Crow Poetry Quotes

The way a crow Shook down on me The dust of snow From a hemlock tree Has given my heart A change of mood And saved some part Of a day I had rued.

I’m sorry you couldn’t find me. I have been in the woods. I put myself there because I couldn’t be good. I have been running with foxes and running with crows and I have found myself a home where no one goes.

I imagine what it must be like to stay hidden, disappear in the dusky nothing and stay still in the night. It’s not sadness, though it may sound like it. I’m thinking about people and trees and how I wish I could be silent more, be more tree than anything else, less clumsy and loud, less crow, more cool white pine, and how it’s hard not to always want something else, not just to let the savage grass grow.

that stone Buddha deserves all the birdshit it gets I wave my skinny arms like a tall flower in the wind

It's better to swim in the sea below Than to swing in the air and feed the crow, Says jolly Ned Teach of Bristol.

it isn't that we're alone or not alone whose voice do you want mine? yours?

I'd love to give you something but what would help?

we're lost where the mind can't find us utterly lost

Hearing a crow with no mouth Cry in the deep Darkness of the night, I feel a longing for My father before he was born.

clouds very high look not one word helped them get up there

don't wait for the man standing in the snow to cut off his arm help him now

born born everything is always born thinking about it try not to

Treats and tricks. Witch broomsticks. Jack-o-lanterns Lick their lips. Crows and cats. Vampire bats. Capes and fangs And pointed hats. Werewolves howl. Phantoms prowl. Halloween’s Upon us now.

Hope has no feathers Hope takes flight tethered with twine like a tattered kite, slave to the wind's capricious drift eager to soar but needing lift Hope waits stubbornly watching the sky for turmoil, feeding on things that fly: crows, ashes, newspapers, dry leaves in flight all suggest wind that could lift a kite Hope sails and plunges firmly caught at the end of her string - fallen slack, pulling taught, ragged and featherless. Hope never flies but doggedly watches for windy skies.

Because it is occasionally possible, just for brief moments, to find the words that will unlock the doors of all those many mansions inside the head and express something - perhaps not much, just something - of the crush of information that presses in on us from the way a crow flies over and the way a man walks and the look of a street and from what we did one day a dozen years ago. Words that will express something of the deep complexity that makes us precisely the way we are, from the momentary effect of the barometer to the force that created men distinct from trees. Something of the inaudible music that moves us along in our bodies from moment to moment like water in a river. Something of the spirit of the snowflake in the water of the river. Something of the duplicity and the relativity and the merely fleeting quality of all this. Something of the almighty importance of it and something of the utter meaninglessness. And when words can manage something of this, and manage it in a moment, of time, and in that same moment, make out of it all the vital signature of a human being - not of an atom, or of a geometrical diagram, or of a heap of lenses - but a human being, we call it poetry.

...dark furrow lines grid the snow, punctuated by orange abacus beads of pumpkins - now the crows own the field...

I was born with my eyes turned inward.

Being there doesn't mean I'm present. I exist only in words. I want to be transmuted fully to white page and ink.

Black was the without eye Black the within tongue Black was the heart Black the liver, black the lungs Unable to suck in light Black the blood in its loud tunnel Black the bowels packed in furnace Black too the muscles Striving to pull out into the light Black the nerves, black the brain With its tombed visions Black also the soul, the huge stammer Of the cry that, swelling, could not Pronounce its sun.

Moonless nights haunt me. They evoke my once carefree life when I dreamed without doubt to what my future could be. I yearn for a time when my mother’s tree swayed beneath the dusk like an amber sea, but the past is locked without a key. Never to return—only flee.

Poetry is a beacon slicer.

the crows are like a harrow to unbroken ground they turn it loose they give it air

full moon fills in power lines, crow flies off

Enter the players. There were seven of us, seven bright young things with wide precious futures ahead of us, though we saw no farther than the books in front of our faces. We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum. The castle library was an airy octagonal room, walled with bookshelves, crowed with sumptuous old furniture, and kept drowsily warm by a monumental fireplace that burned almost constantly, regardless of the temperature outside. The clock on the mantel struck twelve, and we stirred, one by one, like seven statues coming to life.

Southern trees bear strange fruit, Blood on the leaves and blood at the root, Black bodies swinging in the southern breeze, Strange fruit hanging from the poplar trees. Pastoral scene of the gallant south, The bulging eyes and the twisted mouth, Scent of magnolias, sweet and fresh, Then the sudden smell of burning flesh. Here is the fruit for the crows to pluck, For the rain to gather, for the wind to suck, For the sun to rot, for the trees to drop, Here is a strange and bitter crop.

Metaphor is a slippery eel, if it wasn't for its shock I'd stick to the easy catch of prose.

A poem without metaphor is a gelding; useless to nightmares.

There’s a Heartrender at the Little Palace who can recite epic poetry for hours. Then you’d wish you had died.

When the shadows shroud the woods, And the mountains are empty and bare; I am flying with the crow...

Crows are harbingers of death and omens, good and bad, according to Big Jim according to Google. Midnight-winged tricksters associated with mystery, the occult, the unknown. The netherworld, wherever it is- Portland? We make people think of the deceased and super angsty poetry. Admittedly we don't help the cause when we happily dine on fish guts in a landfill, buy hey ho.

I’m sorry if you couldn’t find me I have been in the woods. I put myself there because I couldn’t be good. I have been running with foxes and hunting with crows. And I have found myself a home where no body goes.

1 Cain lifts Crow, that heavy black bird and strikes down Abel. Damn, says Crow, I guess this is just the beginning. 2 The white man, disguised as a falcon, swoops in and yet again steals a salmon from Crow's talons. Damn, says Crow, if I could swim I would have fled this country years ago. 3 The Crow God as depicted in all of the reliable Crow bibles looks exactly like a Crow. Damn, says Crow, this makes it so much easier to worship myself. 4 Among the ashes of Jericho, Crow sacrifices his firstborn son. Damn, says Crow, a million nests are soaked with blood. 5 When Crows fight Crows the sky fills with beaks and talons. Damn, says Crow, it's raining feathers. 6 Crow flies around the reservation and collects empty beer bottles but they are so heavy he can only carry one at a time. So, one by one, he returns them but gets only five cents a bottle. Damn, says Crow, redemption is not easy. 7 Crow rides a pale horse into a crowded powwow but none of the Indian panic. Damn, says Crow, I guess they already live near the end of the world.

