Float Poem Quotes

Unending Love I seem to have loved you in numberless forms, numberless times... In life after life, in age after age, forever. My spellbound heart has made and remade the necklace of songs, That you take as a gift, wear round your neck in your many forms, In life after life, in age after age, forever. Whenever I hear old chronicles of love, it's age old pain, It's ancient tale of being apart or together. As I stare on and on into the past, in the end you emerge, Clad in the light of a pole-star, piercing the darkness of time. You become an image of what is remembered forever. You and I have floated here on the stream that brings from the fount. At the heart of time, love of one for another. We have played along side millions of lovers, Shared in the same shy sweetness of meeting, the distressful tears of farewell, Old love but in shapes that renew and renew forever. Today it is heaped at your feet, it has found its end in you The love of all man's days both past and forever: Universal joy, universal sorrow, universal life. The memories of all loves merging with this one love of ours - And the songs of every poet past and forever.

Caged Bird A free bird leaps on the back of the wind and floats downstream till the current ends and dips his wing in the orange suns rays and dares to claim the sky. But a bird that stalks down his narrow cage can seldom see through his bars of rage his wings are clipped and his feet are tied so he opens his throat to sing. The caged bird sings with a fearful trill of things unknown but longed for still and his tune is heard on the distant hill for the caged bird sings of freedom. The free bird thinks of another breeze and the trade winds soft through the sighing trees and the fat worms waiting on a dawn-bright lawn and he names the sky his own. But a caged bird stands on the grave of dreams his shadow shouts on a nightmare scream his wings are clipped and his feet are tied so he opens his throat to sing. The caged bird sings with a fearful trill of things unknown but longed for still and his tune is heard on the distant hill for the caged bird sings of freedom.

anyone lived in a pretty how town (with up so floating many bells down) spring summer autumn winter he sang his didn't he danced his did Women and men(both little and small) cared for anyone not at all they sowed their isn't they reaped their same sun moon stars rain children guessed(but only a few and down they forgot as up they grew autumn winter spring summer) that noone loved him more by more when by now and tree by leaf she laughed his joy she cried his grief bird by snow and stir by still anyone's any was all to her someones married their everyones laughed their cryings and did their dance (sleep wake hope and then)they said their nevers they slept their dream stars rain sun moon (and only the snow can begin to explain how children are apt to forget to remember with up so floating many bells down) one day anyone died i guess (and noone stooped to kiss his face) busy folk buried them side by side little by little and was by was all by all and deep by deep and more by more they dream their sleep noone and anyone earth by april wish by spirit and if by yes. Women and men (both dong and ding) summer autumn winter spring reaped their sowing and went their came sun moon stars rain

Love is Not All Love is not all: it is not meat nor drink Nor slumber nor a roof against the rain; Nor yet a floating spar to men that sink And rise and sink and rise and sink again; Love can not fill the thickened lung with breath, Nor clean the blood, nor set the fractured bone; Yet many a man is making friends with death Even as I speak, for lack of love alone. It well may be that in a difficult hour, Pinned down by pain and moaning for release, Or nagged by want past resolution’s power, I might be driven to sell your love for peace, Or trade the memory of this night for food. It well may be. I do not think I would.

In Blackwater Woods Look, the trees are turning their own bodies into pillars of light, are giving off the rich fragrance of cinnamon and fulfillment, the long tapers of cattails are bursting and floating away over the blue shoulders of the ponds, and every pond, no matter what its name is, is nameless now. Every year everything I have ever learned in my lifetime leads back to this: the fires and the black river of loss whose other side is salvation, whose meaning none of us will ever know. To live in this world you must be able to do three things: to love what is mortal; to hold it against your bones knowing your own life depends on it; and, when the time comes to let it go, to let it go.

I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz, who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated, who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the scholars of war,

I find now, swallowing one teaspoon of pain, that it drops downward to the past where it mixes with last year’s cupful and downward into a decade’s quart and downward into a lifetime’s ocean. I alternate treading water and deadman’s float.

If I don't see the reason of someone being my friend, chances are, we are just floating and I need a ship to set sail.

The one close to me now, even my own body- these too will soon become clouds, floating in different directions.

Amanda Hamilton poem: “I must let go now. Let you go. Love is too often The answer for staying. Too seldom the reason For going. I drop the line And watch you drift away. “All along You thought The fiery current Of your lover’s breast Pulled you to the deep. But it was my heart-tide Releasing you To float adrift With seaweed.

MOM Wholeheartedly, She loved me- And inspired me- With transcending devotion. It was a blessing- To have been her son, To have been loved- Without conditions. Her words of wisdom- Opened my eyes- To the world- And to myself. By seeing the best in me, She empowered me. By believing in me, She transformed me. She grew old- And floated away, But her love remains standing- Eternally by my side.

No sooner had I stepp'd into these pleasures Than I began to think of rhymes and measures: The air that floated by me seem'd to say 'Write! thou wilt never have a better day.

The Rider A boy told me if he roller-skated fast enough his loneliness couldn't catch up to him, the best reason I ever heard for trying to be a champion. What I wonder tonight pedaling hard down King William Street is if it translates to bicycles. A victory! To leave your loneliness panting behind you on some street corner while you float free into a cloud of sudden azaleas, pink petals that have never felt loneliness, no matter how slowly they fell.

Poem of the One World This morning the beautiful white heron was floating along above the water and then into the sky of this the one world we all belong to where everything sooner or later is a part of everything else which thought made me feel for a little while quite beautiful myself.

And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon's that is dreaming, And the lamp-light o'er him streaming throws his shadow on the floor: And my soul from out that shadow that lies floating on the floor Shall be lifted — nevermore!

If I were a cinnamon peeler I would ride your bed and leave the yellow bark dust on your pillow. Your breasts and shoulders would reek you could never walk through markets without the profession of my fingers floating over you. The blind would stumble certain of whom they approached though you might bathe under rain gutters, monsoon. Here on the upper thigh at this smooth pasture neighbor to your hair or the crease that cuts your back. This ankle. You will be known among strangers as the cinnamon peeler's wife. I could hardly glance at you before marriage never touch you -- your keen nosed mother, your rough brothers. I buried my hands in saffron, disguised them over smoking tar, helped the honey gatherers... When we swam once I touched you in water and our bodies remained free, you could hold me and be blind of smell. You climbed the bank and said this is how you touch other women the grasscutter's wife, the lime burner's daughter. And you searched your arms for the missing perfume. and knew what good is it to be the lime burner's daughter left with no trace as if not spoken to in an act of love as if wounded without the pleasure of scar. You touched your belly to my hands in the dry air and said I am the cinnamon peeler's wife. Smell me.

Look, the trees are turning their own bodies into pillars of light, are giving off the rich fragrance of cinnamon and fulfillment, the long tapers of cattails are bursting and floating away over the blue shoulders of the ponds, and every pond, no matter what its name is, is nameless now. Every year everything I have ever learned in my lifetime leads back to this: the fires and the black river of loss whose other side is salvation, whose meaning none of us will ever know. To live in this world you must be able to do three things: to love what is mortal; to hold it against your bones knowing your own life depends on it; and, when the time comes to let it go, to let it go.

Ah, broken is the golden bowl! the spirit flown forever! Let the bell toll!-a saintly soul floats on the Stygian river; And, Guy de Vere, hast thou no tear?-weep now or nevermore!

