Clarity Poems Quotes

When Great Trees Fall When great trees fall, rocks on distant hills shudder, lions hunker down in tall grasses, and even elephants lumber after safety. When great trees fall in forests, small things recoil into silence, their senses eroded beyond fear. When great souls die, the air around us becomes light, rare, sterile. We breathe, briefly. Our eyes, briefly, see with a hurtful clarity. Our memory, suddenly sharpened, examines, gnaws on kind words unsaid, promised walks never taken. Great souls die and our reality, bound to them, takes leave of us. Our souls, dependent upon their nurture, now shrink, wizened. Our minds, formed and informed by their radiance, fall away. We are not so much maddened as reduced to the unutterable ignorance of dark, cold caves. And when great souls die, after a period peace blooms, slowly and always irregularly. Spaces fill with a kind of soothing electric vibration. Our senses, restored, never to be the same, whisper to us. They existed. They existed. We can be. Be and be better. For they existed.

there's no clarity. there was never meant to be clarity.

What comes, when it comes, will be what it is.

I’d like to have enough time and quiet To think about absolutely nothing, To not ever feel myself living, To only know myself in others’ eyes, reflected.

On Writing: Aphorisms and Ten-Second Essays 1. A beginning ends what an end begins. 2. The despair of the blank page: it is so full. 3. In the head Art’s not democratic. I wait a long time to be a writer good enough even for myself. 4. The best time is stolen time. 5. All work is the avoidance of harder work. 6. When I am trying to write I turn on music so I can hear what is keeping me from hearing. 7. I envy music for being beyond words. But then, every word is beyond music. 8. Why would we write if we’d already heard what we wanted to hear? 9. The poem in the quarterly is sure to fail within two lines: flaccid, rhythmless, hopelessly dutiful. But I read poets from strange languages with freedom and pleasure because I can believe in all that has been lost in translation. Though all works, all acts, all languages are already translation. 10. Writer: how books read each other. 11. Idolaters of the great need to believe that what they love cannot fail them, adorers of camp, kitsch, trash that they cannot fail what they love. 12. If I didn’t spend so much time writing, I’d know a lot more. But I wouldn’t know anything. 13. If you’re Larkin or Bishop, one book a decade is enough. If you’re not? More than enough. 14. Writing is like washing windows in the sun. With every attempt to perfect clarity you make a new smear. 15. There are silences harder to take back than words. 16. Opacity gives way. Transparency is the mystery. 17. I need a much greater vocabulary to talk to you than to talk to myself. 18. Only half of writing is saying what you mean. The other half is preventing people from reading what they expected you to mean. 19. Believe stupid praise, deserve stupid criticism. 20. Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do. 21. Minds go from intuition to articulation to self-defense, which is what they die of. 22. The dead are still writing. Every morning, somewhere, is a line, a passage, a whole book you are sure wasn’t there yesterday. 23. To feel an end is to discover that there had been a beginning. A parenthesis closes that we hadn’t realized was open). 24. There, all along, was what you wanted to say. But this is not what you wanted, is it, to have said it?

Accept the universe As the gods gave it to you. If the gods wanted to give you something else They’d have done it. If there are other matters and other worlds There are.

I'm one of my sensations.

I had a moment of clarity, saw the feeling in the heart of things, walked out to the garden crying.

She’s a manner of speaking. Even the flowers don’t come back, or the green leaves. There are new flowers, new green leaves. There are other beautiful days. Nothing comes back, nothing repeats itself, because everything is real.

And I find a happiness in the fact of accepting — In the sublimely scientific and difficult fact of accepting the inevitable natural.

I’m in no hurry: the sun and the moon aren’t, either. Nobody goes faster than the legs they have. If where I want to go is far away, I’m not there in an instant. (6/20/1919)

I’m glad I see with my eyes and not the pages I’ve read.

I’m in no hurry: the sun and the moon aren’t, either. Nobody goes faster than the legs they have. If where I want to go is far away, I’m not there in an instant.

Night doesn’t fall for my eyes But my idea of the night is that it falls for my eyes. Beyond my thinking and having any thoughts The night falls concretely And the shining of stars exists like it had weight.

Alas, is even Love too weak to unlock the heart and let it speak? Are even lovers powerless to reveal To one another what indeed they feel?

Greed and desire Not peace, but fire Coveting creation Created damnation Pulled alongside A gate thrown too wide Now our home calls And darkness fall "I rubbed my temples, feeling a headache coming on."A for effort, ladies, but F for clarity. You do realise that your wierd poem things never explain anything",

I don’t know what understanding myself is. I don’t look inside. I don’t believe I exist behind myself.

I love flowers for being flowers, directly. And I love trees for being trees without my thought.

Everything’s different from us. That’s why everything exists.

Water’s water and that’s why it’s beautiful.

It’s an already inside outside, The philosophers say it’s the soul But it’s not the soul: it’s the animal or the man itself In its way of existing.

Clarity is just questioning having eaten its fill.

He should be happy because he can think about the unhappiness of others! He’s stupid if he doesn’t know other people’s unhappiness is theirs, And isn’t cured from the outside, Because suffering isn’t like running out of ink, Or a trunk not having iron bands! There being injustice is like there being death.

And the view was suddenly clear to me. The world opened out to its grim beyonds and I realized that, at forty, one must learn the rigors of acceptance. Capitalize it: Acceptance. I needed to accept what was put before me--be it a watery grave in Ireland's only natural fjord, or a return to the city and its grayer intensities, or a wordless exile in some steaming Cambodian swamp hole, or poems or no poems, or children or not, lovers or not, illness or otherwise, success or its absence. I would accept all that was put in my way, from here on through until I breathed my last.

There are no roses in my yard: what wind brought you? But I suddenly come from far away. I was sick for a moment. No wind whatsoever brought you now. Now you’re here. What you were isn’t you, or else the whole rose would be here.