Witches cackle. Goblins growl. Spectres boo, And werewolves howl. Black cats hiss. Bats flap their wings. Mummies moan. The cold wind sings. Ogre’s roar. And crows, they caw. Vampires bahahahaha. Warlocks swish their moonlit capes. Loch Ness monsters churn the lake. Skeletons, they rattle bones While graveyards crack the old headstones. All the while the ghouls, they cry To trick-or-treaters passing by. Oh, the noise on Halloween; It makes me want to scream!

I will love you with no regard to the actions of our enemies or the jealousies of actors. I will love you with no regard to the outrage of certain parents or the boredom of certain friends. I will love you no matter what is served in the world’s cafeterias or what game is played at each and every recess. I will love you no matter how many fire drills we are all forced to endure, and no matter what is drawn upon the blackboard in a blurring, boring chalk. I will love you no matter how many mistakes I make when trying to reduce fractions, and no matter how difficult it is to memorize the periodic table. I will love you no matter what your locker combination was, or how you decided to spend your time during study hall. I will love you no matter how your soccer team performed in the tournament or how many stains I received on my cheerleading uniform. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you if you cut your hair and I will love you if you cut the hair of others. I will love you if you abandon your baticeering, and I will love you if you retire from the theater to take up some other, less dangerous occupation. I will love you if you drop your raincoat on the floor instead of hanging it up and I will love you if you betray your father. I will love you even if you announce that the poetry of Edgar Guest is the best in the world and even if you announce that the work of Zilpha Keatley Snyder is unbearably tedious. I will love you if you abandon the theremin and take up the harmonica and I will love you if you donate your marmosets to the zoo and your tree frogs to M. I will love you as the starfish loves a coral reef and as kudzu loves trees, even if the oceans turn to sawdust and the trees fall in the forest without anyone around to hear them. I will love you as the pesto loves the fetuccini and as the horseradish loves the miyagi, as the tempura loves the ikura and the pepperoni loves the pizza. I will love you as the manatee loves the head of lettuce and as the dark spot loves the leopard, as the leech loves the ankle of a wader and as a corpse loves the beak of the vulture. I will love you as the doctor loves his sickest patient and a lake loves its thirstiest swimmer. I will love you as the beard loves the chin, and the crumbs love the beard, and the damp napkin loves the crumbs, and the precious document loves the dampness in the napkin, and the squinting eye of the reader loves the smudged print of the document, and the tears of sadness love the squinting eye as it misreads what is written. I will love you as the iceberg loves the ship, and the passengers love the lifeboat, and the lifeboat loves the teeth of the sperm whale, and the sperm whale loves the flavor of naval uniforms. I will love you as a child loves to overhear the conversations of its parents, and the parents love the sound of their own arguing voices, and as the pen loves to write down the words these voices utter in a notebook for safekeeping. I will love you as a shingle loves falling off a house on a windy day and striking a grumpy person across the chin, and as an oven loves malfunctioning in the middle of roasting a turkey. I will love you as an airplane loves to fall from a clear blue sky and as an escalator loves to entangle expensive scarves in its mechanisms. I will love you as a wet paper towel loves to be crumpled into a ball and thrown at a bathroom ceiling and an eraser loves to leave dust in the hairdos of the people who talk too much. I will love you as a taxi loves the muddy splash of a puddle and as a library loves the patient tick of a clock. I will love you as a thief loves a gallery and as a crow loves a murder, as a cloud loves bats and as a range loves braes. I will love you as misfortune loves orphans, as fire loves innocence and as justice loves to sit and watch while everything goes wrong.

Long ago, there was a dream within a dream that allowed joy to reign, but that youthful breath drifted away as swiftly as a summer rain. There was nothing left after the dawn, except for a world darkened by a King’s broken heart. Now only Morpheus induced silhouettes dance in these lightless plains. They dance in sequence to the sound of time – unmoved by existence – trapped in a single thought I hope lies within you.

Because enchantment, by my definition, has nothing to do with fantasy, or escapism, or magical thinking: it is founded on a vivid sense of belongingness to a rich and many-layered world; a profound and whole-hearted participation in the adventure of life. The enchanted life presented here is one which is intuitive, embraces wonder and fully engages the creative imagination – but it is also deeply embodied, ecological, grounded in place and community. It flourishes on work that has heart and meaning; it respects the instinctive knowledge and playfulness of children. It understands the myths we live by; thrives on poetry, song and dance. It loves the folkloric, the handcrafted, the practice of traditional skills. It respects wild things, recognises the wisdom of the crow, seeks out the medicine of plants. It rummages and roots on the wild edges, but comes home to an enchanted home and garden. It is engaged with the small, the local, the ethical; enchanted living is slow living.

Tell this to ladies: how a hero man Assail a thick and scandalous giant Who casts true shadow in the sun, And die, but play no truant. This is more horrible: that the darling egg Of the chosen people hatch a creature Of noblest mind and powerful leg Who cannot fathom nor perform his nature.

RETURNING LATE ON THE ROAD FROM PINGQUAN ON WINTER’S DAY The mountain road is hard to travel, the sun now slanting down, In a misty village, a crow lands on a frosted tree. I'll not arrive before night falls, but that should not concern me, Once I've drunk three warm cups, I'll feel as if at home.

Sound. Noise the air employs. Melodies sweet. Tweet, tweet, tweet. Soft. Loud. A roaring crowd. Cluck. Caw. Crow. Tet, tet. Tis, tis. Guttural growl. Harrowing howl. Drip, drip, drip. Tap, tap, tap. Moan and groan. Endless drone. Ding, dang, dong. A church bell song. Vibrations in my ear to hear. Sound.

indelible waiting l'art poetique "..I will wait for the night to chase me..." I sit on a rock and watch children playing in the park below They don't see me Or know my thoughts Or that you haven't called But I forgive them their indifference today Above me a crow caws Perhaps he smells the crumbs on my dress Or my anger But he flits away over the trees Probably has a home Probably has a wife Probably knew to call The children leave The coffee in my can turns cold The wind nips at me Some street lights flicker on But I won't move Not yet I will wait for the night to chase me Back where I came from Up the empty street To a quiet house