Before me floats an image, man or shade, Shade more than man, more image than a shade; For Hades' bobbin bound in mummy-cloth May unwind the winding path; A mouth that has no moisture and no breath Breathless mouths may summon; ("Byzantium")

I don't write about you because you don't deserve to be immortalised in my words. I'll leave you to float around in my mind until forgetfulness comes to take you away.

Sometimes a glance, a few casual words, fragments of a melody floating through the quiet air of a summer evening, a book that accidentally comes into hands, a poem or memory-laden fragrance may bring about the impulse which changes and determines our whole life.

Speaking out loud, she recited an Amanda Hamilton poem: “I must let go now. Let you go. Love is too often The answer for staying. Too seldom the reason For going. I drop the line And watch you drift away. “All along You thought The fiery current Of your lover’s breast Pulled you to the deep. But it was my heart-tide Releasing you To float adrift With seaweed.

The poem I want to write is impossible. A stone that floats.

I do believe the most of me Floats under water; and men see Above the wave a jagged small Mountain of ice, and that is all. Only the depths of other peaks May know my substance when it speaks, And steadfast through the grinding jam Remain aware of what I am. Myself, I think, shall never know How far beneath the wave I go.

a man was found floating dead in the San Francisco bay. a note in his pocket read: I won't jump if someone smiles at me today.

Poem (the spirit likes to dress up) The spirit likes to dress up like this: ten fingers, ten toes, shoulders, and all the rest at night in the black branches, in the morning in the blue branches of the world. It could float, of course, but would rather plumb rough matter. Airy and shapeless thing, it needs the metaphor of the body, lime and appetite, the oceanic fluids; it needs the body’s world, instinct and imagination and the dark hug of time, sweetness and tangibility, to be understood, to be more than pure light that burns where no one is – so it enters us – in the morning shines from brute comfort like a stitch of lightning; and at night lights up the deep and wondrous drownings of the body like a star.

Evening Solace The human heart has hidden treasures, In secret kept, in silence sealed;­ The thoughts, the hopes, the dreams, the pleasures, Whose charms were broken if revealed. And days may pass in gay confusion, And nights in rosy riot fly, While, lost in Fame's or Wealth's illusion, The memory of the Past may die. But, there are hours of lonely musing, Such as in evening silence come, When, soft as birds their pinions closing, The heart's best feelings gather home. Then in our souls there seems to languish A tender grief that is not woe; And thoughts that once wrung groans of anguish, Now cause but some mild tears to flow. And feelings, once as strong as passions, Float softly back-­a faded dream; Our own sharp griefs and wild sensations, The tale of others' sufferings seem. Oh ! when the heart is freshly bleeding, How longs it for that time to be, When, through the mist of years receding, Its woes but live in reverie ! And it can dwell on moonlight glimmer, On evening shade and loneliness; And, while the sky grows dim and dimmer, Feel no untold and strange distress­ Only a deeper impulse given By lonely hour and darkened room, To solemn thoughts that soar to heaven, Seeking a life and world to come.

When the web started, I used to get really grumpy with people because they put my poems up. They put my stories up. They put my stuff up on the web. I had this belief, which was completely erroneous, that if people put your stuff up on the web and you didn’t tell them to take it down, you would lose your copyright, which actually, is simply not true. And I also got very grumpy because I felt like they were pirating my stuff, that it was bad. And then I started to notice that two things seemed much more significant. One of which was… places where I was being pirated, particularly Russia where people were translating my stuff into Russian and spreading around into the world, I was selling more and more books. People were discovering me through being pirated. Then they were going out and buying the real books, and when a new book would come out in Russia, it would sell more and more copies. I thought this was fascinating, and I tried a few experiments. Some of them are quite hard, you know, persuading my publisher for example to take one of my books and put it out for free. We took “American Gods,” a book that was still selling and selling very well, and for a month they put it up completely free on their website. You could read it and you could download it. What happened was sales of my books, through independent bookstores, because that’s all we were measuring it through, went up the following month three hundred percent. I started to realize that actually, you’re not losing books. You’re not losing sales by having stuff out there. When I give a big talk now on these kinds of subjects and people say, “Well, what about the sales that I’m losing through having stuff copied, through having stuff floating out there?” I started asking audiences to just raise their hands for one question. Which is, I’d say, “Okay, do you have a favorite author?” They’d say, “Yes.” and I’d say, “Good. What I want is for everybody who discovered their favorite author by being lent a book, put up your hands.” And then, “Anybody who discovered your favorite author by walking into a bookstore and buying a book raise your hands.” And it’s probably about five, ten percent of the people who actually discovered an author who’s their favorite author, who is the person who they buy everything of. They buy the hardbacks and they treasure the fact that they got this author. Very few of them bought the book. They were lent it. They were given it. They did not pay for it, and that’s how they found their favorite author. And I thought, “You know, that’s really all this is. It’s people lending books. And you can’t look on that as a loss of sale. It’s not a lost sale, nobody who would have bought your book is not buying it because they can find it for free.” What you’re actually doing is advertising. You’re reaching more people, you’re raising awareness. Understanding that gave me a whole new idea of the shape of copyright and of what the web was doing. Because the biggest thing the web is doing is allowing people to hear things. Allowing people to read things. Allowing people to see things that they would never have otherwise seen. And I think, basically, that’s an incredibly good thing.

You're back where you swore yourself you wouldn't be The familiar shackles you can't tell from your own skin Your head's under water when you learned to swim On a road to hell, congratulations, you're free...

The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion, the entire novel which suddenly becomes one you have never read, never even heard of, as if, one by one, the memories you used to harbor decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones. Long ago you kissed the names of the nine Muses goodbye and watched the quadratic equation pack its bag, and even now as you memorize the order of the planets, something else is slipping away, a state flower perhaps, the address of an uncle, the capital of Paraguay. Whatever it is you are struggling to remember, it is not poised on the tip of your tongue, not even lurking in some obscure corner of your spleen. It has floated away down a dark mythological river whose name begins with an L as far as you can recall, well on your own way to oblivion where you will join those who have even forgotten how to swim and how to ride a bicycle. No wonder you rise in the middle of the night to look up the date of a famous battle in a book on war. No wonder the moon in the window seems to have drifted out of a love poem that you used to know by heart.

And as with prayer, which is a dipping of oneself toward the light, there is a consequence of attentiveness to the grass itself, and the sky itself, and to the floating bird. I too leave the fret and enclosure of my own life. I too dip myself toward the immeasurable.

All hearts float in their own deep oceans of no light, wetblack and glimmering, their four mouths gulping like fish. Hearts are said to pound: this is to be expected, the heart’s regular struggle against being drowned.

Love that bore me I bear back to my Origin with no loss, I float over the vomiter thrilled with my deathlessness, thrilled with this endlessness I dice and bury, come Poet shut up eat my word, and taste my mouth in your ear.

So what rhyming poems do is they take all these nearby sound curves and remind you that they first existed that way in your brain. Before they meant something specific, they had a shape and a way of being said. And now, yes, gloom and broom are floating fifty miles away from each other in you mind because they refer to different notions, but they're cheek-by-jowl as far as your tongue is concerned. And that's what a poem does. Poems match sounds up the way you matched them when you were a tiny kid, using that detachable front phoneme.

Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota Over my head, I see the bronze butterfly, Asleep on the black trunk, Blowing like a leaf in green shadow. Down the ravine behind the empty house, The cowbells follow one another Into the distances of the afternoon. To my right, In a field of sunlight between two pines, The droppings of last year’s horses Blaze up into golden stones. I lean back, as the evening darkens and comes on. A chicken hawk floats over, looking for home. I have wasted my life.

Spend the glittering moonlight there Pursuing down the soundless deep Limbs that gleam and shadowy hair, Or floating lazy, half-asleep. Dive and double and follow after, Snare in flowers, and kiss, and call, With lips that fade, and human laughter And faces individual, Well this side of Paradise! . . . There's little comfort in the wise.

if you think you are drowning, just remember: you float in water.

Time passed, turning everything to ice. Under the ice, the future stirred. If you fell into it, you died. It was a time of waiting, of suspended action. I lived in the present, which was that part of the future you could see. The past floated above my head, like the sun and moon, visible but never reachable. It was a time governed by contradictions, as in I felt nothing and I was afraid.

I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz, who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tenement roofs illuminated, who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the scholars of war, who were expelled from the academies for crazy & publishing obscene odes on the windows of the skull,

Dreamt by a Man in a Field I am thinking of the dead Who are still with us. They are not like us, they are Young and beautiful, On their way in the rain To meet their lovers. On their way with their dark umbrellas, Always laughing, so quick, Like limbs flying back In a boat before night, So constant, Like the glass floats The fisherman use in Japan. But for them there is no moon, For us the same news We do not receive.

Language is rich, and malleable. It is a living, vibrant material, and every part of a poem works in conjunction with every other part - the content, the place, the diction, the rhythm, the tone-as well as the very sliding, floating, thumping, rapping sounds of it.

No one told me love could be a God of both living and dying. That girls who love girls do not just drown, they also float.

What is loneliness if not unimaginable light and measured in lumens— an electric bill which must be paid, a taxi cab floating across three lanes with its lamp lit, gold in wanting.

Question everything, even the question mark, that shepherd's crook floating in the air above that small round rock If you - stubbornly - still wish to be unhappy, maybe you can grasp it.

The child tells me her grandmother showed her how to cure sadness by sucking the juice of an orange, while standing on a beach. Toss the peels onto a wave. Watch the sadness float away.

Modernist literature with all its vast apparatus was an instrument, a form of perception, and once absorbed, the insights it brought could be rejected without its essence being lost, even the form endured, and it could be applied to your own life, your own fascinations, which could then suddenly appear in a new and significant light. Espen took that path, and I followed him like a brainless puppy, it was true, but I did follow him. I leafed through Adorno, read some passages of Benjamin, sat bowed over Blanchot for a few days, had a look at Derrida and Foucault, had a go at Kristeva, Lacan, Deleuze, while poems by Ekelöf, Björling, Pound, Mallarmé, Rilke, Trakl, Ashbery, Mandelstam, Lunden, Thomsen, and Hauge floated around, on which I spent more than a few minutes, I read them as prose, like a book by MacLean or Bagley, and learned nothing, understood nothing, but just having contact with them, having their books in the bookcase, led to a shifting of consciousness, just knowing they existed was an enrichment, and if they didn't furnish me with insights I became all the richer for intuitions and feelings.

The question is, what will it be like after the last day? Will I float into the sky or will I fray within the earth or a river— remembering nothing? How desperate I would be if I couldn’t remember the sun rising, if I couldn’t remember trees, rivers; if I couldn’t even remember, beloved, your beloved name.

I am nothing but oxygen and hydrogen, A luminous sphere of plasma Held together by helium and gravity, And like a balloon I float on earth, Waiting to be released back into the sky, Waiting to go back in the reverse Direction from which I came, Traveling through a warm tunnel of light, And out into a cold, dark abyss Where I will explode into a thousand pieces. I shall leave behind my body, Just like air abandons the skin of a shattered balloon, And the magnetic dust that carries my Heart and spirit will lift us back To congregate and shine With the stars. Home again, In the fluorescent Kingdom of the constellations, I will once again be called by My soul’s true name. And my heart, It will flicker again, With every memory from its many Lifetimes, And with every wish Made by a child. SONG OF THE STAR by Suzy Kassem

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

Still, what I want in my life is to be willing to be dazzled — to cast aside the weight of facts and maybe even to float a little above this difficult world. I want to believe I am looking into the white fire of a great mystery. Poem: The Ponds

If death is like a sonnet then life would be a haiku. The sonnet, a lyrical poem, the beauty and magic with the last breath~ love, words fading and floating off into the abyss that is space whilst our everyday lives or days more important than normal become just a mere whisper in only a few short syllables through which we convey with our hearts the truth of the universe in a single moment briefly.

But now secure the painted vessel glides,   The sun-beams trembling on the floating tides:   While melting music steals upon the sky,   And soften'd sounds along the waters die; 50   Smooth flow the waves, the Zephyrs gently play,   Belinda smil'd, and all the world was gay.

To have without holding Learning to love differently is hard, love with the hands wide open, love with the doors banging on their hinges, the cupboard unlocked, the wind roaring and whimpering in the rooms rustling the sheets and snapping the blinds that thwack like rubber bands in an open palm. It hurts to love wide open stretching the muscles that feel as if they are made of wet plaster, then of blunt knives, then of sharp knives. It hurts to thwart the reflexes of grab, of clutch ; to love and let go again and again. It pesters to remember the lover who is not in the bed, to hold back what is owed to the work that gutters like a candle in a cave without air, to love consciously, conscientiously, concretely, constructively. I can’t do it, you say it’s killing me, but you thrive, you glow on the street like a neon raspberry, You float and sail, a helium balloon bright bachelor’s button blue and bobbing on the cold and hot winds of our breath, as we make and unmake in passionate diastole and systole the rhythm of our unbound bonding, to have and not to hold, to love with minimized malice, hunger and anger moment by moment balanced.

O to have life henceforth a poem of new joys! To dance, clap hands, exult, shout, skip, leap, roll on, float on! To be a sailor of the world bound for all ports, A ship itself, (see indeed these sails I spread to the sun and air,) A swift and swelling ship full of rich words, full of joys.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

I've been mistaken to assume that in this little village in the spring, so like a dream or a poem, life is a matter only of the singing birds, the falling blossoms, and the bubbling springs. The real world has crossed mountains and seas and is bearing down even on this isolated village, whose inhabitants have doubtless lived here in peace down the long stretch of years ever since they fled as defeated warriors from the great clan wars of the twelfth century. Perhaps a millionth part of the blood that will dye the wide Manchurian plains will gush from this young man's arteries, or seethe forth at the point of the long sword that hangs at his waist. Yet here this young man sits, beside an artist for whom the sole value of human life lies in dreaming. If I listen carefully, I can even hear the beating of his heart, so close are we. And perhaps even now, within that beat reverberates the beating of the great tide that is sweeping across the hundreds of miles of that far battlefield. Fate has for a brief and unexpected moment brought us together in this room, but beyond that it speaks no more.

I was glad the poems were only ever performed and never published. They floated away ethereally to the sound of applause. Real writers, and also painters, had to keep on looking at the ugly things they had done for good. I hated that everything I did was so ugly, but also that I lacked the courage to confront how ugly it was.