If science wants to be truthful, What science is more truthful than the science of things without science? I close my eyes and the hard earth where I’m lying Has a reality so real even my back feels it. I don’t need reason — I have shoulderblades.

Whenever I hurt myself, my mother says it is the universe’s way of telling me to slow down. She also tells me to put some coconut oil on it. It doesn’t matter what it is. She often hides stones underneath my pillow when I come home for the weekend. The stones are a formula for sweet dreams and clarity. I dig them out from the streets, she tells me what each one is for. My throat hurts, so she grinds black pepper into a spoonful of honey, makes me eat the entire thing. My mother knows how to tie knots like a ship captain, but doesn’t know how I got that sailor mouth. She falls asleep in front of the TV only until I turn it off, shouts, I was watching that! The sourdough she bakes on Friday is older than I am. She sneaks it back and forth across the country when she flies by putting the starter in small containers next to a bag of carrots. They think it’s ranch dressing, she giggles. She makes tea by hand. Nettles, slippery elm, turmeric, cinnamon- my mother is a recipe for warm throats and belly laughs. Once she fell off of a ladder when I was three. She says all she was worried about was my face as I watched her fall.

We are disposable tonight. We are regrettable tonight. We can’t touch one another without the world imploding, tonight.

On the first day of November last year, sacred to many religious calendars but especially the Celtic, I went for a walk among bare oaks and birch. Nothing much was going on. Scarlet sumac had passed and the bees were dead. The pond had slicked overnight into that shiny and deceptive glaze of delusion, first ice. It made me remember sakes and conjure a vision of myself skimming backward on one foot, the other extended; the arms become wings. Minnesota girls know that this is not a difficult maneuver if one's limber and practices even a little after school before the boys claim the rink for hockey. I think I can still do it - one thinks many foolish things when November's bright sun skips over the entrancing first freeze. A flock of sparrows reels through the air looking more like a flying net than seventy conscious birds, a black veil thrown on the wind. When one sparrow dodges, the whole net swerves, dips: one mind. Am I part of anything like that? Maybe not. The last few years of my life have been characterized by stripping away, one by one, loves and communities that sustain the soul. A young colleague, new to my English department, recently asked me who I hang around with at school. "Nobody," I had to say, feeling briefly ashamed. This solitude is one of the surprises of middle age, especially if one's youth has been rich in love and friendship and children. If you do your job right, children leave home; few communities can stand an individual's most pitiful, amateur truth telling. So the soul must stand in her own meager feathers and learn to fly - or simply take hopeful jumps into the wind. In the Christian calendar, November 1 is the Feast of All Saints, a day honoring not only those who are known and recognized as enlightened souls, but more especially the unknowns, saints who walk beside us unrecognized down the millennia. In Buddhism, we honor the bodhisattvas - saints - who refuse enlightenment and return willingly to the wheel of karma to help other beings. Similarly, in Judaism, anonymous holy men pray the world from its well-merited destruction. We never know who is walking beside us, who is our spiritual teacher. That one - who annoys you so - pretends for a day that he's the one, your personal Obi Wan Kenobi. The first of November is a splendid, subversive holiday. Imagine a hectic procession of revelers - the half-mad bag lady; a mumbling, scarred janitor whose ravaged face made the children turn away; the austere, unsmiling mother superior who seemed with great focus and clarity to do harm; a haunted music teacher, survivor of Auschwitz. I bring them before my mind's eye, these old firends of my soul, awakening to dance their day. Crazy saints; but who knows what was home in the heart? This is the feast of those who tried to take the path, so clumsily that no one knew or notice, the feast, indeed, of most of us. It's an ugly woods, I was saying to myself, padding along a trail where other walkers had broken ground before me. And then I found an extraordinary bouquet. Someone had bound an offering of dry seed pods, yew, lyme grass, red berries, and brown fern and laid it on the path: "nothing special," as Buddhists say, meaning "everything." Gathered to formality, each dry stalk proclaimed a slant, an attitude, infinite shades of neutral. All contemplative acts, silences, poems, honor the world this way. Brought together by the eye of love, a milkweed pod, a twig, allow us to see how things have been all along. A feast of being.

So about an hour later we are in the taxi shooting along empty country roads towards town. The April light is clear as an alarm. As we pass them it gives a sudden sense of every object existing in space on its own shadow. I wish I could carry this clarity with me into the hospital where distinctions tend to flatten and coalesce. I wish I had been nicer to him before he got crazy. These are my two wishes.

First the mania for confession, then the mania for clarity, issued from you, dark, hypocritical sentiment! Let them now condemn my every passion, let them drag me through the mud, call me twisted, foul pervert, dilettante, perjurer; you keep me apart, give me life’s assurance: I burn at the stake, play the card of fire and win: I win this small, vast possession, my infinite, miserable pity which makes even righteous anger my friend. And I can do this because I’ve endured you too long!

Something changed in part of reality — my knees and my hands. What science has knowledge for this? The blind man goes on his way and I don’t make any more gestures. It’s already not the same time, or the same people, or anything the same. This is being real.

It’s the poet we love in Caeiro, not the philosopher. What we really get from these poems is a childlike sense of life, with all the direct materiality of the child’s mind, and all the vital spirituality of hope and increase that exist in the body and soul of nescient childhood. Caeiro’s work is a dawn that wakes us up and quickens us; a more that material, more than anti-spiritual dawn. It’s an abstract effect, pure vacuum, nothingness.

Like an ocean, a clarity where longing gets started.

Things it helps me to remember When in a bad mood, keep quiet or still. Baggy jumpers don’t suit you. When you’re tired you get doubtful. Difficulties come in spurts. Listen to the echo of your own voice. Avoid be strident. All aeroplanes go through clouds during their journeys. So do people during theirs. Often greater clarity comes out of confusion. You have to be puzzled before you find a solution. PMS often brings on a crisis of confidence. Ordinariness is restful. If someone is explosive in front of you, be silent. If you feel explosive, be silent.