So, what do you go for in a girl?” He crows, lifting a lager to his lips Gestures where his mate sits Downs his glass “He prefers tits I prefer ass. What do you go for in a girl?” I don’t feel comfortable The air left the room a long time ago All eyes are on me Well, if you must know I want a girl who reads Yeah. Reads. I’m not trying to call you a chauvinist Cos I know you’re not alone in this but… I want a girl who reads Who needs the written word & uses the added vocabulary She gleans from novels and poetry To hold lively conversation In a range of social situations I want a girl who reads Who’s heart bleeds at the words of Graham Greene Or even Heat magazine Who’ll tie back her hair while reading Jane Eyre And goes cover to cover with each water stones three for two offer but I want a girl who doesn’t stop there I want a girl who reads Who feeds her addiction for fiction With unusual poems and plays That she hunts out in crooked bookshops for days and days and days She’ll sit addicted at breakfast, soaking up the back of the cornflakes box And the information she gets from what she reads makes her a total fox Cos she’s interesting & unique & her theories make me go weak at the knees I want a girl who reads A girl who’s eyes will analyze The menu over dinner Who’ll use what she learns to kick my ass in arguments so she always ends the winner But she’ll still be sweet and she’ll still be flirty Cos she loves the classics and the classics are dirty So late at night she’d always have me in a stupor As she paraphrases the raunchier moments from the works of Jilly Cooper See, some guys prefer asses Some prefer tits And I’m not saying that I don’t like those bits But what’s more important What supersedes Is a girl with passion, wit and dreams So I’d like a girl who reads.

He had not stopped looking into her eyes, and she showed no signs of faltering. He gave a deep sigh and recited: "O sweet treasures, discovered to my sorrow." She did not understand. "It is a verse by the grandfather of my great-great-grandmother," he explained. "He wrote three eclogues, two elegies, five songs, and forty sonnets. Most of them for a Portuguese lady of very ordinary charms who was never his, first because he was married, and then because she married another man and died before he did." "Was he a priest too?" "A soldier," he said. Something stirred in the heart of Sierva María, for she wanted to hear the verse again. He repeated it, and this time he continued, in an intense, well-articulated voice, until he had recited the last of the forty sonnets by the cavalier of amours and arms Don Garcilaso de la Vega, killed in his prime by a stone hurled in battle.When he had finished, Cayetano took Sierva María's hand and placed it over his heart. She felt the internal clamor of his suffering. "I am always in this state," he said. And without giving his panic an opportunity, he unburdened himself of the dark truth that did not permit him to live. He confessed that every moment was filled with thoughts of her, that everything he ate and drank tasted of her, that she was his life, always and everywhere, as only God had the right and power to be, and that the supreme joy of his heart would be to die with her. He continued to speak without looking at her, with the same fluidity and passion as when he recited poetry, until it seemed to him that Sierva María was sleeping. But she was awake, her eyes, like those of a startled deer, fixed on him. She almost did not dare to ask: "And now?" "And now nothing," he said. "It is enough for me that you know." He could not go on. Weeping in silence, he slipped his arm beneath her head to serve as a pillow, and she curled up at his side. And so they remained, not sleeping, not talking, until the roosters began to crow and he had to hurry to arrive in time for five-o'clock Mass. Before he left, Sierva María gave him the beautiful necklace of Oddúa: eighteen inches of mother-of-pearl and coral beads. Panic had been replaced by the yearning in his heart. Delaura knew no peace, he carried out his tasks in a haphazard way, he floated until the joyous hour when he escaped the hospital to see Sierva María. He would reach the cell gasping for breath, soaked by the perpetual rains, and she would wait for him with so much longing that only his smile allowed her to breathe again. One night she took the initiative with the verses she had learned after hearing them so often. 'When I stand and contemplate my fate and see the path along which you have led me," she recited. And asked with a certain slyness: "What's the rest of it?" "I reach my end, for artless I surrendered to one who is my undoing and my end," he said. She repeated the lines with the same tenderness, and so they continued until the end of the book, omitting verses, corrupting and twisting the sonnets to suit themselves, toying with them with the skill of masters. They fell asleep exhausted. At five the warder brought in breakfast, to the uproarious crowing of the roosters, and they awoke in alarm. Life stopped for them.

Theophilus Crowe wrote bad free-verse poetry and played a jimbai drum while sitting on a rock by the ocean. He could play sixteen chords on the guitar and knew five Bob Dylan songs all the way through, allowing for a dampening buzz any time he had to play a bar chord. He had tried his hand at painting, sculpture, and pottery and had even played a minor part in the Pine Cove Little Theater’s revival of Arsenic and Old Lace. In all of these endeavors, he had experienced a meteoric rise to mediocrity and quit before total embarrassment and self-loathing set in. Theo was cursed with an artist’s soul but no talent. He possessed the angst and the inspiration, but not the means to create.

The poetry of history lies in the quasi-miraculous fact that once, on this familiar spot of ground, walked other men and women, as actual as we are today, thinking their own thoughts, swayed by their own passion, but now all gone, one generation vanishing after another, gone as utterly as we ourselves shall shortly be gone like ghosts at cock-crow.

Children delight in poetry if they are not frightened away by adults' fear of poetry.

While the bhikshu Views her navel And she His handsome face, Crows lick clean Both ladle and alms bowl.

In snow thou comest Thou shalt go with resuming ground The sweet derision of thx crow And Glee's advancing sound

War, I have always said, forces men to change their standards, regardless of whether their country has won or lost. Poetics and philosophies disintegrate "when the trees fall and the walls collapse ". At the point when continuity was interrupted by the first nuclear explosion, it would have been too easy to recover the formal sediment which linked us with an age of poetic decorum, of a preoccupation with poetic sounds. After the turbulence of death, moral principles and even religious proofs are called into question. Men of letters who cling to the private successes of their petty aesthetics shut themselves off from poetry's restless presence. From the night, his solitude, the poet finds day and starts a diary that is lethal to the inert. The dark landscape yields a dialogue. The politician and the mediocre poets with their armour of symbols and mystic purities pretend to ignore the real poet. It is a story which repeats itself like the cock's crow; indeed, like the cock's third crow.