The ultimate feast! Turkey, dressing, pies, memories. Laughter carries over squabbles and fleeting tears. Game time, go! Heightened adrenaline; increased appetites. Oh, the parade! Marching bands, floats and giant balloons. Stuff the turkey, stuff your tummies! Eat up, eat more! Thanksgiving joys shared with beloved family and friends.

A kind of northing is what I wish to accomplish, a single-minded trek towards that place where any shutter left open to the zenith at night will record the wheeling of all the sky’s stars as a pattern of perfect, concentric circles. I seek a reduction, a shedding, a sloughing off. At the seashore you often see a shell, or fragment of a shell, that sharp sands and surf have thinned to a wisp. There is no way you can tell what kind of shell it had been, what creature it had housed; it could have been a whelk or a scallop, a cowrie, limpet, or conch. The animal is long since dissolved, and its blood spread and thinned in the general sea. All you hold in your hand is a cool shred of shell, an inch long, pared so thin that it passes a faint pink light. It is an essence, a smooth condensation of the air, a curve. I long for the North where unimpeded winds would hone me to such a pure slip of bone. But I’ll not go northing this year. I’ll stalk that floating pole and frigid air by waiting here. I wait on bridges; I wait, struck, on forest paths and meadow’s fringes, hilltops and banksides, day in and day out, and I receive a southing as a gift. The North washes down the mountains like a waterfall, like a tidal wave, and pours across the valley; it comes to me. It sweetens the persimmons and numbs the last of the crickets and hornets; it fans the flames of the forest maples, bows the meadow’s seeded grasses and pokes it chilling fingers under the leaf litter, thrusting the springtails and the earthworms deeper into the earth. The sun heaves to the south by day, and at night wild Orion emerges looming like the Specter over Dead Man Mountain. Something is already here, and more is coming.

I’m starting to feel like an old man alone in a small boat In a snowfall of blossoms, Only the south wind for company, Drifting downriver, the beautiful costumes of spring Approaching me down the runway of all I’ve ever wished for. Voices from long ago floating across the water. How to account for my single obsession about the past? How to account for these blossoms as white as an autumn frost? Dust of the future baptizing our faithless foreheads. Alone in a small boat, released in a snowfall of blossoms.

Thereafter I bathed in the Poem of the Sea, Milky with reflected stars, devouring blue and green; A drowned sailor sometimes floated by Like some pale apotheosis, or flotsam lost in thought.

Winter Landscape, with Rocks Water in the millrace, through a sluice of stone, plunges headlong into that black pond where, absurd and out-of-season, a single swan floats chaste as snow, taunting the clouded mind which hungers to haul the white reflection down. The austere sun descends above the fen, an orange cyclops-eye, scorning to look longer on this landscape of chagrin; feathered dark in thought, I stalk like a rook, brooding as the winter night comes on. Last summer's reeds are all engraved in ice as is your image in my eye; dry frost glazes the window of my hurt; what solace can be struck from rock to make heart's waste grow green again? Who'd walk in this bleak place? Sylvia Plath was one of the first and best of the modern confessional poets. She won a Pulitzer Prize posthumously for her Collected Poems after committing suicide at the age of 31, something she seemed to have been predicting in her writing and practicing for in real life.

CUP AND OCEAN These forms we seem to be are cups floating in an ocean of living consciousness. They fill and sink without leaving an arc of bubbles or any good-bye spray. What we are is that ocean, too near to see, though we swim in it and drink it in. Don't be a cup with a dry rim, or someone who rides all night and never knows the horse beneath his thighs, the surging that carries him along.

you are an exit wound the extra shot of tequila the tangled knot of hair that has to be cut out you are the cell phone ringing in a hushed theatre pebble wedged in the sole of a boot the bloody hangnail you are, just this once you are flip flops in a thunderstorm the boy’s lost erection a pen gone dry you are my father’s nightmare my mother’s mirage you are a manic high which is to say: you are a bad idea you are herpes despite the condom you are, I know better you are pieces of cork floating in the wine glass you are the morning after whose name I can’t remember still in my bed the hole in my rain boots vibrator with no batteries you are, shut up and kiss me you are naked wearing socks mascara bleeding down laughing cheeks you are the wrong guy buying me a drink you are the typo in an otherwise brilliant novel sweetalk into unprotected sex the married coworker my stubbed toe you are not new or uncommon not brilliant or beautiful you are a bad idea rock star in the back seat of a taxi burned popcorn top shelf, at half price you are everything I want you are a poem I cannot write a word I cannot translate you are an exit wound a name I cannot bring myself to say aloud

His solid flesh had never been away, For each dawn found him in his usual place, But every night his spirit loved to race Through gulfs and worlds remote from common day. He had seen Yaddith, yet retained his mind, And come back safely from the Ghooric zone, When one still night across curved space was thrown That beckoning piping from the voids behind. He waked that morning as an older man, And nothing since has looked the same to him. Objects around float nebulous and dim— False, phantom trifles of some vaster plan. His folk and friends are now an alien throng To which he struggles vainly to belong.

The Moths There's a kind of white moth, I don't know what kind, that glimmers by mid-May in the forest, just as the pink moccasin flowers are rising. If you notice anything, it leads you to notice more and more. And anyway I was so full of energy. I was always running around, looking at this and that. If I stopped the pain was unbearable. If I stopped and thought, maybe the world can't be saved, the pain was unbearable. Finally, I had noticed enough. All around me in the forest the white moths floated. How long do they live, fluttering in and out of the shadows? You aren't much, I said one day to my reflection in a green pond, and grinned. The wings of the moths catch the sunlight and burn so brightly. At night, sometimes, they slip between the pink lobes of the moccasin flowers and lie there until dawn, motionless in those dark halls of honey.

The Sometime Sportsman Greets the Spring by John Updike When winter's glaze is lifted from the greens, And cups are freshly cut, and birdies sing, Triumphantly the stifled golfer preens In cleats and slacks once more, and checks his swing. This year, he vows, his head will steady be, His weight-shift smooth, his grip and stance ideal; And so they are, until upon the tee Befall the old contortions of the real. So, too, the tennis-player, torpid from Hibernal months of television sports, Perfects his serve and feels his knees become Sheer muscle in their unaccustomed shorts. Right arm relaxed, the left controls the toss, Which shall be high, so that the racket face Shall at a certain angle sweep across The floated sphere with gutty strings—an ace! The mind's eye sees it all until upon The courts of life the faulty way we played In other summers rolls back with the sun. Hope springs eternally, but spring hopes fade.

O where are you going with your love-locks flowing On the west wind bellowing along this valley track?” “The downhill path is easy, come with me an it please ye, We shall escape the uphill by never turning back.” So they two went together in glowing August weather, The honey-breathing heather lay to their left and right; And dear she was to doat on, her swift feet seemed to float on The air like soft twin pigeons too sportive to alight. “Oh, what is that in heaven where grey cloud-flakes are seven, Where blackest clouds hang riven just at the rainy skirt?” “Oh, that’s a meteor sent us, a message dumb, portentous, An undeciphered solemn signal of help or hurt>” “Oh, what is that glides quickly where velvet flowers grow thickly, Their scent comes rich and sickly?” “A scaled and hooded worm.” ”Oh, what’s that in the hollow, so pale I quake to follow?” “Oh, that’s a thin dead body which waits the eternal term.” “Turn again, O my sweetest,--turn again, false and fleetest: This beaten way thou beatest, I fear is hell’s own track.” “Nay, too steep for hill mounting; nay, too late for cost counting: This downhill path is easy, but there’s no turning back.

