the same side. For myself, I have oft been perplexed as to why our heads are where, in a truly just world, our penises really ought to be, and my arse is not located between my chin and my nose, allowing me mellifluously to talk out of it.

The brown autumn came. Out of doors, it brought to the fields the prodigality of the golden harvest, —to the forest, revelations of light,⁠—and to the sky, the sharp air, the morning mist, the red clouds at evening. Within doors, the sense of seclusion, the stillness of closed and curtained windows, musings by the fireside, books, friends, conversation, and the long, meditative evenings. To the farmer, it brought surcease of toil,⁠—to the scholar, that sweet delirium of the brain which changes toil to pleasure. It brought the wild duck back to the reedy marshes of the south; it brought the wild song back to the fervid brain of the poet. Without, the village street was paved with gold; the river ran red with the reflection of the leaves. Within, the faces of friends brightened the gloomy walls; the returning footsteps of the long-absent gladdened the threshold; and all the sweet amenities of social life again resumed their interrupted reign.

The death of a parent, he says to it, is a profoundly lifealtering experience, isn't it? When I was a child, I often had this feeling of God's in his Heaven: All's right with the world—that's Robert Browning. An English poet. But ever since my father died in the last war, I've awakened each morning knowing that I'll never again feel that absolute security. Nothing is ever quite right, is it, after a parent dies? No matter how well things go, something always feels slightly off...

Over time I tried everything from “the good girl” with my “perform-perfect-please” routine, to clove-smoking poet, angry activist, corporate climber, and out-of-control party girl. At first glance these may seem like reasonable, if not predictable, developmental stages, but they were more than that for me. All of my stages were different suits of armor that kept me from becoming too engaged and too vulnerable. Each strategy was built on the same premise: Keep everyone at a safe distance and always have an exit strategy.

Nor mourn, O living One, because her part in life was mourning: Would she have lost the poet’s fire for the anguish of the burning? The minstrel harp, for the strained string? tripod for the afflated Woe, or the vision, for those tears in which it shone dilated?

Dad, who knew that Mother’s favorite poet was Browning and suspected where the Robert came from, nevertheless bunched the fingers of his right hand, kissed their tips, and threw his hand into the air. “Ah, Robert,” he intoned, “if I could but taste the nectar of thy lips.

He is the most Shakespearean creature since Shakespeare. If Shakespeare could sing with myriad lips, Browning could stammer through a thousand mouths. [...] Yes, Browning was great. And as what will he be remembered? As a poet? Ah, not as a poet! He will be remembered as a writer of fiction, as the most supreme writer of fiction, it may be, that we have ever had. His sense of dramatic situation was unrivalled, and, if he could not answer his own problems, he could at least put problems forth, and what more should an artist do? Considered from the point of view of a creator of character he ranks next to him who made Hamlet. Had he been articulate, he might have sat beside him. The only man who can touch the hem of his garment is George Meredith. Meredith is a prose Browning, and so is Browning. He used poetry as a medium for writing in prose.

By the last American packet I had two letters, one from a poet of Massachusetts, and another from a poetess: the he, Mr. Lowell, and the she, Mrs. Sigourney. She says that the sound of my poetry is stirring the ‘deep green forests of the New World;’ which sounds pleasantly, does it not?

Eva walked along the wall that held all of Michael's books. Shelves of science texts - physics, astronomy, a full set of Darwin's writings, new works in biomedical genetics - these were at the bottom, and books on philosophy and religion at the top. A row of poetry books caught her eye. Rumi, Whitman, Neruda - impossible to comprehend what he might be looking for in the poets' works he collected. Love possibly, but not love the way she understood it. She couldn't wait until she would no longer have to study, but Michael - he loved to study even when he wasn't a student.

The chief news is that I have grown a beard! Its colour is very much admired, and it is generally considered extremely effective, though some ill-bred persons have been observed to laugh. It is a red-brown of the most approved tint, and makes me look like a French decadent poet—or something equally distinguished.

Poem: Roses And Rue (To L. L.) Could we dig up this long-buried treasure, Were it worth the pleasure, We never could learn love's song, We are parted too long. Could the passionate past that is fled Call back its dead, Could we live it all over again, Were it worth the pain! I remember we used to meet By an ivied seat, And you warbled each pretty word With the air of a bird; And your voice had a quaver in it, Just like a linnet, And shook, as the blackbird's throat With its last big note; And your eyes, they were green and grey Like an April day, But lit into amethyst When I stooped and kissed; And your mouth, it would never smile For a long, long while, Then it rippled all over with laughter Five minutes after. You were always afraid of a shower, Just like a flower: I remember you started and ran When the rain began. I remember I never could catch you, For no one could match you, You had wonderful, luminous, fleet, Little wings to your feet. I remember your hair - did I tie it? For it always ran riot - Like a tangled sunbeam of gold: These things are old. I remember so well the room, And the lilac bloom That beat at the dripping pane In the warm June rain; And the colour of your gown, It was amber-brown, And two yellow satin bows From your shoulders rose. And the handkerchief of French lace Which you held to your face - Had a small tear left a stain? Or was it the rain? On your hand as it waved adieu There were veins of blue; In your voice as it said good-bye Was a petulant cry, 'You have only wasted your life.' (Ah, that was the knife!) When I rushed through the garden gate It was all too late. Could we live it over again, Were it worth the pain, Could the passionate past that is fled Call back its dead! Well, if my heart must break, Dear love, for your sake, It will break in music, I know, Poets' hearts break so. But strange that I was not told That the brain can hold In a tiny ivory cell God's heaven and hell.