A vicarious reader, her bookshelves were crowded with romantic poetry by Keats, Shelly and Byron; classic works from Jane Austen, the Bronte sisters and the great Bard himself, William Shakespeare.  In literature Angeline lost herself in the lives of others, and dreamt of adventures far beyond the Victorian farmhouse where we were raised-- a home as forlorn as the girl who lived beneath its weathered

Ha ha ha ha! Tee-hee-hee! Mwa-ha mwa-ha! Kee kee kee! Ho ho ho ho! Haw-hee-haw! Heh heh heh heh! Gah guffaw! Hoo hoo hoo hoo! Hoi hoi-eee! Ba ha ha ha! Tsee tsee tsee! Giggle, titter, snicker, crow, laughter makes my 'happy' grow!

But somehow, I’ve stopped praising you. How the valley when you first see it—the small roads back to your youth—is so painfully pretty at first, then, after a month of black coffee, it’s just another place your bullish brain exists, bothered by itself and how hurtful human life can be. Isn’t that how it is? You wake up some days full of crow and shine, and then someone has put engine coolant in the medicine on another continent and not even crying helps cure the idea of purposeful poison.

Epistle to Be Left in the Earth ...It is colder now, There are many stars, We are drifting North by the Great Bear, The leaves are falling, The water is stone in the scooped rocks, To southward Red sun grey air: The crows are Slow on their crooked wings, The jays have left us: Long since we passed the flares of Orion. Each man believes in his heart he will die. Many have written last thoughts and last letters. None know if our deaths are now or forever: None know if this wandering earth will be found. We lie down and the snow covers our garments. I pray you, You (if any open this writing) Make in your mouths the words that were our names. I will tell you all we have learned, I will tell you everything: The earth is round, There are springs under the orchards, The loam cuts with a blunt knife, Beware of Elms in thunder, The lights in the sky are stars— We think they do not see, We think also The trees do not know nor the leaves of the grasses hear us: The birds too are ignorant. Do not listen. Do not stand at dark in the open windows. We before you have heard this: They are voices: They are not words at all but the wind rising. Also none among us has seen God. (...We have thought often The flaws of sun in the late and driving weather Pointed to one tree but it was not so.) As for the nights I warn you the nights are dangerous: The wind changes at night and the dreams come. It is very cold, There are strange stars near Arcturus, Voices are crying an unknown name in the sky

for any ruffian of the sky your kingbird doesn’t give a damn- his royal warcry is I AM and he’s the soul of chivalry in terror of whose furious beak (as sweetly singing creatures know) cringes the hugest heartless hawk and veers the vast most crafty crow your kingbird doesn’t give a damn for murderers of high estate whose mongrel creed is Might Makes Right -his royal warcry is I AM true to his mate his chicks his friends he loves because he cannot fear (you see it in the way he stand and looks and leaps upon the air)

He asked me, as if looking for one definitive moment in time: 'How did Zen begin?' I pondered the matter a moment. 'Some say it started with a flower held up in the air, but you can't rely on formulas. Zen man Ikkyu was enlightened by the sound of a squawking crow.

I'm an educated man: the prisons I know are subtle ones. And of course poetry and prison have always been neighbors. And yet it's melancholia that's the source of my attraction. Am I in the seventh dream or have I truly heard the cocks crow at the other end of the feria? It might be one thing or it might be another. But cocks crow at dawn, and it's noon now, according to my watch. I wander through the feria and greet my colleagues who are wandering as dreamily as I am. Dreamily× dreamily = a prison in literary heaven. Wandering.

Poets who write mostly about love, roses and moonlight, sunsets and snow, must lead a very quiet life. Seldom, I imagine, does their poetry get them into difficulties. Beauty and lyricism are really related to another world, to ivory towers, to your head in the clouds, feet floating off the earth. Unfortunately, having been born poor--and also colored--in Missouri, I was stuck in the mud from the beginning. Try as I might to float off into the clouds, poverty and Jim Crow would grab me by the heels, and right back on earth I would land.

CROWS CALLING AT NIGHT Yellow clouds beside the walls; crows roosting near. Flying back, they caw, caw; calling in the boughs. In the loom she weaves brocade, the Qin river girl. Made of emerald yarn like mist, the window hides her words. She stops the shuttle, sorrowful, and thinks of the distant man. She stays alone in the lonely room, her tears just like the rain.

If only humankind would soon succeed in destroying itself; true, I'm afraid : it will take a long time yet, but they'll manage it for sure. They'll have to learn to fly too, so that it will be easier to toss firebrands into cities (a pretty sight : a portly, bronze boat perhaps, from which a couple of mail-clad warriors contemptuously hurl a few flaming armored logs, while from below they shoot at the scaly beasts with howling arrows. They could also easily pour burning oil out of steel pitchers. Or poison. In the wells. By night). Well, they'll manage it all right (if I can come up with that much !). For they pervert all things to evil. The alphabet : it was intended to record timeless poetry or wisdom or memories - but they scrawl myriads of trashy novels and inflammatory pamphlets. What do they deftly make of metals ? Swords and arrow tips. - Fire ? Cities are already smoldering. And in the agora throng the pickpockets and swashbucklers, cutpurses, bawds, quacks and whores. And at best, the rest are simpletons, dandies, and brainless yowlers. And every one of them self-complacent, pretending respectability, bows politely, puffs out coarse cheeks, waves his hands, ogles, jabbers, crows. (They have many words : Experienced : someone who knows plenty of the little underhanded tricks. - Mature : has finally unlearned every ideal. Sophisticated : impertinent and ought to have been hanged long ago.) Those are the small fry; and the : every statesman, politician, orator; prince, general, officer should be throttled on the spot before he has time or opportunity to earn the title at humankind's expense. - Who alone can be great ? Artists and scientists ! And no one else ! And the least of them, if an honest man, is a thousand times greater than the great Xerxes. - If the gods would grant me 3 wishes, one of them would be immediately to free the earth of humankind. And of animals, too (they're too wicked for me as well). Plants are better (except for the insectavores) - The wind has picked up.

It is not enough to say the crow flies purposefully, or heavily, or rowingly, or whatever. There are no words to capture the infinite depth of crowiness in the crow's flight. All we can do is use a word as an indicator, or a whole bunch of words as a general directive. But the ominous thing in the crow's flight, the bare-faced, bandit thing, the tattered beggarly gipsy thing, the caressing and shaping yet slightly clumsy gesture of the down-stroke, as if the wings were both too heavy and too powerful, and the headlong sort of merriment, the macabre pantomime ghoulishness and the undertaker sleekness - you could go on for a very long time with phrases of that sort and still have completely missed your instant, glimpse knowledge of the world of the crow's wingbeat. And a bookload of such descriptions is immediately rubbish when you look up and see the crow flying.