I watched as he ignored the world and focused on his hands. He creased a simple paper plane and dreamt of other lands. I watched him reach to throw that plane into the open sky. A passing breeze upheld its wings and made the paper fly. I watched a pleasant smile control his lips throughout the flight, until the little paper plane had floated out of sight. I hoped to see him chase the plane into the light of day. Instead, he creased another one and threw it too away.

Sea-ward, white gleaming thro' the busy scud With arching Wings, the sea-mew o'er my head Posts on, as bent on speed, now passaging Edges the stiffer Breeze, now, yielding, drifts, Now floats upon the air, and sends from far A wildly-wailing Note.

YEN What happens if you take a cup? Put it to your lips. A cup of desire. Of dazzling colour. Of intoxicating aroma. You can't resist. Drink. And in the bottom of the cup. There is a fish. And the fish says "You have uncovered me! Now I am condemned. To die." What happens if you find a box? 35mm by 35mm exactly. And are curious. You open it quickly. Of course. And inside there is an eye. And the eye seems to think that the box is its exclusive property. And fixes you with a terrifying glare. What happens if you catch a soft sound? A voice whispering in the air. Above the tree tops. And you can't quite hear what it is saying. But you have to listen. So you float up. Then you find you can't come down again. When the conversation is finished.

Like unto ships far off at sea, Outward or homeward bound, are we. Before, behind, and all around, Floats and swings the horizons bound, Seems at its distant rim to rise And climb the crystal wall of the skies, And then again to turn and sink, As if we could slide from its outer brink. Ah! it is not the sea, It is not the sea that sinks and shelves, But ourselves That rock and rise With endless and uneasy motion, Now touching the very skies, Now sinking into the depths of ocean. Ah! if our souls but poise and swing Like the compass in its brazen ring, Ever level and ever true To the toil and the task we have to do, We shall sail securely, and safely reach The Fortunate Isles, on whose shining beach The sights we see, and the sounds we hear, Will be those of joy and not of fear!

Then set out after repeated warning the grizzly Afghan Duryodhan in blazing sun removed sandal-wood blooded stone-attired guards spearing gloom brought out a substitute of dawn crude hell’s profuse experience Huh a night-waken drug addict beside head of feeble earth from the cruciform The Clapper could not descend due to lockdown wet-eyed babies were smiling . in a bouquet of darkness in forced dreams The Clapper wept when learnt about red-linen boat’s drowned passengers in famished yellow winter white lilies bloomed in hot coal tar when in chiseled breeze nickel glazed seed-kernel moss layered skull which had moon on its shoulder scolded whole night non-weeping male praying mantis in grass bronze muscled he-men of Barbadoz pressed their fevered forehead on her furry navel . in comb-flowing rain floated on frowning waves diesel sheet shadow whipped oceans all wings had been removed from the sky funeral procession of newspaperman’s freshly printed dawn lifelong jailed convict’s eye in the keyhole outside in autumnal rice pounding pink ankle Lalung ladies

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.

Lorelei It is no night to drown in: A full moon, river lapsing Black beneath bland mirror-sheen, The blue water-mists dropping Scrim after scrim like fishnets Though fishermen are sleeping, The massive castle turrets Doubling themselves in a glass All stillness. Yet these shapes float Up toward me, troubling the face Of quiet. From the nadir They rise, their limbs ponderous With richness, hair heavier Than sculptured marble. They sing Of a world more full and clear Than can be. Sisters, your song Bears a burden too weighty For the whorled ear's listening Here, in a well-steered country, Under a balanced ruler. Deranging by harmony Beyond the mundane order, Your voices lay siege. You lodge On the pitched reefs of nightmare, Promising sure harborage; By day, descant from borders Of hebetude, from the ledge Also of high windows. Worse Even than your maddening Song, your silence. At the source Of your ice-hearted calling- Drunkenness of the great depths. O river, I see drifting Deep in your flux of silver Those great goddesses of peace. Stone, stone, ferry me down there.

And the truth is I am not strong enough to tread water in the salty abyss as I watch the ship sail away. I am weak-hearted. I can't hold my breath for long. I don't know how to stay afloat while searching for shallower waters. I only know how to hope that my drowning will be quick.

I scan my memory for fragments of the poem that are floating in my memory. “If you can dream—and not make dreams your master; If you can think—and not make thoughts your aim.” I recite the one line I can remember and Lucía looks at me with pleasant surprise . “You know it? That’s great,” she exclaims and claps her hands together .

The tulips are too red in the first place, they hurt me. Even through the gift paper I could hear them breathe Lightly, through their white swaddlings, like an awful baby. Their redness talks to my wound, it corresponds. They are subtle : they seem to float, though they weigh me down, Upsetting me with their sudden tongues and their color, A dozen red lead sinkers round my neck. Nobody watched me before, now I am watched. The tulips turn to me, and the window behind me Where once a day the light slowly widens and slowly thins, And I see myself, flat, ridiculous, a cut-paper shadow Between the eye of the sun and the eyes of the tulips, And I have no face, I have wanted to efface myself. The vivid tulips eat my oxygen.

How beautiful, how beautiful you streamed upon my sight, In glory and in grandeur, as a gorgeous sunset-light! How softly, soul-subduing, fell your words upon mine ear, Like low aerial music when some angel hovers near! What tremulous, faint ecstasy to clasp your hand in mine, Till the darkness fell upon me of a glory too divine! The air around grew languid with our intermingled breath, And in your beauty's shadow I sank motionless as death. I saw you not, I heard not, for a mist was on my brain--I only felt that life could give no joy like that again. And this was love--I knew it not, but blindly floated on, And now I'm on the ocean waste, dark, desolate, alone; The waves are raging round me-- I'm reckless where they guide; No hope is left to lighten me, no strength to stem the tide. As a leaf along the torrent, a cloud across the sky, As dust upon the whirlwind, so my life is drifting by. The dream that drank the meteor's light--the form from Heav'n has flown-- The vision and the glory, they are passing--they are gone. Oh! Love is frantic agony, and life one throb of pain; Yet I would bear its darkest woes to dream again.

Elegy for Smoking" It’s not the drug I miss but all those minutes we used to steal outside the library, under restaurant awnings, out on porches, by the quiet fields. And how kind it used to make us when we’d laugh and throw our heads back and watch the dragon’s breath float from our mouths, all ravenous and doomed. Which is why I quit, of course, like almost everyone, and stay inside these days staring at my phone, chewing toothpicks and figuring the bill, while out the window, the smokers gather in their same old constellations, like memories of ourselves. Or like the remnants of some decimated tribe, come down out of the hills to tell their stories in the lightly-falling rain— to be, for a moment, simply there and nowhere else, their faces glowing each time someone lifts, like a gift, the little flame.

Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History. First, there was the heaving oil, heavy as chaos; then, likea light at the end of a tunnel, the lantern of a caravel, and that was Genesis. Then there were the packed cries, the shit, the moaning: Exodus. Bone soldered by coral to bone, mosaics mantled by the benediction of the shark's shadow, that was the Ark of the Covenant. Then came from the plucked wires of sunlight on the sea floor the plangent harp of the Babylonian bondage, as the white cowries clustered like manacles on the drowned women, and those were the ivory bracelets of the Song of Solomon, but the ocean kept turning blank pages looking for History. Then came the men with eyes heavy as anchors who sank without tombs, brigands who barbecued cattle, leaving their charred ribs like palm leaves on the shore, then the foaming, rabid maw of the tidal wave swallowing Port Royal, and that was Jonah, but where is your Renaissance? Sir, it is locked in them sea sands out there past the reef's moiling shelf, where the men-o'-war floated down; strop on these goggles, I'll guide you there myself. It's all subtle and submarine, through colonnades of coral, past the gothic windows of sea fans to where the crusty grouper, onyx-eyed, blinks, weighted by its jewels, like a bald queen; and these groined caves with barnacles pitted like stone are our cathedrals, and the furnace before the hurricanes: Gomorrah. Bones ground by windmills into marl and cornmeal, and that was Lamentations - that was just Lamentations, it was not History; then came, like scum on the river's drying lip, the brown reeds of villages mantling and congealing into towns, and at evening, the midges' choirs, and above them, the spires lancing the side of God as His son set, and that was the New Testament. Then came the white sisters clapping to the waves' progress, and that was Emancipation - jubilation, O jubilation - vanishing swiftly as the sea's lace dries in the sun, but that was not History, that was only faith, and then each rock broke into its own nation; then came the synod of flies, then came the secretarial heron, then came the bullfrog bellowing for a vote, fireflies with bright ideas and bats like jetting ambassadors and the mantis, like khaki police, and the furred caterpillars of judges examining each case closely, and then in the dark ears of ferns and in the salt chuckle of rocks with their sea pools, there was the sound like a rumour without any echo of History, really beginning.

Fourth Meditation" 1 I was always one for being alone, Seeking in my own way, eternal purpose; At the edge of the field waiting for the pure moment; Standing, silent, on sandy beaches or walking along green embankments; Knowing the sinuousness of small waters: As a chip or shell, floating lazily with a slow current... Was it yesterday I stretched out the thin bones of my innocence? O the songs we hide, singing only to ourselves! Once I could touch my shadow, and be happy; In the white kingdoms, I was light as a seed, Drifting with the blossoms, A pensive petal. But a time comes when the vague life of the mouth no longer suffices; The dead make more impossible demands from their silence; The soul stands, lonely in its choice, Waiting, itself a slow thing, In the changing body. The river moves, wrinkled by midges, A light wind stirs in the pine needles. The shape of a lark rises from a stone; But there is no song.

Byzantium The unpurged images of day recede; The Emperor's drunken soldiery are abed; Night resonance recedes, night-walkers' song After great cathedral gong; A starlit or a moonlit dome disdains All that man is, All mere complexities, The fury and the mire of human veins. Before me floats an image, man or shade, Shade more than man, more image than a shade; For Hades' bobbin bound in mummy-cloth May unwind the winding path; A mouth that has no moisture and no breath Breathless mouths may summon; I hail the superhuman; I call it death-in-life and life-in-death. Miracle, bird or golden handiwork, More miracle than bird or handiwork, Planted on the starlit golden bough, Can like the cocks of Hades crow, Or, by the moon embittered, scorn aloud In glory of changeless metal Common bird or petal And all complexities of mire or blood. At midnight on the Emperor's pavement flit Flames that no faggot feeds, nor steel has lit, Nor storm disturbs, flames begotten of flame, Where blood-begotten spirits come And all complexities of fury leave, Dying into a dance, An agony of trance, An agony of flame that cannot singe a sleeve. Astraddle on the dolphin's mire and blood, Spirit after spirit! The smithies break the flood, The golden smithies of the Emperor! Marbles of the dancing floor Break bitter furies of complexity, Those images that yet Fresh images beget, That dolphin-torn, that gong-tormented sea.

The Witnesses In Ocean's wide domains, Half buried in the sands, Lie skeletons in chains, With shackled feet and hands. Beyond the fall of dews, Deeper than plummet lies, Float ships, with all their crews, No more to sink nor rise. There the black Slave-ship swims, Freighted with human forms, Whose fettered, fleshless limbs Are not the sport of storms. These are the bones of Slaves; They gleam from the abyss; They cry, from yawning waves, We are the Witnesses! Within Earth's wide domains Are markets for men's lives; Their necks are galled with chains, Their wrists are cramped with gyves. Dead bodies, that the kite In deserts makes its prey; Murders, that with affright Scare school-boys from their play! All evil thoughts and deeds; Anger, and lust, and pride; The foulest, rankest weeds, That choke Life's groaning tide! These are the woes of Slaves; They glare from the abyss; They cry, from unknown graves, We are the Witnesses!

MANDOLINE.   The courtly serenaders,    The beauteous listeners, Sit idling 'neath the branches    A balmy zephyr stirs.   It's Tircis and Aminta,    Clitandre,--ever there!-- Damis, of melting sonnets    To many a frosty fair.   Their trailing flowery dresses,    Their fine beflowered coats, Their elegance and lightness,    And shadows blue,--all floats   And mingles,--circling, wreathing,    In moonlight opaline, While through the zephyr's harping    Tinkles the mandoline.

Inside each of us is a deep well of translucent water. A fluidity of thoughts and luminous feelings surrounds you and me. In the world of water, all life floats, the incandescent soul of the living begins, where you and I are indivisible, where I experience you inside of me. I see your beauty, feel your need for love and affection, hear your compassionate poems, and know the fragrant mysteries your great heart brews; by law divine, with sweet emotion, you and I shall mingle forevermore.

These aren't still shots; the camera is always moving. And the scene is always just slipping out of sight, as if in spite of myself I were always descending a hill, rounding a corner, stepping into the street with a companion who urges me on, while I look back over my shoulder at the sight which recedes, vanishes. The present of my consciousness is itself a mystery which is also always just rounding a bend like a floating branch borne by a flood. Where am I? But I'm not. "I will overturn, overturn, overturn, it: and it shall be no more. . . .

But since these rolls of bread and wine bottles are needed by me, and your faces with their hollows and prominences are beautiful, and the table-cloth and its yellow stain, far from being allowed to spread in wider and wider circles of understanding that may at last (so I dream, falling off the edge of the earth at night when my bed floats suspended) embrace the entire world, I must go through the antics of the individual. I must start when you pluck at me with your children, your poems, your chilblains or whatever it is that you do and suffer. But I am not deluded. After all these callings hither and thither, these pluckings and searchings, I shall fall alone through this thin sheet into gulfs of fire. And you will not help me. More cruel than the old torturers, you will let me fall, and will tear me to pieces when I am fallen. Yet there are moments when the walls of the mind grow thin; when nothing is unabsorbed, and I could fancy that we might blow so vast a bubble that the sun might set and rise in it and we might take the blue of midday and the black of midnight and be cast off and escape from here and now.