The Amorous Shepherd is a fruitless interlude, but those few poems are among the world’s greatest love poems, because they’re love poems about love, not about being poems. The poet loves because he loves, not because love exists.

Nothing at all reminds us of something else when we pay attention to it. Each thing only reminds us of what it is And it’s only what nothing else is. The fact that it’s it separates it from every other thing. (Everything’s nothing without another thing that’s not it).

So things remained until one day, many years later, I happened upon a line in a poem by Heine: “Death is the cooling night.” That childhood memory, lost for so long, suddenly restored itself to my quivering heart, returning freshly washed, in limpid clarity, never again to leave me. If literature truly possesses a mysterious power, I think perhaps it is precisely this: that one can read a book by a writer of a different time, a different country, a different race, a different language, and a different culture and there encounter a sensation that is one’s very own. Heine put into words the feeling I had as a child when I lay napping in the morgue. And that, I tell myself, is literature.

Yes: I exist inside my body. I’m not carrying the sun and the moon in my pocket. I don’t want to conquer worlds because I slept badly, And I don’t want to eat the world for breakfast because I have a stomach. Indifferent? No: a son of the earth, who, if he jumps, it’s wrong, A moment in the air that’s not for us, And only happy when his feet hit the ground again, Pow! In reality where nothing’s missing! (6/20/1919)

I will take you down my own avenue of remembrance, which winds among the hazards and shadows of my single year as a plebe. I cannot come to this story in full voice. I want to speak for the boys who were violated by this school, the ones who left ashamed and broken and dishonored, who departed from the Institute with wounds and bitter grievances. I want also to speak for the triumphant boys who took everything the system could throw at them, endured every torment and excess, and survived the ordeal of the freshman year with a feeling of transformation and achievement that they never had felt before and would never know again with such clarity and elation. I will speak from my memory- my memory- a memory that is all refracting light slanting through prisms and dreams, a shifting, troubled riot of electrons charged with pain and wonder. My memory often seems like a city of exiled poets afire with the astonishment of language, each believing in the integrity of his own witness, each with a separate version of culture and history, and the divine essentional fire that is poetry itself. But i will try to isolate that one lonely singer who gathered the fragments of my plebe year and set the screams to music. For many years, I have refused to listen as his obsessive voice narrated the malignant litany of crimes against my boyhood. We isolate those poets who cause us the greatest pain; we silence them in any way we can. I have never allowed this furious dissident the courtesy of my full attention. His poems are songs for the dead to me. Something dies in me every time I hear his low, courageous voice calling to me from the solitude of his exile. He has always known that someday I would have to listen to his story, that I would have to deal with the truth or falsity of his witness. He has always known that someday I must take full responsibility for his creation and that, in finally listening to him, I would be sounding the darkest fathoms of myself. I will write his stories now as he shouts them to me. I will listen to him and listen to myself. I will get it all down. Yet the laws of recall are subject to distortion and alienation. Memory is a trick, and I have lied so often to myself about my own role and the role of others that I am not sure I can recognize the truth about those days. But I have come to believe in the unconscious integrity of lies. I want to record even them. Somewhere in the immensity of the lie the truth gleams like the pure, light-glazed bones of an extinct angel. Hidden in the enormous falsity of my story is the truth for all of us who began at the Institute in 1963, and for all who survived to become her sons. I write my own truth, in my own time, in my own way, and take full responsibility for its mistakes and slanders. Even the lies are part of my truth. I return to the city of memory, to the city of exiled poets. I approach the one whose back is turned to me. He is frail and timorous and angry. His head is shaved and he fears the judgment of regiments. He will always be a victim, always a plebe. I tap him on the shoulder. "Begin," I command. "It was the beginning of 1963," he begins, and I know he will not stop until the story has ended.

There are a thousand 'greatest' melodies, just as there are a thousand 'greatest' poems and a thousand 'greatest' pictures, because there are a thousand moods in the mind of man when a certain note rings with the most clarity--when a certain design is most sharply silhouetted against the changing curtain of his mind.

I had a moment of clarity, saw the feeling in the heart of things, walked out to the garden crying.

Readers should not be loaded with more information and guidance than a lively mind needs--puzzlement can be accepted, but insulting clarity is fatal to a poem.

HAPPENING APART FROM WHAT’S HAPPENING AROUND IT There is a vividness to eleven years of love because it is over. A clarity of Greece now because I live in Manhattan or New England. If what is happening is part of what’s going on around what’s occurring, it is impossible to know what is truly happening. If love is part of the passion, part of the fine food or the villa on the Mediterranean, it is not clear what the love is. When I was walking in the mountains with the Japanese man and began to hear the water, he said, “What is the sound of the waterfall?” “Silence,” he finally told me. The stillness I did not notice until the sound of water falling made apparent the silence I had been hearing long before. I ask myself what is the sound of women? What is the word for that still thing I have hunted inside them for so long? Deep inside the avalanche of joy, the thing deeper in the dark, and deeper still in the bed where we are lost. Deeper, deeper down where a woman’s heart is holding its breath, where something very far away in that body is becoming something we don’t have a name for.

The fury of confession, at first, then the fury of clarity: It was from you, Death, that such hypocritical obscure feeling was born! And now let them accuse me of every passion, let them bad-mouth me, let them say I’m deformed, impure, obsessed, a dilettante, a perjurer. You isolate me, you give me the certainty of life, I’m on the stake. I play the card of fire and I win this little, immense goodness of mine. I can do it, for I have suffered you too much! I return to you as an émigré returns to his own country and rediscovers it: I made a fortune (in the intellect) and I’m happy, as I once was, destitute of any norm, a black rage of poetry in my breast. A crazy old-age youth. Once your joy was confused with terror, it’s true, and now almost with other joy, livid and arid, my passion deluded. Now you really frighten me, for you are truly close to me, part of my angry state, of obscure hunger, of the anxiety almost of a new being.