I sit on a rock and watch children playing in the park below They don't see me Or know my thoughts Or that you haven't called But I forgive them their indifference today Above me a crow caws Perhaps he smells the crumbs on my dress Or my anger But he flits away over the trees Probably has a home Probably has a wife Probably knew to call The children leave The coffee in my can turns cold The wind nips at me Some street lights flicker on But I won't move Not yet I will wait for the night to chase me Back where I came from Up the empty street To a quiet house

It was a calm summer evening, with no wind in the air. The endless chirping of the crickets and the light pouring out from the numberless stars into the dark and deep blue sky enhanced the sheikh’s state of Hurufi intoxication. Life and meaning, signs and objects, darkness and absence, made up the universe of clues. Light and Soul, Loneliness and Beauty, Strength and Illusion, composed the poetry of the heart. And so the union of Love and God followed a trail of ink winding through the stars, the branches, the scent of flowers, the sound of birds (owls and crows), and the scuttling march of the hedgehogs in the plague-struck night.

To the man standing on the corner holding the sign that said “God hates gays.” I’ve never seen, exactly who it is that you paperclip your knees, meld your hands together and pray to But I think I know what he looks like: I bet your God is about 5’10”. I bet he weighs 185. Probably stands the way a high school diploma does when it’s next to a GED. I bet your god has a mullet. I bet he wears flannel shirts with no sleeves, a fanny pack and says words like “getrdun.” I bet your god—I bet your god—I bet your god watches FOX news, Dog the Bounty Hunter, voted for John McCain, and loves Bill O’Reilly. I bet your god lives in Arizona. I bet his high school served racism in the cafeteria and offered “hate speech” as a second language. I bet he has a swastika inside of his throat, and racial slurs tattooed to his tongue just to make intolerance more comfortable in his mouth. I bet he has a burning cross as a middle finger and Jim Crow underneath his nails. Your god is a confederate flags wet dream conceived on a day when the sky decided to slice her own wrists, I bet your god has a drinking problem. I bet he sees the bottom of the shot glass more often than his own children. I bet he pours whiskey on his dreams until they taste like good ideas, Probably cusses like an electric guitar with Tourette’s plugged into an ocean. I bet he yells like a schizophrenic nail gun, damaging all things that care about him enough to get close. I bet there are angels in Heaven with black eyes and broken halos who claimed they fell down the stairs. I bet your god would’ve made Eve without a mouth and taught her how to spread her legs like a magazine that she will never ever ever be pretty enough to be in. Sooner or later you will realize that you are praying to your own shadow, that you are standing in front of mirrors and are worshipping your own reflection. Your God stole my god’s identity and I bet he’s buying pieces of heaven on eBay. So next time you bend your knees, next time you bow your head I want you to tell your god— that my god is looking for him.

The Lost Girls Nomad girls are Lost Ones too, With leaves at foot and crown; They too seek shelter in the tress, Drink Red and Gold and Brown. Their circlets made of steam and rain, Their lashes powdered ash, They're firelight, they're fox's kill, They're blood and sweat and scratch. Lost Boys fly forever, and crow the rising sun. They play all day in Neverland, their laughter mermaid-spun. But Lost Girls live underground: They steal from hole to hole. They drink the shadows, wear the night, And paint their cheeks with coal. And when the wind turns colder, They split a doe and climb inside. Still-warm sinew wraps their hands, Dead muscle soaks the light. You'll never tell what's girl, what's beast, Once bloody fur's been trussed- So think your happy thoughts, Lost Boy, Wish on your Fairy Dust.

You are made of life and beauty, and the dreams of my family for a hundred years. You are made of wind, water and wide blue days. My beauty, my pride, you must not die. If all else fails, if darkness devours all I was, you, at least, must go on. She opened both heart and mind to her ship, and flooded her with memories: her father’s deep booming laugh, and the proud moment when she had first taken the wheel into her own hands. A sun-swept vista from the crow’s nest, the horrific poetry of looking up at waves in a storm. You cannot end with me, Althea insisted fiercely. For if you do, all this does with you. All this beauty, all this life. How can you be made of death? It was not his death my father poured into you, but the summation of his life. How can you be made of death, when it was inheriting his life that quickened you?

My name is Shit Turd and I am an American crow. Are you still with me? Crows aren’t well liked, you see. We’re judged because we are black, because our feathers don’t possess the speckled stateliness of a red-tailed hawk’s or the bewitching cobalt of a blue jay’s, those stupid fuckers. Yeah, yeah, we’re not as dainty and whimsical as hummingbirds, not as wise as owls—a total misnomer by the way—and not as “adorable” as the hambeast-bellied egg timer commonly known as a penguin. Crows are harbingers of death and omens, good and bad, according to Big Jim according to Google. Midnight-winged tricksters associated with mystery, the occult, the unknown. The netherworld, wherever that is—Portland? We make people think of the deceased and super angsty poetry. Admittedly we don’t help the cause when we happily dine on fish guts in a landfill, but hey ho.

It happens surprisingly fast, the way your shadow leaves you. All day you’ve been linked by the light, but now that darkness gathers the world in a great black tide, your shadow joins the sea of all other shadows. If you stand here long enough, you, too, will forget your lines and merge with the tall grass and old trees, with the crows and the flooding river—all these pieces of the world that daylight has broken into objects of singular loneliness. It happens surprisingly fast, the drawing in of your shadow, and standing in the field, you become the field, and standing in the night, you are gathered by night, Invisible birds sing to the memory of light but then even those separate songs fade, tiny drops of ink in an infinite spilling. — Rosemerry Wahtola Trommer, “Still Life at Dusk,” Poetry of Presence: An Anthology of Mindfulness Poems, eds. Phyllis Cole-Dai & Ruby R. Wilson (Grayson Books, 2017)

Interlaken Get a running start. Catch a good wind, he said: Be a good bird. I thought him German as his hand did the wave––tumult of syllables, the ocean. A gust carried us from the top of a ridge to where land helixes hug vague bodies of water, pebbled pastures skimming treelines across the range littered with wildflowers. Winds lilted: It’s not your day to go, as I watched clouds blush vermillion, flying in tandem as a crow does over reservoirs and glacial gorges. That high up, I thought maybe we could fall in love, full of pomp and spectacle, but he was a stranger, and to him, I was strange; possibly ugly. Everyone peddles timing––the random alchemy of abutting molecules––though I’ve grown weary of waiting. Stillness is the danger. So I spread out my arms, carved ciphers into ether while a choir could be heard along the nave where winding trails scissor the basin. Spiraling downward, I mouthed a new prayer, knelt in air for deliverance, morphing into needle of a compass, unbeholden to a place inhospitable: the mind. The mind bent on forgetting: I was blown wide open.