Poem for My Father You closed the door. I was on the other side, screaming. It was black in your mind. Blacker than burned-out fire. Blacker than poison. Outside everything looked the same. You looked the same. You walked in your body like a living man. But you were not. would you not speak to me for weeks would you hang your coat in the closet without saying hello would you find a shoe out of place and beat me would you come home late would i lose the key would you find my glasses in the garbage would you put me on your knee would you read the bible to me in your smoking jacket after your mother died would you come home drunk and snore would you beat me on the legs would you carry me up the stairs by my hair so that my feet never touch the bottom would you make everything worse to make everything better i believe in god, the father almighty, the maker of heaven, the maker of my heaven and my hell. would you beat my mother would you beat her till she cries like a rabbit would you beat her in a corner of the kitchen while i am in the bathroom trying to bury my head underwater would you carry her to the bed would you put cotton and alcohol on her swollen head would you make love to her hair would you caress her hair would you rub her breasts with ben gay until she stinks would you sleep in the other room in the bed next to me while she sleeps on the pull-out cot would you come on the sheet while i am sleeping. later i look for the spot would you go to embalming school with the last of my mother's money would i see your picture in the book with all the other black boys you were the handsomest would you make the dead look beautiful would the men at the elks club would the rich ladies at funerals would the ugly drunk winos on the street know ben pretty ben regular ben would your father leave you when you were three with a mother who threw butcher knives at you would he leave you with her screaming red hair would he leave you to be smothered by a pillow she put over your head would he send for you during the summer like a rich uncle would you come in pretty corduroys until you were nine and never heard from him again would you hate him would you hate him every time you dragged hundred pound cartons of soap down the stairs into white ladies' basements would you hate him for fucking the woman who gave birth to you hate him flying by her house in the red truck so that other father threw down his hat in the street and stomped on it angry like we never saw him (bye bye to the will of grandpa bye bye to the family fortune bye bye when he stompled that hat, to the gold watch, embalmer's palace, grandbaby's college) mother crying silently, making floating island sending it up to the old man's ulcer would grandmother's diamonds close their heartsparks in the corner of the closet yellow like the eyes of cockroaches? Old man whose sperm swims in my veins, come back in love, come back in pain.

When I reach the age of Twenty I will explore this world of plenty In a motorized bird myself I will sit And soar into space oh! so brightly lit I will float, I will fly to the world so lovely, so far I will float, I will fly above rivers and sea The cloud is my sister, the wind a brother to me. —from “A Dream,” written by Avraham (Abramek) Koplowicz, b. 1930. He was a child in the Łódź ghetto. He was taken from the ghetto on the final transport to Auschwitz-Birkenau in 1944 and was murdered there at age fourteen. This poem has been translated from the original Polish by Ida Meretyk-Spinka, 2012.

I want to hear her laugh. To watch sunbeams awaken her visage and shine through her eyes. To see the gray clouds of regret that hang heavy over her head rain away to nothing. I want to hear her sunny voice dance on the breeze, as light and free as glossy bubbles, floating up…up…up to pop like hiccups. I want to know the type and form of key I must cut to unshackle even a portion of her joy. If I could pluck the winning feather; if my smile could convince; if I could stroke her vocal chords like harp strings and make each treble note ascend to euphoria. Oh, to hear the giggled melody she would release into a world craving the balm of mirth! I ache to experience that. I am desperate for it. I live for the day I hear her laugh.

Floating" Our canoe idles in the idling current Of the tree and vine and rush enclosed Backwater of a torpid midwestern stream; Revolves slowly, and lodges in the glutted Waterlilies. We are tired of paddling. All afternoon we have climbed the weak current, Up dim meanders, through woods and pastures, Past muddy fords where the strong smell of cattle Lay thick across the water; singing the songs Of perfect, habitual motion; ski songs, Nightherding songs, songs of the capstan walk, The levee, and the roll of the voyageurs. Tired of motion, of the rhythms of motion, Tired of the sweet play of our interwoven strength, We lie in each other's arms and let the palps Of waterlily leaf and petal hold back All motion in the heat thickened, drowsing air. Sing to me softly, Westron Wynde, Ah the Syghes, Mon coeur se recommend à vous, Phoebi Claro; Sing the wandering erotic melodies Of men and women gone seven hundred years, Softly, your mouth close to my cheek. Let our thighs lie entangled on the cushions, Let your breasts in their thin cover Hang pendant against my naked arms and throat; Let your odorous hair fall across our eyes; Kiss me with those subtle, melodic lips. As I undress you, your pupils are black, wet, Immense, and your skin ivory and humid. Move softly, move hardly at all, part your thighs, Take me slowly while our gnawing lips Fumble against the humming blood in our throats. Move softly, do not move at all, but hold me, Deep, still, deep within you, while time slides away, As the river slides beyond this lily bed, And the thieving moments fuse and disappear In our mortal, timeless flesh.

Once upon a time There was a friend Who poured some ink To a pen, which had been dried up Since then There are pages, and books Cluttered by scribbling With or without a meaning When the ink was done Scribbling started In the earth, dust covered In the tranquil grounds of the temple And in the naked skies Among floating clouds Mesmerized by the dawn of love On top of mountains Like a fairy spreading her wings On fluttering wings of butterflies In paths, under the starry skies On piano keys, playing without a tune On sprays of vibrant blooms Even without a sweet fragrance Even among the debris, pungent flowing down the drain Among the eyes filled with emptiness Walking down the streets, In the battle field, drenched with blood Waiting for a flying bullet, which brings death…. There is a poem Each and every moment Each and every day! (Translated by Manel K R Fernando)

All at once, something wonderful happened, although at first, it seemed perfectly ordinary. A female goldfinch suddenly hove into view. She lighted weightlessly on the head of a bankside purple thistle and began emptying the seedcase, sowing the air with down. The lighted frame of my window filled. The down rose and spread in all directions, wafting over the dam’s waterfall and wavering between the tulip trunks and into the meadow. It vaulted towards the orchard in a puff; it hovered over the ripening pawpaw fruit and staggered up the steep faced terrace. It jerked, floated, rolled, veered, swayed. The thistle down faltered down toward the cottage and gusted clear to the woods; it rose and entered the shaggy arms of pecans. At last it strayed like snow, blind and sweet, into the pool of the creek upstream, and into the race of the creek over rocks down. It shuddered onto the tips of growing grasses, where it poised, light, still wracked by errant quivers. I was holding my breath. Is this where we live, I thought, in this place in this moment, with the air so light and wild? The same fixity that collapses stars and drives the mantis to devour her mate eased these creatures together before my eyes: the thick adept bill of the goldfinch, and the feathery coded down. How could anything be amiss? If I myself were lighter and frayed, I could ride these small winds, too, taking my chances, for the pleasure of being so purely played. The thistle is part of Adam’s curse. “Cursed is the ground for thy sake, in sorrow shalt thou eat of it; thorns also and thistles shall it bring forth to thee.” A terrible curse: But does the goldfinch eat thorny sorrow with the thistle or do I? If this furling air is fallen, then the fall was happy indeed. If this creekside garden is sorrow, then I seek martyrdom. I was weightless; my bones were taut skins blown with buoyant gas; it seemed that if I inhaled too deeply, my shoulders and head would waft off. Alleluia.