THE HUSK AND CORE OF MASCULINITY Masculinity has a core of clarity, which does not act from anger or greed or sensuality, and a husk, which does. The virile center that listens within takes pleasure in obeying that truth. Nobility of spirit, the true spontaneous energy of your life, comes as you abandon other motives and move only when you feel the majesty that commands and is the delight of the self. Remember Ayaz crushing the king's pearl!

The phenomenon moon-in-the-water is likened to human experience. The water is the subject, and the moon the object. When there is no water, there is no moon-in-the-water, and likewise when there is no moon. But when the moon rises the water does not wait to receive its image, and when even the tiniest drop of water is poured out the moon does not wait to cast its reflection. For the moon does not intend to cast its reflection, and the water does not receive its image on purpose. The event is caused as much by the water as by the moon, and as the water manifests the brightness of the moon, the moon manifests the clarity of the water. Another poem in the Zenrin Kushu says: Trees show the bodily form of the wind; Waves give vital energy to the moon.g

Between what i see in a field and what I see in another field There passes for a moment the figure of a man. His steps go with “him” in the same reality, But I look at him and them, and they’re two things: The “man” goes walking with his ideas, false and foreign, And his steps go with the ancient system that makes legs walk. I see him from a distance without any opinion at all. How perfect that he is in him what he is — his body, His true reality which doesn’t have desires or hopes, But muscles and the sure and impersonal way of using them.

Just a corner, just an instant, just a poem away lay an unimaginably rich world where gods walked alongside the chosen few; and if you ever won your way there, your reward was meaning conferred upon your daily labors and travails by the promise of immortality, by the clarity of secret luminescence.

Beautiful words ruin your poetry. A touch of beauty enhances a dish, but you throw a hill of it inton the pot! No, the palate becomes nauseous. You belief a poem must be beautiful, or it can have no excellence. I am right? Sort of. Your "sort of" is annoying. A yes, or a no, or a qualification please. "Sort of" is an idle loubard, an ignorant vandale. "Sort of" says, "I am ashamed of clarity and precision." So we try again. You belief a poem must be beautiful or it is not a poem. I am right? Yes. Yes. Idiots labor in this misconception. Beauty is not excellence. Beauty is distraction, beauty is cosmetics, beauty is ultimately fatigue.

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.

Osho was very generous with his genius. When I went to Poona in 1988, he answered a question of mine. “Rumi says, ‘I want burning, burning.’ What does this burning have to do with my own possible enlightenment?” “You have asked a very dangerous question, Coleman. Burning has nothing to do with your enlightenment. This work you have done with Rumi is beautiful. It has to be, because it is coming out of Rumi’s love. But for you these poems can become ecstatic self-hypnosis.” He pretty much nailed me to the floor with that one. Sufism is good, but end up with Zen. It was a fine hit he gave me. I am still drawn to the Sufi longing and love-madness, but clarity is coming up strong on the inside. I have not assimilated his wisdom yet, but I mean to. I am very grateful to him. But it is not wisdom for everyone. Osho crafted his words to suit the individual. Ecstatic self-hypnosis might be just the thing for someone else. He was showing me a daylight beyond any beloved darkness, an ecstatic sobriety beyond any drunkenness.

The old women in black at early Mass in winter are a problem for him. He could tell by their eyes they have seen Christ. They make the kernel of his being and the clarity around it seem meager, as though he needs girders to hold up his unusable soul. But he chooses against the Lord. He will not abandon his life. Not his childhood, not the ninety-two bridges across the two rivers of his youth. Nor the mills along the banks where he became a young man as he worked. The mills are eaten away, and eaten again by the sun and its rusting. He needs them even though they are gone, to measure against. The silver is worn down to the brass underneath and is the better for it. He will gauge by the smell of concrete sidewalks after night rain. He is like an old ferry dragged on to the shore, a home in its smashed grandeur, with the giant beams and joists. Like a wooden ocean out of control. A beached heart. A cauldron of cooling melt.

breath, life after seven decades plus three years is a lot of breathing. seventy three years on this earth is a lot of taking in and giving out, is a life of coming from somewhere and for many a bunch of going nowhere. how do we celebrate a poet who has created music with words for over fifty years, who has showered magic on her people, who has redefined poetry into a black world exactness thereby giving the universe an insight into darkroads? just say she interprets beauty and wants to give life, say she is patient with phoniness and doesn’t mind people calling her gwen or sister. say she sees the genius in our children, is visionary about possibilities, sees as clearly as ray charles and stevie wonder, hears like determined elephants looking for food. say that her touch is fine wood, her memory is like an african roadmap detailing adventure and clarity, yet returning to chicago’s south evans to record the journey. say her voice is majestic and magnetic as she speaks in poetry, rhythms, song and spirited trumpets, say she is dark skinned, melanin rich, small-boned, hurricane-willed, with a mind like a tornado redefining the landscape. life after seven decades plus three years is a lot of breathing. gwendolyn, gwen, sister g has not disappointed our expectations. in the middle of her eldership she brings us vigorous language, memory, illumination. she brings breath. (Quality: Gwendolyn Brooks at 73)

We say that the body is a temple, because we know that it’s nothing but mortal architecture without the self-regard of consciousness and conscience. The contemplative moment draws us to our sources; we see inside. We close our eyes, in fact, in order to see with clarity. Indeed, the imagination asks us to see with our eyes closed. So we make connections in the dark and thus we imagine what our bodies can do and be, how the breath of the spirit can come and go with perfection, how the ladder gravity of the spine can soar. Poets speak of rhythm and breath as the lifeline of the poetic line; they speak of form as the embodiment of the poem’s energy, the bodying forth of its meaning and being. To expire is to breathe out, to inspire is to breath in. To aspire is to breathe with the mind, to give purpose to the heart’s rhythm. The spine is an aspiration too, since it lifts us from foundations. To imagine what the body can achieve is to invest it with awareness-to begin to make it twice alive: first as a body, then as an embodiment.