On the train I had a lot of time to think. I thought how in the thirty years of my life I had seldom gotten on a train in America without being conscious of my color. In the South, there are Jim Crow cars and Negroes must ride separate from the whites, usually in a filthy antiquated coach next to the engine, getting all the smoke and bumps and dirt. In the South, we cannot buy sleeping car tickets. Such comforts are only for white folks. And in the North where segregated travel is not the law, colored people have, nevertheless, many difficulties. In auto buses they must take the seats in the rear, over the wheels. On the boats they must occupy the worst cabins. The ticket agents always say that all other accommodations are sold. On trains, if one sits down by a white person, the white person will sometimes get up, flinging back an insult at the Negro who has dared to take a seat beside him. Thus it is that in America, if you are yellow, brown, or black, you can never travel anywhere without being reminded of your color, and oft-times suffering great inconveniences. I sat in the comfortable sleeping car on my first day out of Moscow and remembered many things about trips I had taken in America. I remembered how, once as a youngster going alone to see my father who was working in Mexico, I went into the dining car of the train to eat. I sat down at a table with a white man. The man looked at me and said, "You're a nigger, ain't you?" and left the table. It was beneath his dignity to eat with a Negro child. At St. Louis I went onto the station platform to buy a glass of milk. The clerk behind the counter said, “We don't serve niggers," and refused to sell me anything. As I grew older I learned to expect this often when traveling. So when I went South to lecture on my poetry at Negro universities, I carried my own food because I knew I could not go into the dining cars. Once from Washington to New Orleans, I lived all the way on the train on cold food. I remembered this miserable trip as I sat eating a hot dinner on the diner of the Moscow-Tashkent express. Traveling South from New York, at Washington, the capital of our country, the official Jim Crow begins. There the conductor comes through the train and, if you are a Negro, touches you on the shoulder and says, "The last coach forward is the car for colored people." Then you must move your baggage and yourself up near the engine, because when the train crosses the Potomac River into Virginia, and the dome of the Capitol disappears, it is illegal any longer for white people and colored people to ride together. (Or to eat together, or sleep together, or in some places even to work together.) Now I am riding South from Moscow and am not Jim-Crowed, and none of the darker people on the train with me are Jim-Crowed, so I make a happy mental note in the back of my mind to write home to the Negro papers: "There is no Jim Crow on the trains of the Soviet Union.

I was 18 wen I started driving I was 18 the first time I was pulled over. It was 2 AM on a Saturday The officer spilled his lights all over my rearview mirror, he splashed out of the car with his hand already on his weapon, and looked at me the way a tsunami looks at a beach house. Immediately, I could tell he was the kind of man who brings a gun to a food fight. He called me son and I thought to myself, that's an interesting way of pronouncing "boy," He asks for my license and registration, wants to know what I'm doing in this nieghborhood, if the car is stolen, if I have any drugs and most days, I know how to grab my voice by the handle and swing it like a hammer. But instead, I picked it up like a shard of glass. Scared of what might happen if I didn't hold it carefully because I know that this much melanin and that uniform is a plotline to a film that can easily end with a chalk outline baptism, me trying to make a body bag look stylish for the camera and becoming the newest coat in a closet full of RIP hashtags. Once, a friend of a friend asked me why there aren't more black people in the X Games and I said, "You don't get it." Being black is one of the most extreme sports in America. We don't need to invent new ways of risking our lives because the old ones have been working for decades. Jim Crow may have left the nest, but our streets are still covered with its feathers. Being black in America is knowing there's a thin line between a traffic stop and the cemetery, it's the way my body tenses up when I hear a police siren in a song, it's the quiver in my stomach when a cop car is behind me, it's the sigh of relief when I turn right and he doesn't. I don't need to go volcano surfing. Hell, I have an adrenaline rush every time an officer drives right past without pulling me over and I realize I'm going to make it home safe. This time.

Lies surround me. They are the strangers that linger under the façade of a soft whispered kiss. Ever so lovingly muddled in a single breath, fleeting, yet cemented in the heart. It is difficult to ignore them. They exist everywhere in all shapes and emotions. They drive our world, and our thoughts.

Today is a trumpet to set the hounds baying. The past is a fox the hunters are flaying. Nothing unspoken goes without saying. Love's a casino where lovers risk playing. The future's a marker our hearts are prepaying. The future's a promise there's no guaranteeing. Today is a fire the field mice are fleeing. Love is a marriage of feeling and being. The past is a mirror for wishful sightseeing. Nothing goes missing without absenteeing. Nothing gets cloven except by dividing. The future is chosen by atoms colliding. The past's an elision forever eliding. Today is a fog bank in which I am hiding. Love is a burn forever debriding. Love's an ascent forever plateauing. Nothing is granted except by bestowing. Today is an anthem the cuckoos are crowing. The future's a convolute river onflowing. The past is a lawn the neighbor is mowing. The past is an answer not worth pursuing, Nothing gets done except by the doing. The future's a climax forever ensuing. Love is only won by wooing. Today is a truce between reaping and rueing.

Building with Its Face Blown Off How suddenly the private is revealed in a bombed-out city, how the blue and white striped wallpaper of a second story bedroom is now exposed to the lightly falling snow as if the room had answered the explosion wearing only its striped pajamas. Some neighbors and soldiers poke around in the rubble below and stare up at the hanging staircase, the portrait of a grandfather, a door dangling from a single hinge. And the bathroom looks almost embarrassed by its uncovered ochre walls, the twisted mess of its plumbing, the sink sinking to its knees, the ripped shower curtain, the torn goldfish trailing bubbles. It's like a dollhouse view as if a child on its knees could reach in and pick up the bureau, straighten a picture. Or it might be a room on a stage in a play with no characters, no dialogue or audience, no beginning, middle, and end– just the broken furniture in the street, a shoe among the cinder blocks, a light snow still falling on a distant steeple, and people crossing a bridge that still stands. And beyong that–crows in a tree, the statue of a leader on a horse, and clouds that look like smoke, and even farther on, in another country on a blanket under a shade tree, a man pouring wine into two glasses and a woman sliding out the wooden pegs of a wicker hamper filled with bread, cheese, and several kinds of olives.