Say you could view a time-lapse film of our planet: what would you see? Transparent images moving through light, “an infinite storm of beauty.” The beginning is swaddled in mists, blasted by random blinding flashes. Lava pours and cools; seas boil and flood. Clouds materialize and shift; now you can see the earth’s face through only random patches of clarity. The land shudders and splits, like pack ice rent by a widening lead. Mountains burst up, jutting and dull and soften before your eyes, clothed in forests like felt. The ice rolls up, grinding green land under water forever; the ice rolls back. Forests erupt and disappear like fairy rings. The ice rolls up-mountains are mowed into lakes, land rises wet from the sea like a surfacing whale- the ice rolls back. A blue-green streaks the highest ridges, a yellow-green spreads from the south like a wave up a strand. A red dye seems to leak from the north down the ridges and into the valleys, seeping south; a white follows the red, then yellow-green washes north, then red spreads again, then white, over and over, making patterns of color too swift and intricate to follow. Slow the film. You see dust storms, locusts, floods, in dizzying flash frames. Zero in on a well-watered shore and see smoke from fires drifting. Stone cities rise, spread, and then crumble, like patches of alpine blossoms that flourish for a day an inch above the permafrost, that iced earth no root can suck, and wither in a hour. New cities appear, and rivers sift silt onto their rooftops; more cities emerge and spread in lobes like lichen on rock. The great human figures of history, those intricate, spirited tissues that roamed the earth’s surface, are a wavering blur whose split second in the light was too brief an exposure to yield any images. The great herds of caribou pour into the valleys and trickle back, and pour, a brown fluid. Slow it down more, come closer still. A dot appears, like a flesh-flake. It swells like a balloon; it moves, circles, slows, and vanishes. This is your life.

And then people ask me what I mean in [words torn out]. I hope you were among the six who understood or half understood my ‘Poet’s Vow’ — that is, if you read it at all. Uncle Hedley made a long pause at the first part. But I have been reading, too, Sheridan Knowles’s play of the ‘Wreckers.’ It is full of passion and pathos, and made me shed a great many tears.

I try to be as kind to poetry as I can... the expectation of the poem is much higher. People really expect to read seven lines, and walk away from that better. They want to be healed. People really think, "Oh, here's a poem, OK, let's see what you gonna do. Fix me." You don't go watch Alvin Ailey thinking "fix me." You don't go to the museum thinking "give me wisdom.

It’s normal to feel some level of jealousy, and research shows that in small doses and expressed appropriately, it’s a normal part of healthy relationships. I love how the poet Maya Angelou frames it. “Jealousy in romance is like salt in food. A little can enhance the savor, but too much can spoil the pleasure and, under certain circumstances, can be life-threatening.

This summer, a lot of what I was teaching was against Bloom’s Anxiety of Influence, very broadly speaking, this anxiety of sounding too much like another poet, especially a firmly established poet, for fear of not sounding original. I kept telling my students, “Why wouldn’t you want to be influence by these poets! Why wouldn’t you want to sound like Keats or Robert Hayden?” Pound and Eliot were influenced by Browning, and they influenced one another. James Wright—when he came on the scene, many of us were consciously imitating him, trying to do do what he so gloriously did.... I tell them not to worry about influence or imitation as long as you’re emulating the best work, the work you love. How much imitation is too much? You’ll know it when you see it. . . .And that’s just a huge problem in general, especially in America. We’re individuals. we’re the one, not the many. We want to stand out from the crowd. Everyone is trying to differentiate themselves. The fact is we are one big organism. We belong together. We are a tribe. Not one of us can do something that doesn’t affect the other, past or present.

The disjuncture from politics, on the other hand, springs from something which concerns all these poets: the shattered nature of Scottish consciousness, which isn't a low flat floor of peasant culture on which all stand together but a wild junk-yard of high culture fragments, English imports, oral traditions of 'the Scots commons' and proletarian 'socialist realism' from the thirties.

I heard of the Reverend somebody Stoddart gravely proposing ‘Poetry for the Million’ to his audience; he assuring them that ‘poets made a mystery of their art,’ but that in fact nothing except an English grammar, and a rhyming dictionary, and some instruction about counting on the fingers, was necessary in order to make a poet of any man! This is a fact. And to this extent has the art, once called divine, been desecrated among the educated classes of our country.

THE BEAUTY Poetry is beautiful, in my eyes. Its words are aged with wisdom. A poets tears burn words, to vanish sighs, As eternal as silence is sincere. A sphinx pressed against the sky, Is as pure as an angel’s virginity. The words of a poet articulates sound Nor tears, nor laughter prohibits meaning. Poets who speak wisely with conceit, Interpret words beyond reason. To consume the hour with extensive study; Is admired for its esthetic beauty. Poetry, the mirror image of perfection: Meaningful text, burn words internally! — Angela Khristin Brown

You are kind to me in many ways, and I would willingly know as much of your intellectual habits as you teach me of your genial feelings. This ‘Pathfinder’ (what an excellent name for an American journal!) I also owe to you, with the summing up of your performances in it, and with a notice of Mr. Browning’s ‘Blot on the Scutcheon,’ which would make one poet furious (the ‘infelix Talfourd’) and another a little melancholy — namely, Mr. Browning himself. There is truth on both sides, but it seems to me hard truth on Browning. I do assure you I never saw him in my life — do not know him even by correspondence —

Elizabeth Barrett Browning, paid in Aurora Leigh (1857) her well-known tribute to Keats in lines that are neither good as poetry nor accurate as fact, but in their chaotic way none the less passionately felt and haunting: — By Keats’ soul, the man who never stepped In gradual progress like another man, But, turning grandly on his central self, Ensphered himself in twenty perfect years And died, not young, (the life of a long life Distilled to a mere drop, falling like a tear Upon the world’s cold cheek to make it burn For ever;) by that strong accepted soul, I count it strange and hard to understand That nearly all young poets should write old.