Fragments for Subduing the Silence” I. The powers of language are the solitary ladies who sing, desolate, with this voice of mine that I hear from a distance. And far away, in the black sand, lies a girl heavy with ancestral music. Where is death itself? I have wanted clarity in light of my lack of light. Branches die in the memory. The girl lying in the sand nestles into me with her wolf mask. The one she couldn’t stand anymore and that begged for flames and that we set on fire. II. When the roof tiles blow away from the house of language, and words no longer keep—that is when I speak. The ladies in red have lost themselves in their masks. Though they will return to sob among the flowers. Death is no mute. I hear the song of the mourners sealing the clefts of silence. I listen and the sweetness of your crying brings life to my grey silence. III. Death has restored to silence its own bewitching charm. And I will not say my poem and I will say it. Even if (here, now) the poem has no feeling, no future. Boston Review: Three Poems April 15, 2015

At the heart of the kind of understanding involved in the humanities another dimension of reason is involved, which one can perhaps call contemplative. Take the example of attempting to read, or understand, a poem. There is an element of problem-solving: the meaning of certain words no longer, perhaps, in current use, the detecting of allusions to the literary tradition to which the poem belongs these can sometimes be ‘solved’ and a definitive answer produced. But having done all that, we have not finished: we have only begun —we have, as we might say, cleared the ground for an attempt to read, to understand, the poem. Here something else is involved: not a restless attempt to solve problems, to reach a kind of clarity, but rather an attempt to listen, to engage with the meaning of the poet, to hear what he has to say. We shall not do that if we misunderstand the meaning he attached to his words, or miss his allusion, but we do not necessarily hear the poet if we have simply solved all such problems. What is needed is a sympathetic listening, an engagement with the mind of the poet, and this sort of understanding has no end. There is no definitive solution: understanding is a matter of engagement, and constantly renewed engagement. WHAT is understood is much more elusive in this case than what is understood when we solve a problem. It is not a matter of facts, but a matter of reality: the reality of human life, its engagement with others, its engagement with God.

Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep blank space high up above many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of dots. At length I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at that very moment with great emotion, in intricate, detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which wholly worlds of feeling and energy were wrapped in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water. I saw white-faced cattle lowing and wading in creeks. I saw May apples in forests, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided, and apples grew spotted and striped in the fall. Mountains kept their cool caves and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wild ducks flew with outstretched necks, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remember the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “yes, that’s how it was then, that part there was called France.” I was filled with the deep affection of nostalgia- and then I opened my eyes. We all ought to be able to conjure up sights like these at will, so that we can keep in mind the scope of texture’s motion in time.

ONE of the evil results of the political subjection of one people by another is that it tends to make the subject nation unnecessarily and excessively conscious of its past. Its achievements in the old great days of freedom are remembered, counted over and exaggerated by a generation of slaves, anxious to convince the world and themselves that they are as good as their masters. Slaves cannot talk of their present greatness, because it does not exist; and prophetic visions of the future are necessarily vague and unsatisfying. There remains the past. Out of the scattered and isolated facts of history it is possible to build up Utopias and Cloud Cuckoo Lands as variously fantastic as the New Jerusalems of prophecy. It is to the past — the gorgeous imaginary past of those whose present is inglorious, sordid, and humiliating — it is to the delightful founded-on-fact romances of history that subject peoples invariably turn. Thus, the savage and hairy chieftains of Ireland became in due course “the Great Kings of Leinster,” “the mighty Emperors of Meath.” Through centuries of slavery the Serbs remembered and idealised the heroes of Kossovo. And for the oppressed Poles, the mediaeval Polish empire was much more powerful, splendid, and polite than the Roman. The English have never been an oppressed nationality; they are in consequence most healthily unaware of their history. They live wholly in the much more interesting worlds of the present — in the worlds of politics and science, of business and industry. So fully, indeed, do they live in the present, that they have compelled the Indians, like the Irish at the other end of the world, to turn to the past. In the course of the last thirty or forty years a huge pseudo-historical literature has sprung up in India, the melancholy product of a subject people’s inferiority complex. Industrious and intelligent men have wasted their time and their abilities in trying to prove that the ancient Hindus were superior to every other people in every activity of life. Thus, each time the West has announced a new scientific discovery, misguided scholars have ransacked Sanskrit literature to find a phrase that might be interpreted as a Hindu anticipation of it. A sentence of a dozen words, obscure even to the most accomplished Sanskrit scholars, is triumphantly quoted to prove that the ancient Hindus were familiar with the chemical constitution of water. Another, no less brief, is held up as the proof that they anticipated Pasteur in the discovery of the microbic origin of disease. A passage from the mythological poem of the Mahabharata proves that they had invented the Zeppelin. Remarkable people, these old Hindus. They knew everything that we know or, indeed, are likely to discover, at any rate until India is a free country; but they were unfortunately too modest to state the fact baldly and in so many words. A little more clarity on their part, a little less reticence, and India would now be centuries ahead of her Western rivals. But they preferred to be oracular and telegraphically brief. It is only after the upstart West has repeated their discoveries that the modern Indian commentator upon their works can interpret their dark sayings as anticipations. On contemporary Indian scholars the pastime of discovering and creating these anticipations never seems to pall. Such are the melancholy and futile occupations of intelligent men who have the misfortune to belong to a subject race. Free men would never dream of wasting their time and wit upon such vanities. From those who have not shall be taken away even that which they have.