I sit with you spiritless. And while you were filling in the air with talks I don't hear, There was a crow unearthing my head and feeding on my thoughts.

Moonlight - 1888-1974 He feigned a fine indifference To be so prodigal of light, Knowing his piteous twisted things Would lose the crooked marks of spite When only moonbeams lit the dusk And made his wicked world seem right. But we forget so soon the shame, Conceiving sweetness if we can, Heaven the citadel itself Illumined on the lunar plan; And I the chief of sinners, I The middlemost Victorian! Now I shall ride the misty lake With my own love, and speak so low That not a fishy thing shall hear The secrets passing to and fro Amid the moonlight poetries. O moonshine, how unman us so?

Even loathsome crows Are transformed by Morning snow - Matsuo Bashō

For a fair maid of England hath told me That the crows are departed the Tower. So I’ll seek for my bailiwick elsewhere, Sniffing out some new dungheap of power.

TO VICTOR HUGO OF MY CROW PLUTO “Even when the bird is walking we know that it has wings.”—VICTOR HUGO Of: my crow Pluto, the true Plato, azzurronegro green-blue rainbow — Victor Hugo, it is true we know that the crow “has wings,” however pigeon-toe- inturned on grass. We do. (adagio) Vivorosso “corvo,” although con dizionario io parlo Italiano— this pseudo Esperanto which, savio ucello you speak too — my vow and motto (botto e totto) io giuro è questo credo: lucro è peso morto. And so dear crow— gioièllo mio— I have to let you go; a bel bosco generoso, tuttuto vagabondo, s erafino uvaceo Sunto, oltremarino verecondo Plato, addio. (((((Impromptu equivalents for esperanto madinusa (made in U.S.A.) for those who might not resent them. azzurro-negro: blue-black vivorosso: lively con dizionario: with dictionary savio ucello: knowing bird botto e totto: vow and motto io giuro: I swear è questo credo: is this credo lucro è peso morto: profit is a dead weight gioièllo mio: my jewel a bel bosco: to lovely woods tuttuto vagabondo: complete gypsy serafino uvaceo: grape-black seraph sunto: in short verecondo: modest))))

If ever I was meant to love, my heart would beat for you,” Need not the Raven say to Crow beneath the winter’s howl. Excerpt from "The Raven and The Crow

And Death it calls as the stone crow breaks. Streaks of blood malform its face. Death becomes its withered eyes and the shadows whisper, “Lies.” Excerpt from "Lies

Moonless nights haunt me. They evoke remembrances of a carefree life when I dreamed without doubt to what my future could be. I yearn for a time when my mother’s tree swayed beneath the dusk like an amber sea, but the past is locked without a key. Never to return—only flee

An Appreciation of the Udder by Stewart Stafford Abe Lincoln borrowed Mabel Brown's bra, The bustiest gal in the county by far, Stretched it right back as far it would go, Launched himself up, a skyrocketing crow. He soared up so high, he couldn't believe it, Saw an aerial shot of Mabel's mighty cleavage, Birds wondered about the youthful intruder, Touched the dark rim of space, no blue there. Gravity tapped Honest Abe on the shoulder, He fell back to earth like a tumbling boulder, Broke his rapid fall by grabbing onto a tree, Exhilarated at the thought of skyward liberty. © Stewart Stafford, 2024. All rights reserved.

first narcissi Persephone walks out of the underground station spring day announcement said no flowers with or without you bindweed climbing both sides of the wall I will go now where my eyes carry me poplar fluff she comes to me attired only in a short night slow train home a cloud’s shadow running across the stubble bitter wind the smell of honey in the empty hive the fragrance of pencil shavings September rain all the wealth that he left golden leaves her hands tremble like captured birds winter wind a few words from the doctor crows on snow shape of her sleep on the down pillow snowy morning

It was wrong. It was wrong to pay the same dime yet have to walk to the back of the bus. It was wrong to have to pass a "white" school to go to a "colored" school. It was wrong to have Colored and White signs. It was wrong that Emmett Till was murdered. It was wrong that the Sixteenth Street Baptist Church was dynamited. It was wrong that Medgar Evers was shot in the back and bled to death in his own driveway. And whatever was not right could be, if not corrected, then certainly reproved by people with kinder hearts, better minds and the courage to speak out for their beliefs.

Behind my words are my hopes And behind my hopes is an angel singing my death and yours I said to her "It's the ending of a cycle and the ending of me in your life" She is now awake to the sound of nature and the angel's voice We are soaring in the approaching stars I am dreaming and cannot comprehend it I have seen the stars Dear stars: the awakening and the loss, we are born and fall Dear stars, you too are above and lost and hanging like a booklet unread yet open for us all Behind my eyes is a secret I vouched to never share it I see the selfsame eyes of my mother and my grand mother And the eyes of my great grandmother, whom I never knew but felt And so this line unto the Alef and the omega point at infinity With my eye still I see the light, the crow that sees everything and smiles And knows everything and smile We comprehend a moment through him and smile I see all around my skin and beyond I have sung one thousand songs on the electric body I have invented my self I have killed my self I am just a form of English words written by an Algerian spirit

You are the spontaneity of a day unplanned I am the crow that feeds from the palm of your hand.

What is now dust will not return, / not the beloveds / nor their breath, / nor the sugar-crumbling glaciers, / nor the crows chewing / on their own soured song, / nor all the species / slashed / down / in one smogged swoop.