Mayakovsky" 1 My heart’s aflutter! I am standing in the bath tub crying. Mother, mother who am I? If he will just come back once and kiss me on the face his coarse hair brush my temple, it’s throbbing! then I can put on my clothes I guess, and walk the streets. 2 I love you. I love you, but I’m turning to my verses and my heart is closing like a fist. Words! be sick as I am sick, swoon, roll back your eyes, a pool, and I’ll stare down at my wounded beauty which at best is only a talent for poetry. Cannot please, cannot charm or win what a poet! and the clear water is thick with bloody blows on its head. I embrace a cloud, but when I soared it rained. 3 That’s funny! there’s blood on my chest oh yes, I’ve been carrying bricks what a funny place to rupture! and now it is raining on the ailanthus as I step out onto the window ledge the tracks below me are smoky and glistening with a passion for running I leap into the leaves, green like the sea 4 Now I am quietly waiting for the catastrophe of my personality to seem beautiful again, and interesting, and modern. The country is grey and brown and white in trees, snows and skies of laughter always diminishing, less funny not just darker, not just grey. It may be the coldest day of the year, what does he think of that? I mean, what do I? And if I do, perhaps I am myself again.

My friend is not "mistrustful" of me, no, because she don't fear I shall make mainprize of the stray cloaks & umbrellas down-stairs, or turn an article for "Colburn's" on her sayings & doings up-stairs--but, spite of that, she does mistrust . . . so mistrust my common sense; nay, uncommon and dramatic-poet's sense, if I am put on asserting it!--all which pieces of mistrust I could detect, and catch struggling, and pin to death in a moment, and put a label on, with name, genus & species, just like a horrible entomologist; only I wo'n't, because the first visit of the North wind will carry the whole tribe into the Red Sea--and those horns and tails and scalewings are best forgotten altogether.

Still, the limitations of what we can know, no matter how obsessed we are, have, inevitably, become clear to me. She walks ahead of me and I don't get to see her face. Was her hair brown or pale? Was she slim? Did she get heavier as she bore her children? Or was she petite, like a bird? What did her voice sound like? Did she argue with her husband? Did she like to cook? Was she as ambitious as I think she was? Would she have approved of my writing about her? But the closer I have drawn, the more she has receded, her figure diminishing, no matter how I strain to catch up. Those shores of early America are irretrievable, as is Anne. I have tried to retrieve her here, but some of the most important things are bound to be left unknown.

Senseless people name evil good, call good evil. As you are doing. You accuse Us of passing false judgement: you do Us injustice. We shall prove this to you. You ask who We are: We are God’s handle, Master Death, a truly effective reaper. Our scythe works its way. It cuts down white, black, red, brown, green, blue, grey, yellow, and all kinds of lustrous flowers in its path, irrespective of their splendour, their strength, their virtue. And the violet’s beautiful colour, rich perfume, and palatable sap, avail it nought. See: that is justice. Our justification was acknowledged by the Romans and the poets, for they knew Us better than you do. You ask what We are: We are nothing, and yet something. Nothing, because We have neither life, nor being, nor form, and We are no spirit, not visible, not tangible; something, because We are the end of life, the end of existence, the beginning of nullity, a cross between the two. We are a happening that fells all people. Huge giants must fall before Us; all living beings must be transformed by Us. You ask where We are: We are not ascertainable. But Our form was found in a temple in Rome*, painted on a wall, as a hoodwinked man sitting on an ox; this man wielded a hatchet in his right hand and a shovel in his left hand, with which he was beating the ox. A great crowd of all kinds of people was hitting him, fighting him, and making casts at him, each one with the tools of his trade: even the nun with her psalter was there. They struck and made casts at the man on the ox, he who signified Us; yet Death contested and buried them all. Pythagoras likens Us to a man’s form with the eyes of a basilisk: they wandered to the ends of the Earth, and every living creature had to die at their glance. You ask where We are: We are from the Earthly Paradise. God created Us there and gave Us Our true name, when he said: «The day that ye bite of this fruit, ye shall die the death.» And for that reason We call ourself: «We, Death, mighty ruler and master on Earth, in the air, and in the rivers of the sea.» You ask what good We do: you have already heard that We bring the world more advantage than harm. Now cease, rest content, and thank Us for the kindness we have done you!

By the way, I do hope you have some sympathy with me in my respect for the King of the French — that right kingly king, Louis Philippe. If France had borne more liberty, he would not have withheld it, and, for the rest, and in all truly royal qualities, he is the noblest king, according to my idea, in Europe — the most royal king in the encouragement of art and literature, and in the honoring of artists and men of letters. Let a young unknown writer accomplish a successful tragedy, and the next day he sits at the king’s table — not in a metaphor, but face to face. See how different the matter is in our court, where the artists are shown up the back stairs, and where no poet (even by the back stairs) can penetrate, unless so fortunate as to be a banker also. What is the use of kings and queens in these days, except to encourage arts and letters? Really I cannot see.