I prefer to think Of numbers not words Their precision Puts me at Ease with the Clarity of it all   No grey no vagueness It’s all so exact Like a trapeze Act with nothing left To chance   Some say numbers are Naive since Things are simply Not that way   Just look at pi In its futile try To become a number

The kingdom of poetry" This is like light. This is light, Useful as light, as charming And enchanting… …Poetry is certainly More interesting, more valuable, and certainly more charming Than Niagara Falls, the Grand Canyon, the Atlantic Ocean And other much admired natural phenomena. It is useful as light, and as beautiful It is preposterous Precisely, making it possible to say One cannot carry a mountain, but a poem can be carried all over. It is monstrous. Pleasantly, for poetry can say, seriously or in play: “Poetry is better than hope, “For poetry is patience of hope, and all hope’s vivid pictures, “Poetry is better than excitement, it is far more delightful, “Poetry is superior to success, and victory, it endures in serene blessedness “Long after the most fabulous feat like fireworks has mounted and fallen. “Poetry is far more powerful and far more enchanting animal “Than any wood, jungle, ark, circus or zoo possesses.” For poetry magnifies and heighten reality: Poetry says of reality that if it is magnificent, it is also stupid: For poetry is, in a way, omnipotent; For reality is various and rich, powerful and vivid, but it is not enough Because it is disorderly and stupid or only at times, and erratically, intelligent: For without poetry, reality is speechless or incoherent: It is inchoate, like the pomp and the bombast of thunder: Its peroration verge upon the ceaseless oration of the ocean: For reality glows and glory, without poetry, Fake, like the red operas of sunset The blue rivers and the windows of morning. The arts of poetry makes it possible to say: Pandemonium. For poetry is gay and exact. It says: “The sunset resembles a bull-fight. “A sleeping arm feels like soda, fizzing.” Poetry resurrect the past from the sepulchre, like Lazarus. It transforms a lion into a sphinx and a girl. It gives a girl the splendor of Latin. It transforms the water into wine at each marriage in Cana of Galilee. For it is true that poetry invented the unicorn, the centaur and the phoenix. Hence it is true that poetry is an everlasting Ark. An omnibus containing, bearing and begetting all the mind’s animals. Whence it is that poetry gave and gives tongue to forgiveness Therefore a history of poetry would be a history of joy, and a history of the mystery of love For poetry provides spontaneously, abundantly and freely The petnames and the diminutives which love requires and without which the mystery of love cannot be mastered. For poetry is like light, and it is light. It shines over all, like the blue sky, with the same blue justice. For poetry is the sunlight of consciousness: It is also the soil of the fruits of knowledge In the orchards of being: It shows us the pleasures of the city. It lights up the structures of reality. It is a cause of knowledge and laughter: It sharpens the whistles of the witty: It is like morning and the flutes of morning, chanting and enchanted. It is the birth and the rebirth of the first morning forever. Poetry is quick as tigers, clever as cats, vivid as oranges, Nevertheless, it is deathless: it is evergreen and in blossom; long after the Pharaohs and the Caesars have fallen, It shines and endures more than diamonds, It is because poetry is the actuality of possibility, it is The reality of the imagination, The throat of exaltation, The processions of possessions, The motion of meaning and The meaning of morning and The mastery of meaning. The praise of poetry is like the clarity of the heights of the mountains. The heights of poetry are like the exaltation of the mountains. It is the consummation of consciousness in the country of the morning!

Dying Hours by Stewart Stafford All debts were settled on Christmas Eve, Fail to do so, and there’d be no reprieve, In the dying flame of a guttering candle, Monies got paid, and cash got handled. When the last customer left to journey home, Quinn, the shop owner, found himself alone, He stared at pooling shadows, no one there, Told himself to hurry, be with those who care. As he closed up, something screamed out, A figure from out of the dark began to shout, A man with no eyes begged alms for the dead, Or any old soup with a thick slice of bread. Quinn said he was a business, not a charity, The man’s eyes opened with some clarity, “Very well,” the man said, “Nothing’s free,” “I’ll drag your soul to Hell, come with me!” © Stewart Stafford, 2022. All rights reserved.

No Struggle No Life (The Sonnet) Ain't no life without struggle, Ain't no heart without heartbreak. Ain't no destination without the journey, Ain't no courage without some dread. Ain't no clarity without some confusion, Ain't no serenity without suffering. Ain't no contentment without disappointment, Ain't no resilience without failing. Ain't no mindfulness without mindlessness, Ain't no uplift without some devastation. Ain't no knowledge without ignorance, Ain't no salvation without self-annihilation. Ain't no I without the Us, without the We. Ain't no We, unless the norm is nonbinary.

Obviously my mind is not what it was, she said. Most of my facts have disappeared, but certain underlying principles have been in consequence exposed with surprising clarity.

Schmidt does not lose his objectivity here, but he states his point with an almost poetic elegance. Like a good poem, the passage can only have its full impact when read in its entirety. Something of such intense force must have come upon these most ancient human beings in an encounter that became an all-encompassing destabilizing experience, penetrating their entire being to its innermost core, so that immediately, due to its overpowering might, it gave rise to the unity and comprehensiveness that we observe in these, the oldest of religions. This “something” could not have been merely a subjective process inside of the human being himself; for then it could not have held either the power or the complete blueprint of these, the oldest of religions. There would have been no way in which the clarity and solidity of their outlook of faith, as well as the cultural forms associated with it, could have been implemented. Neither could it have been a purely material thing or event, no matter how unusual it may have appeared. For then it would have become increasingly inexplicable how mere material stuff could act on the combined personhood of these ancient people with the power, firmness, and clarity that we admire in these, the oldest of religions. No, it must have been a powerful, mighty person, who stepped toward them, and who was able to chain their intellects with illuminating truths, to bind their wills with high and noble precepts, and to win their hearts with enticing beauty and goodness. And again, this person could not have been an inner chimera or phantasm of mere human origin because such an entity could not even have come close to possessing sufficient actual power to cause the effects that we observe in these, the oldest of religions. Instead, it must have been a person who came to them as a genuine reality from somewhere outside of them, and it is precisely the power of this reality that convinced them and conquered them.