Why Are Your Poems so Dark?” Isn’t the moon dark too, most of the time? And doesn’t the white page seem unfinished without the dark stain of alphabets? When God demanded light, he didn’t banish darkness. Instead he invented ebony and crows and that small mole on your left cheekbone. Or did you mean to ask “Why are you sad so often?” Ask the moon. Ask what it has witnessed. Linda Pastan, Poetry (August 2003

Perhaps it was because Greville’s poetry had a little too much in common with Shakespeare’s? And it wasn’t just me who noticed that. The critic Glynne Wickham once argued that Shakespeare had based his Love’s Labor’s Lost on a play Greville wrote. The Shakespearian Charles Lamb shocked his friends Coleridge and Wordsworth by choosing Greville as the one person from literary history whose ghost he would most like to interrogate. John Baxter observed that Shakespeare and Greville “share remarkably coincidental general intentions.” The sonnet-cycle scholar Martha Foote Crow noted Greville’s poetry “comes nearer to Shakespeare’s philosophical grasp than does the attempt of any other Elizabethan sonneteer.” Lytton Sells wrote, “In variety of tone and topic [Greville’s] Caelica resembles the sonnets of Shakespeare more than any other poet of his time.

Pilgrim’s Progress by Stewart Stafford Solitary steps in silence grim, As waters lapped the lakeside’s rim, In our time, before and aft, Magpies cackled, crows laughed. I drew level with a miasmic curtain, In vapour folds, to views uncertain, Sound grew thick in compensation, I took each step with trepidation. Sweet breath wind, fog dispersed, Marvelling at the ground traversed, The garden path to a shelter trite, As hailstones on my windows bite. © Stewart Stafford, 2024. All rights reserved.

1] God have mercy on the sinner Who must write with no dinner, No gravy and no grub, No pewter and no pub, No bellyand no bowels, Only consonants and vowels. 2] But we moderns are impatient and destructive 3] And how can poetry stand up against its new conditions? Its position is perfectly precarious. 4] In all the good Greek of Plato I lack my roastbeef and potato. A better man was Aristotle, Pulling steady on the bottle.

Oh, my dear Apicata, how you have changed since we last met!" Apicata didn't respond, or if she did we couldn't hear her. "Apicata has been studying philosophy," Aelia said, trying to be conversational. "Apicata, recite for us some Plato, will you?" I could hear a waver in her voice, although it was slight. I wondered if Apicius could hear it too. "Yes, Mother." She was as obedient as you would ever hope a well-educated Roman child to be. She cleared her throat and her voice rang out in a loud, clear tone. "From his Republic: 'The man who finds that in the course of his life he has done a lot of wrong often wakes up at night in terror, like a child with a nightmare, and his life is full of foreboding; but the man who is conscious of no wrongdoing is filled with cheerfulness and with the comfort of old age." Oh, I could not have had more pride than I did then. Our little bird had spread her wings and let her voice take flight. I wished I could see the look on Sejanus's face. There was silence, then a brief flurry of applause. "Lovely, my dear!" Aelia crowed, clearly pleased with her daughter's choice of words. "Oh, Sejanus, I'm sure you would be even more delighted by her poetry.

If you want to love ​ Do so ​ To the ends of the earth​ With no shortcuts ​ Do so​ As the crow flies.​ Veronique Tadjo, As the crow flies​

The Provider Several crows were lined up along the ridge of a quite ordinary house. 'These ridge poles are a good idea,' said a young one. 'Who dreamed it up?' 'This place of rest is a fortuitous gift from the moon,' said a raven who was mixing with the hoi polloi today. 'The moon is a relative of the roc, a distant cousin of mine. Believe me,' he said, stretching his wings out to their full advantage and pushing the crows at the end off balance, so several leaped into the wind and cried, 'caw' . . . 'it depends on your original stock. I've got a piece of the roc.' The moon rose spectral and drained, a gossamer imprint of her nighttime self, a reminder of crystal fracture, the load of swinging primitive stones, the ancient hairy arms with slingshots. A sudden explosion and the sky was defined with flapping and cawing. 'What was that?' cried the young one who was addicted to awe. 'Who knows?' replied the raven. 'Often the moon demands a sacrifice. As a close relative, it is now my duty to go and eat the meat. For it is said, nothing is wasted; nothing is without purpose.' And the raven rose and flew toward the hunters.

In his poems and in his teaching of other poets, Bashō set forth a simple, deeply useful reminder: that if you see for yourself, hear for yourself, and enter deeply enough this seeing and hearing, all things will speak with and through you. “To learn about the pine tree,” he told his students, “go to the pine tree; to learn from the bamboo, study bamboo.” He found in every life and object an equal potential for insight and expansion. A good subject for haiku, he suggested, is a crow picking mud-snails from between a rice paddy’s plants. Seen truly, he taught, there is nothing that does not become a flower, a moon. “But unless things are seen with fresh eyes,” he added, “nothing’s worth writing down.” A wanderer all his life both in body and spirit, Bashō concerned himself less with destination than with the quality of the traveller’s attention. A poem, he comments, only exists while it’s on the writing desk; by the time its ink has dried, it should be recognized as just a scrap of paper. In poetry as in life, he saw each moment as gate-latch. Permeability mattered more in this process than product or will: “If we were to gain mastery over things, we would find their lives would vanish under us without a trace.

A honey bee, a funny flea, a pitter patter sunny sea A breezy snow, a wheezy crow, a bitter batter easy dough A teary hymn, a weary limb, a titter tatter cheery swim A cozy yawn, a nosy fawn, a chitter chatter rosy dawn

There is an attractive man who comes with a woman wearing unflattering clothes, they tell us to write poetry. You plagiarize a Counting Crows song and everyone is impressed.

Dove-white dawn illumes life’s worth As mourners load crow-black hearse To feed remains to hungry dirt. From nothing to nothing, from dust to dust. Life delays, then betrays; It is death alone that we can trust.

B.S., I Luv You by Stewart Stafford Bite that lying tongue in your cheek, Shaman's mask to play hide-and-seek, A whirlpool vortex being, so deluded, Tarantuled me in, my senses denuded. Checking blood banks - Yes! You got paid! A sociopath's shameless, sick parade, In sycophant shade, carrion crows convene, Alibis caw over a cadaver's gangrene. Botox sessions ended frowned, Dredge up memories when you're around, Bury your drained victims, vampire creep, From oozing floorboards, vile secrets seep. Communing with nocturnal revelry, Hog feast at a bonfire of hypocrisy, Scapegoating ends in mirrored past, In tumbling runes, flaws naked, cast. © 2025, Stewart Stafford. All rights reserved.

There is no art, no magic, no poetry, no glory of nature more beautiful than Winnie fucking Darling coming on my cock.