At least since the first petals of the counterculture bloomed across Europe and the United States in the 1960s, it has been fashionable to affirm that all religions are beautiful and all are true. This claim, which reaches back to All Religions Are One (1795) by the English poet, printmaker, and prophet William Blake, is as odd as it is intriguing.¹ No one argues that different economic systems or political regimes are one and the same. Capitalism and socialism are so obviously at odds that their differences hardly bear mentioning. The same goes for democracy and monarchy. Yet scholars continue to claim that religious rivals such as Hinduism and Islam, Judaism and Christianity are, by some miracle of the imagination, essentially the same, and this view resounds in the echo chamber of popular culture, not least in Dan Brown's multi-million-dollar Da Vinci Code franchise.

The Christian religion is true or it is not, and if it is true it offers the highest and purest objects of contemplation. And the poetical faculty, which expresses the highest moods of the mind, passes naturally to the highest objects. Who can separate these things? Did Dante? Did Tasso? Did Petrarch? Did Calderon? Did Chaucer? Did the poets of our best British days? Did any one of these shrink from speaking out Divine names when the occasion came? Chaucer, with all his jubilee of spirit and resounding laughter, had the name of Jesus Christ and God as frequently to familiarity on his lips as a child has its father’s name. You say ‘our religion is not vital — not week-day — enough.’ Forgive me, but that is a confession of a wrong, not an argument. And if a poet be a poet, it is his business to work for the elevation and purification of the public mind, rather than for his own popularity! while if he be not a poet, no sacrifice of self-respect will make amends for a defective faculty, nor ought to make amends.

Standing upright in the solitude of his room, he vowed that he would be the first poet of his race and bring immortal lustre upon his name. He said (reciting the names and exploits of his ancestors) that Sir Boris had fought and killed the Paynim; Sir Gawain, the Turk; Sir Miles, the Pole; Sir Andrew, the Frank; Sir Richard, the Austrian; Sir Jordan, the Frenchman; and Sir Herbert, the Spaniard. But of all that killing and campaigning, that drinking and lovemaking, that spending and hunting and riding and eating, what remained? A skull; a finger. Whereas, he said, turning to the page of Sir Thomas Browne, which lay open upon the table - and again he paused. Like an incantation rising from all parts of the room, from the night wind and the moonlight, rolled the divine melody of those words which, lest they should outstare this page, we will leave where they lie entombed, not dead, embalmed rather, so fresh is their colour, so sound their breathing - and Orlando, comparing that achievement with those of his ancestors, cried out that they and their deeds were dust and ashes, but this man and his words were immortal,

On Becoming a Poet in the 1950s" There was love and there was trees. Either you could stay inside and probe your emotions or you could go outside and keenly observe nature. Describe the sheen on carapaces, the effect of breeze on grass. What's the fag doing now? Dad would say. Picking the nose of his heart? Wanking off on a daffodil? He's not homosexual, Mom would retort, using her apron as a potholder to remove the apple brown betty from the oven. He's sensitive. He cares. He wishes to impart values and standards to an indifferent world. Wow! said Dad, stomping off to the pantry for another scotch. Two poets in the family. Ain't I a lucky duck? As fate would have it, I became one of your tweedy English teachers, what Dad would call a daffodil-wanker, and Mom ended up doing needlepoint, seventy-two kneelers for St. Fred's before she expired of the heart broken on the afternoon that Dad roared off with the Hell's Angels. We heard a little from Big Sur. A beard. Tattoos. A girlfriend named Strawberry. A boyfriend named Thor. Bars and pot and coffeehouses, stuff like that. After years of quotation by younger poets, admiration but no real notice, Dad is making the anthologies now. Critics cite his primal rage, the way he nails Winnetka.

All through my keys that gave their sounds to a wish of my soul, All through my soul that praised as its wish flowed visibly forth, All through music and me! For think, had I painted the whole, Why, there it had stood, to see, nor the process so wonder-worth: Had I written the same, made verse—still, effect proceeds from cause, Ye know why the forms are fair, ye hear how the tale is told; It is all triumphant art, but art in obedience to laws, Painter and poet are proud in the artist-list enrolled:— But here is the finger of God, a flash of the will that can, Existent behind all laws, that made them and, lo, they are! And I know not if, save in this, such gift be allowed to man, That out of three sounds he frame, not a fourth sound, but a star. Consider it well: each tone of our scale in itself is nought; It is everywhere in the world—loud, soft, and all is said: Give it to me to use! I mix it with two in my thought: And, there! Ye have heard and seen: consider and bow the head! Well, it is gone at last, the palace of music I reared; Gone! and the good tears start, the praises that come too slow; For one is assured at first, one scarce can say that he feared, That he even gave it a thought, the gone thing was to go. Never to be again! But many more of the kind As good, nay, better, perchance: is this your comfort to me? To me, who must be saved because I cling with my mind To the same, same self, same love, same God: ay, what was, shall be.