I have often been struck by what many regard as the most haunting of C. S. Lewis’s poems—the sonnet titled “Reason,” probably written in the early 1920s. Lewis here contrasts the clarity and strength of reason (symbolised by Athene, the “maid” of the poem) with the warm darkness and creativity of the imagination (Demeter, the earth-mother). For Lewis, the big question is this: Is there anyone who can be “both maid and mother” to him?[180] Who indeed could achieve such a fusion, reconciling what many would see as polar opposites? At the intellectual level, Lewis was searching for a true marriage of reason and imagination—something that eluded him totally as a young man. It seemed to him then that his life of the mind was split into two disconnected hemispheres. “On the one side a many-islanded sea of poetry and myth; on the other a glib and shallow ‘rationalism.’”[181] Lewis’s later discovery of the Christian faith offered him a synthesis of reason and imagination which he found persuasive and authentic till the end of his life.

The moment is the morning cup of coffee and the truth from the writer's pen, the clarity of the poem, desolation & creation. Fame, glory & once upon a times never matter in the end. The only thing that matters or that will still one-day matter or remain alive are the words that you write long after you are gone ... or dust.

On the Lake Street sidewalk, in front of the In the Heart of the Beast Theatre, were two big planters made of concrete and found materials, and Jim made a point for several years of trying to keep flowers alive in them: I walked over to HOBT to check on the flowers planted in the concrete sculpture constructions. As with the last two nights, several of the marigolds had been pulled out and left lying on the sidewalk. I push them back in the dirt and watered, but there is likely no winning this one. A measure of the level of alienation at large in the culture. (July 18, 1993) The sacred is everywhere, not just what has been touched by the ritual of the church and not just what is beautiful because it is untouched by human hands. Years later I found the philosophy behind Jim’s approach to this articulated with Wendell Berry’s typical clarity in his poem, “How to Be a Poet,” 2 and I called Jim immediately to read it to him. I choked up when I got to these lines: There are no unsacred places; there are only sacred places and desecrated places.

Of course, the simpler, more straightforward definitions with which I began this article are still often the easiest rules to isolate the epic fantasy novel from the rest of the herd. In this, as in much of the realm of speculative fiction, Tolkien’s books set the standard and throw a long, long shadow over the entire field (no pun intended!!). Authors who have come after him have to negotiate that legacy, even as they chose different ways to break from his model—-by complicating the moral clarity of their stories’ conflicts, or by letting more speaking roles go to women, to give a couple examples. It is well to remember, though, that important as Tolkien continues to be in defining the genre, he himself was well-acquainted with the traditions of epic poetry and his own books did not spring out of nothing but instead owe a lot to poems like Beowulf. Ultimately, when we try to settle the question of what counts as epic fantasy, we shouldn’t ask how long the book is, or whether or not it describes heroes joined in massive battles, but rather, in the spirit of the epic tradition, how significant is the change it marks on its world? How big is the scope of its conflict, and how significant the power of its eventual resolution? - Chloe Smith “What Makes 'Epic Fantasy' epic?

Clarity Cliche--polished package that wraps the unwrappable Here it is, your day from "Nightly News" in The News: Poems

Clarities of the Nonexistent” To have loved the way it happens in the empty hours of late afternoon; to lean back and conceive of a journey leaving behind no trace of itself; to look out from the house and see a figure leaning forward as if into the wind although there is no wind; to see the hats of those in town, discarded in moments of passion, scattered over the ground although one cannot see the ground. All this in vague, yellowing light that lowers itself in the hour before dark; none of it of value except for the pleasure it gives, enlarging an instant and finally making it seem as if it were true. And years later to come upon the same scene- the figure leaning into the same wind, the same hats scattered over the same ground that one cannot see.

When she can’t sleep at night, she tries to remember the details of all the rooms where she has slept…The objects that appear are always linked to gestures and singular facts…In those rooms, she never sees herself with the clarity of photos, but blurred as in a film on an encrypted TV channel…She doesn’t know what she wants from these inventories, except maybe through the accumulation of memories of objects, to again become the person she was at such and such a time. She would like to assemble these multiple images of herself, separate and discordant, thread them together with the story of her existence, starting with her birth during World War II up until the present day. Therefore, an existence that is singular but also merged with the movements of a generation. Each time she begins, she meets the same obstacles: how to represent the passage of historical time, the changing of things, ideas, and manners, and the private life of this woman? How to make the fresco of forty-five years coincide with the search for a self outside of History, the self of suspended moments transformed into the poems she wrote at twenty (“Solitude,” etc.)? Her main concern is the choice between “I” and “she.” There is something too permanent about “I,” something shrunken and stifling, whereas “she” is too exterior and remote. The image she has of her book in its nonexistent form, of the impression it should leave, is…an image of light and shadow streaming over faces. But she hasn’t yet discovered how to do this. She awaits if not a revelation, then a sign, a happenstance, as the madeleine dipped in tea was for Marcel Proust. Even more than this book, the future is the next man who will make her dream, buy new clothes, and wait: for a letter, a phone call, a message on the answering machine.

I see much better now and my eyes hurt.