Everything has already been caught, until my death, in an icefloe of being: my trembling when a piece of rough trade asks me to brown him (I discover that his desire is his trembling) during a Carnival night; at twilight, the view from a sand dune of Arab warriors surrendering to French generals; the back of my hand placed on a soldier's basket, but especially the sly way in which the soldier looked at it; suddenly I see the ocean between two houses in Biarritz; I am escaping from the reformatory, taking tiny steps, frightened not at the idea of being caught but of being the prey of freedom; straddling the enormous prick of a blond legionnaire, I am carried twenty yards along the ramparts; not the handsome football player, nor his foot, nor his shoe, but the ball, then ceasing to be the ball and becoming the “kick-off,” and I cease being that to become the idea that goes from the foot to the ball; in a cell, unknown thieves call me Jean; when at night I walk barefoot in my sandals across fields of snow at the Austrian border, I shall not flinch, but then, I say to myself, this painful moment must concur with the beauty of my life, I refuse to let this moment and all the others be waste matter; using their suffering, I project myself to the mind's heaven. Some negroes are giving me food on the Bordeaux docks; a distinguished poet raises my hands to his forehead; a German soldier is killed in the Russian snows and his brother writes to inform me; a boy from Toulouse helps me ransack the rooms of the commissioned and non-commissioned officers of my regiment in Brest: he dies in prison; I am talking of someone–and while doing so, the time to smell roses, to hear one evening in prison the gang bound for the penal colony singing, to fall in love with a white-gloved acrobat–dead since the beginning of time, that is, fixed, for I refuse to live for any other end than the very one which I found to contain the first misfortune: that my life must be a legend, in other words, legible, and the reading of it must give birth to a certain new emotion which I call poetry. I am no longer anything, only a pretext.

The buzzards over Pondy Woods Achieve the blue tense altitudes Black figments that the woods release, Obscenity in form and grace, Drifting high through the pure sunshine Till the sun in gold decline. (...) By the buzzard roost Big Jim Todd Listened for hoofs on the corduroy road Or for the foul and sucking sound A man's foot makes on the marshy ground. Past midnight, when the moccasin Slipped from the log and, trailing in Its obscured waters, broke The dark algae, one lean bird spoke, (...) "[Big Jim] your breed ain't metaphysical." The buzzard coughed, His words fell In the darkness, mystic and ambrosial. "But we maintain our ancient rite, Eat the gods by day and prophesy by night. We swing against the sky and wait; You seize the hour, more passionate Than strong, and strive with time to die -- With time, the beaked tribe's astute ally. "The Jew-boy died. The Syrian vulture swung Remotely above the cross whereon he hung From dinner-time to supper-time, and all The people gathered there watched him until The lean brown chest no longer stirred, Then idly watched the slow majestic bird That in the last sun above the twilit hill Gleamed for a moment at the height and slid Down the hot wind and in the darkness hid. [Big Jim], regard the circumstance of breath: Non omnis moriar, the poet sayeth." Pedantic, the bird clacked its gray beak, With a Tennessee accent to the classic phrase; Jim understood, and was about to speak, But the buzzard drooped one wing and filmed the eyes. At dawn unto the Sabbath wheat he came, That gave to the dew its faithless yellow flame From kindly loam in recollection of The fires that in the brutal rock one strove. To the ripe wheat he came at dawn. Northward the printed smoke stood quiet above The distant cabins of Squiggtown. A train's far whistle blew and drifted away Coldly; lucid and thin the morning lay Along the farms, and here no sound Touched the sweet earth miraculously stilled. Then down the damp and sudden wood there belled The musical white-throated hound. In pondy Woods in the summer's drouth Lurk fever and the cottonmouth. And buzzards over Pondy Woods Achieve the blue tense altitudes, Drifting high in the pure sunshine Till the sun in gold decline; Then golden and hieratic through The night their eyes burn two by two.

What are the great poetical names of the last hundred years or so? Coleridge, Wordsworth, Byron, Shelley, Landor, Keats, Tennyson, Browning, Arnold, Morris, Rossetti, Swinburne—we may stop there. Of these, all but Keats, Browning, Rossetti were University men, and of these three, Keats, who died young, cut off in his prime, was the only one not fairly well to do. It may seem a brutal thing to say, and it is a sad thing to say: but, as a matter of hard fact, the theory that poetical genius bloweth where it listeth, and equally in poor and rich, holds little truth. As a matter of hard fact, nine out of those twelve were University men: which means that somehow or other they procured the means to get the best education England can give. As a matter of hard fact, of the remaining three you know that Browning was well to do, and I challenge you that, if he had not been well to do, he would no more have attained to write Saul or The Ring and the Book than Ruskin would have attained to writing Modern Painters if his father had not dealt prosperously in business. Rossetti had a small private income; and, moreover, he painted. There remains but Keats; whom Atropos slew young, as she slew John Clare in a mad-house, and James Thomson by the laudanum he took to drug disappointment. These are dreadful facts, but let us face them. It is—however dishonouring to us as a nation—certain that, by some fault in our commonwealth, the poor poet has not in these days, nor has had for two hundred years, a dog’s chance. Believe me—and I have spent a great part of ten years in watching some three hundred and twenty elementary schools, we may prate of democracy, but actually, a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ (cit. The Art of Writing, Sir Arthur Quiller-Couch) Nobody could put the point more plainly. ‘The poor poet has not in these days, nor has had for two hundred years, a dog’s chance . . . a poor child in England has little more hope than had the son of an Athenian slave to be emancipated into that intellectual freedom of which great writings are born.’ That is it. Intellectual freedom depends upon material things. Poetry depends upon intellectual freedom. And women have always been poor, not for two hundred years merely, but from the beginning of time. Women have had less intellectual freedom than the sons of Athenian slaves. Women, then, have not had a dog’s chance of writing poetry. That is why I have laid so much stress on money and a room of one’s own. However, thanks to the toils of those obscure women in the past, of whom I wish we knew more, thanks, curiously enough to two wars, the Crimean which let Florence Nightingale out of her drawing-room, and the European War which opened the doors to the average woman some sixty years later, these evils are in the way to be bettered. Otherwise you would not be here tonight, and your chance of earning five hundred pounds a year, precarious as I am afraid that it still is, would be minute in the extreme.

He went straight to ‘his alley,’ and when he reached the end of it he perceived, still on the same bench, that wellknown couple. Only, when he approached, it certainly was the same man; but it seemed to him that it was no longer the same girl. The person whom he now beheld was a tall and beautiful creature, possessed of all the most charming lines of a woman at the precise moment when they are still combined with all the most ingenuous graces of the child; a pure and fugitive moment, which can be expressed only by these two words,— ‘fifteen years.’ She had wonderful brown hair, shaded with threads of gold, a brow that seemed made of marble, cheeks that seemed made of rose-leaf, a pale flush, an agitated whiteness, an exquisite mouth, whence smiles darted like sunbeams, and words like music, a head such as Raphael would have given to Mary, set upon a neck that Jean Goujon would have attributed to a Venus. And, in order that nothing might be lacking to this bewitching face, her nose was not handsome— it was pretty; neither straight nor curved, neither Italian nor Greek; it was the Parisian nose, that is to say, spiritual, delicate, irregular, pure,— which drives painters to despair, and charms poets. When Marius passed near her, he could not see her eyes, which were constantly lowered. He saw only her long chestnut lashes, permeated with shadow and modesty. This did not prevent the beautiful child from smiling as she listened to what the white-haired old man was saying to her, and nothing could be more fascinating than that fresh smile, combined with those drooping eyes. For a moment, Marius thought that she was another daughter of the same man, a sister of the former, no doubt. But when the invariable habit of his stroll brought him, for the second time, near the bench, and he had examined her attentively, he recognized her as the same. In six months the little girl had become a young maiden; that was all. Nothing is more frequent than this phenomenon. There is a moment when girls blossom out in the twinkling of an eye, and become roses all at once. One left them children but yesterday; today, one finds them disquieting to the feelings. This child had not only grown, she had become idealized. As three days in April suffice to cover certain trees with flowers, six months had sufficed to clothe her with beauty. Her April had arrived. One sometimes sees people, who, poor and mean, seem to wake up, pass suddenly from indigence to luxury, indulge in expenditures of all sorts, and become dazzling, prodigal, magnificent, all of a sudden. That is the result of having pocketed an income; a note fell due yesterday. The young girl had received her quarterly income. And then, she was no longer the school-girl with her felt hat, her merino gown, her scholar’s shoes, and red hands; taste had come to her with beauty; she was a well-dressed person, clad with a sort of rich and simple elegance, and without affectation. She wore a dress of black damask, a cape of the same material, and a bonnet of white crape. Her white gloves displayed the delicacy of the hand which toyed with the carved, Chinese ivory handle of a parasol, and her silken shoe outlined the smallness of her foot. When one passed near her, her whole toilette exhaled a youthful and penetrating perfume.

Momoko’s idea of the life of Mrs. Browning was singular. She had somehow gotten the idea that the poetess had been forced into a position much beneath her, had, in fact, been obliged to give herself to numbers of men, none of whom deserved her, and had consoled herself by penning those immortal lyrics of hers. I mentioned that the only men I know of in Elizabeth’s life were her father and her husband, both of whose intentions, so far as I had heard, had been impeccable. Yes, she nodded, pensive. She had heard of them. Robert—he was her first, her true love. And she remained true to him. While in the very throes of unfortunate transport in anonymous arms she had thought only of Robert. But certainly, I ventured, he had outlived her. He had gone on and become one of England’s greatest poets. “Did he write poetry too?” she asked, struck at the thought. “Yes, a very great deal.” She pondered, finger on cheek, then decided how sweet it was—he, the dear man, had loved her so much he had copied her. And she, forced into this promiscuous life, remained true to him, no matter what. And who forced her into it? Her father of course, crude man, who thought of nothing but money. I tried to discover where she could have uncovered such a fund of misinformation. Japanese schools teach some wild things but nothing, I think, so far from any reality as this. Upon this point, however, Momoko was not to be drawn out. She knew what she knew.

That poem you like, how does it end?” He knows how it ends. He’s looked it up by now, that’s why he asks. But I answer him anyway. “‘We have lingered in the chambers of the sea, by sea-girls wreathed with seaweed red and brown, till human voices wake us, and we drown.’” Eliot shakes his head. “It does not need the last three words. The last three words are wrong.” I laugh at his correcting a Nobel prize-winning poet, but I agree. I know what drowning feels like. It doesn’t need water. And human voices, if they say the right things, can save you. “Eliot, do you have a pen I can borrow?” I can feel him smiling in the dark, and we watch the sea caress the sand. “That man in the poem, Mr. Prufrock, he was a coward, wasn’t he?” Eliot says. My answer to his question is the same as his answer to mine.

The twelfth-century poet Abraham ibn Ezra, whom you encountered in high school as Browning’s Rabbi ben Ezra (may his tribe increase), limpidly described the shlimazl’s lot when he wrote: If I sold lamps, The sun, In spite, Would shine at night.