Outcome Based Education The first time you read this poem I need you to remember something They do not teach you in school Like Doctor’s, Lawyers, Soldiers, Teachers don’t have an oath, not at all Yet, students aren’t footballs They aren’t The student aren’t born dull or bright Teachers make them that way, a plight Obe comes for rescue to make learning, a delight Yet, is content about Obe too abstract to understand? Is the material about Obe too tough to grasp and comprehend? Do a new way to be adopted to explain and define Obe? Its an easy concept once you agree Outcomes are not scores, averages or grade point Only needs is to look education from a new viewpoint Obe is holistic way of enlightening and empowering learners It is a paradigm shift to make them achievers Obe is what they’ll be able to know and do Skills and knowledge they need to have at debut Course Outcome(CO) is what they’ll know after each course This is the skill they will acquire without any force Program Specific Outcomes(PSO) are specific to program, USPs of department, its hologram What they’ll be able to do at time of graduation accomplishment, achievement, acclamations Program Educational Objectives(PEOs) are the achievements they’ll have in their career Indicates what they’ll achieve and how they perform during first few years Program Outcomes (POs) is what they’ll be able to know and do upon graduation Skills, knowledge and behaviour they’ll acquire, will give their career acceleration. Obe wants all learner to learn and be successful 1 paradigm 2 purpose 3 premises 4 principles 5 Practices of obe makes you accountable 1 paradigm what and whether students learn successfully is more important than how and when they learn 2 Purpose maximize condition of success for all students, send fully equipped student into world to make their dreams unfurl 3 Premises All students can succeed and learn maybe not on same day and same way, Success breads success , colleges control condition of success 4 principles clarity of focus on outcomes, expended opportunity to all, high expectation from all, designing curriculum to attain outcome 5 practices define outcome, design curriculum, deliver instruction, document result, determine advancement These are 1 paradigm 2 purpose 3 premises 4 principles 5 Practices for Obe accomplishment ----------------By Dr. Kshitij Shinghal Special thanks to Dr. William Spady and references from his book “ Outcome Based Education: Critical Issues

In love then and in love now In love then and in love now, The mind never protested, And I fell in love, Because the heart too never resisted, Time grew on us together, Both of us, she and I as well, Almost like two different people bearing the same feather, And thus, in love we fell, She became the sun that only shone for me, While I always believed I was something similar for her, And we became eternal lovers, and that is how it was meant to be, She loving me and I loving her, Her skin, her lips, her eyes were the only beauty’s icons I wanted to feel and see, And in moments of love I spilled over her like a wave of joy, And I loved her with every part of me, Like a child, like a man and at times like a youthful innocent boy, So, I continue to love her everyday and today, With the clarity of my mind, Because my heart beats for her everyday, And wherever I may see, it is her eyes, her lips and her, that I find, And it shall be so today and tomorrow too, because it is a feeling pleasuresome, To love her now as I loved her then, And when I think of you Irma, time does not become burdensome, Because somehow it feels now, as it felt then!

Love your neighbors, stop the haters, Spread kindness, and be the creators. Of a world that’s loving, and full of compassion, A world that’s peaceful, and free of aggression. We’re all human, and we all have a heart, It’s time to break the barriers, and make a new start. To see beyond our differences, and embrace our similarities, To build a world of unity, where we all can live in clarity. Love your neighbors, stop the haters, Let’s come together, and be the regulators. Of a world that’s inclusive, and free of hate, A world that’s accepting, and celebrates diversity’s fate. It’s time to listen, and hear each other’s stories, To understand the struggles, and the pains and the glories. To walk in each other’s shoes, and feel the empathy, To create a world of justice, where love is the remedy. Love your neighbors, stop the haters, Let’s spread love, and be the cultivators. Of a world that’s kind, and filled with grace, A world that’s caring, and never loses pace. We’re all a part of this world, this community, It’s time to break the walls, and embrace our unity. To see that we’re all equal, and our differences make us unique, To build a world of harmony, where love is what we seek. Love your neighbors, stop the haters, Let’s spread positivity, and be the creators. Of a world that’s bright, and filled with light, A world that’s hopeful, and never loses sight. It’s time to stand up, and be the change, To fight for what’s right, and never act strange. To speak out against hate, and spread love instead, To create a world of kindness, where love is always led. Love your neighbors, stop the haters, Let’s spread joy, and be the motivators. Of a world that’s happy, and filled with laughter, A world that’s peaceful, and never loses its character. It’s time to unite, and hold each other’s hands, To build a world of love, that forever stands. To lift each other up, and never tear down, To create a world of love, where love is always found. Love your neighbors, stop the haters, Let’s spread hope, and be the liberators. Of a world that’s free, and filled with love, A world that’s caring, and always above.

As if she were falling backwards from a precipice, arms flailing, the ground rushing up to shatter her body and bones, the love had struck her, broken her, and infected her with a mystical sense of vertigo. All the sonnets that she had read, and all the poems, and tragedies and romances—they all took on a new colour, a new shade of light, a new clarity and poignancy. Everything made sense because she loved him, and within the space between their bodies, between their lips, the agonizing, most minute hair’s breadth that separated them, there lurked a multitude, there lurked a thousand years of time and a limitless space, there lurked Truth. She loved him. That was all. She loved him but could do nothing about it.

Islam is aniconic. In other words, images, effigies, or idols of Allâh are not allowed, although verbal depiction abounds. There was a question long debated in Islam: can we see Allâh? The Prophet said in a hadith, "In Paradise the faithful will see Allâh with the clarity with which you see the moon on the fourteenth night (the full moon)." Theologians debated what this could mean, but the Sûfîs have held that you can see Allâh even in this world, through the "eye of the heart." The famous Sûfî martyr al-Hallaj said in a poem, "ra'aytu rabbi bi-'ayni qalbî" (I saw my Lord with the eye of my heart). Relevant to the focus of this paper is that Sûfîs have always described this theophanic experience as the vision of a woman, the female figure as the object of ru'yah (vision of Allâh).

Meanwhile, the night orbits in peace, graceful, lovely, having slipped her moorings, leaving the space unmarked, able to orbit, to curve firmly, until she sinks into the sweet clarity now pearling, the cushion of grasses where she will fall, gleaming from mysterious strokings, polished, glittering, mistress of surfaces.

We were excited to see you, but soon after you arrived, nations shut down, order saver inside.

I want to take chances. I want to taste the clarity of the water The sweet taste of an apple and your lips.

How I'm glad to go back home! Once I truly have no more worry. Many of those who are in a hurry Endure setbacks in the outcome.

confidence without clarity is a disaster in life.