I weave through LA's famous Farmers Market, which is really more of an outdoor food court, and now I'm a few minutes late. And the place is packed and there's still the uncertainty about where to meet when I look down and realize I'm wearing yellow pants. Yellow pants. Really? Sometimes I don't know what I'm thinking. They're rolled at the cuff and paired with a navy polo and it looks like maybe I just yacht my yacht, and I'm certain to come off as an asshole. I thin about canceling, or at least delaying so I can go home and change, but the effort that would require is unappealing, and this date is mostly for distraction. And when I round the last stall--someone selling enormous eggplants, more round than oblong, I see him, casually leaning against a wall, and something inside my body says there you are. 'There you are.' I don't understand them, these words, because they seem too deep and too soulful to attach to the Farmers Market, this Starbucks or that, a frozen yogurt place, or confusion over where to meet a stranger. They're straining to define a feeling of stunning comfort that drips over me, as if a water balloon burst over my head on the hottest of summer days. My knees don't buckle, my heart doesn't skip, but I'm awash in the warmth of a valium-like hug. Except I haven't taken a Valium. Not since the night of Lily's death. Yet here is this warm hug that makes me feel safe with this person, this Byron the maybe-poet, and I want it to stop. This--whatever this feeling is--can't be a real feeling, this can't be a tangible connection. This is just a man leaning against a stall that sells giant eggplants. But I no longer have time to worry about what this feeling is, whether I should or shouldn't be her, or should or should't be wearing yellow pants, because there are only maybe three perfect seconds where I see him and he has yet to spot me. Three perfect seconds to enjoy the calm that has so long eluded me. 'There you are.' And then he casually lifts his head and turns my way and uses one foot to push himself off the wall he is leaning agains. We lock eyes and he smiles with recognition and there's a disarming kindness to his face and suddenly I'm standing in front of him. 'There you are.' It comes out of my mouth before I can stop it and it's all I can do to steer the words in a more playfully casual direction so he isn't saddled with the importance I've placed on them. I think it comes off okay, but, as I know from my time at sea, sometimes big ships turn slowly. Byron chuckles and gives a little pump of his fist. 'YES! IT'S! ALL! HAPPENING! FOR! US!' I want to stop in my tracks, but I'm already leaning in for a hug, and he comes the rest of the way, and the warm embrace of seeing him standing there is now an actual embrace, and it is no less sincere. He must feel me gripping him tightly, because he asks, 'Is everything okay?' No. 'Yes, everything is great, it's just...' I play it back in my head what he said, the way in which he said it, and the enthusiasm which only a month had gone silent. 'You reminded me of someone is all.' 'Hopefully in a good way.' I smile but it takes just a minute to speak. 'In the best possible way.' I don't break the hug first, but maybe at the same time, this is a step. jenny will be proud. I look in his eyes, which I expect to be brown like Lily's but instead are deep blue like the waters lapping calmly against the outboard sides of 'Fishful Thinking.' 'Is frozen yogurt okay?' 'Frozen yogurt is perfect.

p. 371 – 372 Living in a paradise of magnificent meadows and forests abundant with wild game, berries, and nuts, the Utes were self-supporting and could have existed entirely without the provisions doled out to them by their agents at Los Pinos and White River. In 1875 agent F. F. Bond at Los Pinos replied to a request for a census of his Utes: “A count is quite impossible. You might as well try to count a swarm of bees when on the wing. They travel all over the country like the deer which they hunt.” Agent E. H. Danforth at White River estimated that about nine hundred Utes used his agency as a headquarters, but he admitted that he had no luck in inducing them to settle down in the valley around the agency. At both places, the Utes humoured their agents by keeping small beef herds and planting a few rows of corn, potatoes, and turnips, but there was no real need for any of these pursuits. The beginning of the end of freedom upon their own reservation came in the spring of 1878, when a new agent reported for duty at White River. The agent’s name was Nathan C. Meeker, former poet, novelist, newspaper correspondent, and organizer of cooperative agrarian colonies. Most of Meeker’s ventures failed, and although he sought the agency position because he needed the money, he was possessed of a missionary fervor and sincerely believed that it was his duty as a member of a superior race to “elevate and enlighten” the Utes. As he phrased it, he was determined to bring them out of savagery through the pastoral stage to the barbaric, and finally to “the enlightened, scientific, and religious stage.” Meeker was confident he could accomplish all this in “five, ten, or twenty years.” In his humourless and overbearing way, Meeker set out systematically to destroy everything the Utes cherished, to make them over into his image, as he believed he had been made in God’s image.

In ancient Arabia, homosexuality was age-structured, involving bearded, mature men in love with beardless teenagers like you and Albert. The beard is a sign of manhood and masculinity. “Many Arabian poets described the object of their love as an adolescent boy, going to great lengths to describe “desirable” physical features. ●       This ideal young man is always brown and slender. ●       His waist is supple and thin like a willow branch or like a lance. ●       His hair, black as scorpions. ●       The hair that falls on his forehead curls like the Arabic alphabets. ●       His eyes are arcs with hurl arrows. ●       His cheeks are roses. ●       His saliva has the sweetness of honey. ●       Last but not least, his buttocks resemble a dune of moving sand. When he walks, you could call him a young faun. When he is motionless, he eclipses the brightness of the moon.” At this juncture, my professor gave me a beguiling smile, before adding, “You, Young are a perfect specimen of this ideal.

Victra stands to the side listening to enemy chatter. “Response teams inbound. More than two thousand mixed units.” She’s also patched to the strategic command on Orion’s ship, so she can gather battle data from the huge sensor arrays on the flagship. Looks like Roque launched more than fifteen thousand men at us in his leechCraft. Most will be in the Pax by now. Burrowed through to find me. Silly bastards. Roque gambled big, bet wrong. And I’ve just brought three thousand crazed Obsidian berserkers to a mostly empty warship. The Poet is going to be pissed.

Sure, I can make a boat,” he said, and then added, quoting the poet Joyce Kilmer, “‘But only God can make a tree.’” Pocock

Becoming aware of the dearness in what might otherwise be regarded as mundane is the ultimate form of insight.

I am frequently asked by people if I would like to be known or remembered for being a Great Poet or a Great Writer. The simple answer is this: There are many Great Poets and even more Great Writers, thus I answer and say, I would like to be remembered as a capable poet that was a good writer that possessed a truly loving soul, and that all may know, for me, this was great enough.

A WOMAN WITH A BIRD A bald eagle called out to another as magpies attacked their nest. Someone called it romantic. I believed her. The magpies, the ferryman, God, the poets, everything seemed romantic in Alaska, where people breathed out white birds. When I breathed, nothing came out. The eagles sat side by side and I wondered why they stayed long after the magpies had gone. At first, I thought the eagle was watching me. Then I realized the eagle was my life watching me. The distance between my life and myself had become too far. Because of my desire to find a way out of my life. When that happens, our breath comes out elsewhere. As if each day, I walked in a door but came out of another door. I wondered what country my breath came out in. When the male eagle finally flew off to a distant tree, the female didn’t follow. I felt something in my body attach and heard a clicking noise. I had been holding my breath for decades, while others painted my breasts, one white, one brown. In Alaska, my life was with me again, attached for now. I took photos of the birds to remind myself that the unsettled feeling wasn’t caused by me, and could be solved by traveling somewhere cold.

I love you," I told the library, staring at the mezzanine level with its intricate gold railings, marble columns, and marble busts of famous authors and poets—I spotted Elizabeth Barrett Browning, Shakespeare, Jane Austen, Rudyard Kipling, and Emily Dickinson.

Margaret Brown was already miffed that she had not been asked to testify before the Senate inquiry given her prominence on the Survivors’ Committee and the acclaim she was enjoying as a heroine of the Titanic. And as a supporter of women’s suffrage, Margaret was not shy about using her newfound fame to wade into the debate over gender equality swirling around the disaster. (One newspaper poet noted how the cry of “Votes for women” had become “Boats for women/When the brave/Were come to die.”) Margaret Brown stated in an interview that while “ ‘Women first’ is a principle as deep-rooted in man’s being as the sea … to me it is all wrong. Women demand equal rights on land—why not on sea?

Caminante, no hay camino, se hace camino al andar. Traveler, there is no path, the path must be forged as you walk. This line from the Spanish poet Antonio Machado

Where is the immortal majesty the poets promised me? Where is the stern will my ancestors preached to their children? It was just an illusion conjured by fools who never left their libraries, or by agents of necessity. This is the Noble Lie.

Craters on Mercury have to be named for deceased poets; moon of Uranus are named for Shakespearean characters. For this type of object in the Kuiper belt, the rules said that the name had to be a creation deity in a mythology

Lincoln told Chauncey Depew the story of a farmer who consulted him about obtaining a divorce after he and his wife had quarreled over the color to paint their new house. His client explained, “I wanted it painted white like our neighbors’, but my wife preferred brown. Our disputes finally became quarrels. She has broken crockery, throwing it at my head, and poured scalding tea down my back, and I want a divorce.” Lincoln urged the couple to compromise their differences for the sake of their children. A month later the farmer reported that he and his wife had reached a compromise: “we are going to paint the house brown.”344 Lincoln was fond of quoting from his favorite poet, Robert Burns, these lines: “Sic a wife as Willie had, / I would no gie a button for her.”345

There she was before him in all her Aboriginal glory. Brown eyes and skin so tan it was nearly black. Her smile—a wondrous thing. Her lips—he imagined that by the end of summer, they’d be kissing him on the way home from Gravity Park. To Iron, elevated as she was in his poetic imagination, she had become something else entirely, obscuring lines between fact and fiction, between science and religion. Nothing made sense—and yet everything did.

D and I surely recognized each other for the first time we talked some months ago. I have not felt this intimacy based on instant "recognition" so strongly since I first knew Bill Brown, thirty or more years ago. D and I are the same breed of cat, responsive and sensitive close to the surface, willing to give ourselves away. Such people rarely lead happy lives, but they do lead lives of constant growth and change. Gerald Heard's saying "he must go unprotected that he may be constantly changed" always comes to mind when I am speaking of what it is to be a poet and to go on writing poetry beyond the meridian of life. It is costly, so one has to hug very hard those like Bill Brown and D whom one has recognized.

Browning calls the poet God’s spy and that’s a complimentary way of putting it. We could say, more neutrally, that writers are almost always spies and have the kinds of lives that spying creates. They are constantly collecting information, making mental notes.

and I will always root for the brown chef / and I will never buy the white sob story / because the brown chef don't need sob story / because what is the disaporic kitchen if not one bellowing sob