Dog Talk … I have seen Ben place his nose meticulously into the shallow dampness of a deer’s hoofprint and shut his eyes as if listening. But it is smell he is listening to. The wild, high music of smell, that we know so little about. Tonight Ben charges up the yard; Bear follows. They run into the field and are gone. A soft wind, like a belt of silk, wraps the house. I follow them to the end of the field where I hear the long-eared owl, at wood’s edge, in one of the tall pines. All night the owl will sit there inventing his catty racket, except when he opens pale wings and drifts moth-like over the grass. I have seen both dogs look up as the bird floats by, and I suppose the field mouse hears it too, in the pebble of his tiny heart. Though I hear nothing. Bear is small and white with a curly tail. He was meant to be idle and pretty but learned instead to love the world, and to romp roughly with the big dogs. The brotherliness of the two, Ben and Bear, increases with each year. They have their separate habits, their own favorite sleeping places, for example, yet each worries without letup if the other is missing. They both bark rapturously and in support of each other. They both sneeze to express plea- sure, and yawn in humorous admittance of embarrassment. In the car, when we are getting close to home and the smell of the ocean begins to surround them, they both sit bolt upright and hum. With what vigor and intention to please himself the little white dog flings himself into every puddle on the muddy road. Somethings are unchangeably wild, others are stolid tame. The tiger is wild, the coyote, and the owl. I am tame, you are tame. The wild things that have been altered, but only into a semblance of tameness, it is no real change. But the dog lives in both worlds. Ben is devoted, he hates the door between us, is afraid of separation. But he had, for a number of years, a dog friend to whom he was also loyal. Every day they and a few others gathered into a noisy gang, and some of their games were bloody. Dog is docile, and then forgets. Dog promises then forgets. Voices call him. Wolf faces appear in dreams. He finds himself running over incredible lush or barren stretches of land, nothing any of us has ever seen. Deep in the dream, his paws twitch, his lip lifts. The dreaming dog leaps through the underbrush, enters the earth through a narrow tunnel, and is home. The dog wakes and the disturbance in his eyes when you say his name is a recognizable cloud. How glad he is to see you, and he sneezes a little to tell you so. But ah! the falling-back, fading dream where he was almost there again, in the pure, rocky weather-ruled beginning. Where he was almost wild again, and knew nothing else but that life, no other possibility. A world of trees and dogs and the white moon, the nest, the breast, the heart-warming milk! The thick-mantled ferocity at the end of the tunnel, known as father, a warrior he himself would grow to be. …

The Heaven of Animals Here they are. The soft eyes open. If they have lived in a wood It is a wood. If they have lived on plains It is grass rolling Under their feet forever. Having no souls, they have come, Anyway, beyond their knowing. Their instincts wholly bloom And they rise. The soft eyes open. To match them, the landscape flowers, Outdoing, desperately Outdoing what is required: The richest wood, The deepest field. For some of these, It could not be the place It is, without blood. These hunt, as they have done, But with claws and teeth grown perfect, More deadly than they can believe. They stalk more silently, And crouch on the limbs of trees, And their descent Upon the bright backs of their prey May take years In a sovereign floating of joy. And those that are hunted Know this as their life, Their reward: to walk Under such trees in full knowledge Of what is in glory above them, And to feel no fear, But acceptance, compliance. Fulfilling themselves without pain At the cycle’s center, They tremble, they walk Under the tree, They fall, they are torn, They rise, they walk again.

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

Let us begin, then, with the mad-house; from this evil and fantastic inn let us set forth on our intellectual journey. Now, if we are to glance at the philosophy of sanity, the first thing to do in the matter is to blot out one big and common mistake. There is a notion adrift everywhere that imagination, especially mystical imagination, is dangerous to man’s mental balance. Poets are commonly spoken of as psychologically unreliable; and generally there is a vague association between wreathing laurels in your hair and sticking straws in it. Facts and history utterly contradict this view. Most of the very great poets have been not only sane, but extremely business-like; and if Shakespeare ever really held horses, it was because he was much the safest man to hold them. Imagination does not breed insanity. Exactly what does breed insanity is reason. Poets do not go mad; but chess-players do. Mathematicians go mad, and cashiers; but creative artists very seldom. I am not, as will be seen, in any sense attacking logic: I only say that this danger does lie in logic, not in imagination. Artistic paternity is as wholesome as physical paternity. Moreover, it is worthy of remark that when a poet really was morbid it was commonly because he had some weak spot of rationality on his brain. Poe, for instance, really was morbid; not because he was poetical, but because he was specially analytical. Even chess was too poetical for him; he disliked chess because it was full of knights and castles, like a poem. He avowedly preferred the black discs of draughts, because they were more like the mere black dots on a diagram. Perhaps the strongest case of all is this: that only one great English poet went mad, Cowper. And he was definitely driven mad by logic, by the ugly and alien logic of predestination. Poetry was not the disease, but the medicine; poetry partly kept him in health. He could sometimes forget the red and thirsty hell to which his hideous necessitarianism dragged him among the wide waters and the white flat lilies of the Ouse. He was damned by John Calvin; he was almost saved by John Gilpin. Everywhere we see that men do not go mad by dreaming. Critics are much madder than poets. Homer is complete and calm enough; it is his critics who tear him into extravagant tatters. Shakespeare is quite himself; it is only some of his critics who have discovered that he was somebody else. And though St. John the Evangelist saw many strange monsters in his vision, he saw no creature so wild as one of his own commentators. The general fact is simple. Poetry is sane because it floats easily in an infinite sea; reason seeks to cross the infinite sea, and so make it finite. The result is mental exhaustion, like the physical exhaustion of Mr. Holbein. To accept everything is an exercise, to understand everything a strain. The poet only desires exaltation and expansion, a world to stretch himself in. The poet only asks to get his head into the heavens. It is the logician who seeks to get the heavens into his head. And it is his head that splits.

Toward an Organic Philosophy SPRING, COAST RANGE The glow of my campfire is dark red and flameless, The circle of white ash widens around it. I get up and walk off in the moonlight and each time I look back the red is deeper and the light smaller. Scorpio rises late with Mars caught in his claw; The moon has come before them, the light Like a choir of children in the young laurel trees. It is April; the shad, the hot headed fish, Climbs the rivers; there is trillium in the damp canyons; The foetid adder’s tongue lolls by the waterfall. There was a farm at this campsite once, it is almost gone now. There were sheep here after the farm, and fire Long ago burned the redwoods out of the gulch, The Douglas fir off the ridge; today the soil Is stony and incoherent, the small stones lie flat And plate the surface like scales. Twenty years ago the spreading gully Toppled the big oak over onto the house. Now there is nothing left but the foundations Hidden in poison oak, and above on the ridge, Six lonely, ominous fenceposts; The redwood beams of the barn make a footbridge Over the deep waterless creek bed; The hills are covered with wild oats Dry and white by midsummer. I walk in the random survivals of the orchard. In a patch of moonlight a mole Shakes his tunnel like an angry vein; Orion walks waist deep in the fog coming in from the ocean; Leo crouches under the zenith. There are tiny hard fruits already on the plum trees. The purity of the apple blossoms is incredible. As the wind dies down their fragrance Clusters around them like thick smoke. All the day they roared with bees, in the moonlight They are silent and immaculate. SPRING, SIERRA NEVADA Once more golden Scorpio glows over the col Above Deadman Canyon, orderly and brilliant, Like an inspiration in the brain of Archimedes. I have seen its light over the warm sea, Over the coconut beaches, phosphorescent and pulsing; And the living light in the water Shivering away from the swimming hand, Creeping against the lips, filling the floating hair. Here where the glaciers have been and the snow stays late, The stone is clean as light, the light steady as stone. The relationship of stone, ice and stars is systematic and enduring: Novelty emerges after centuries, a rock spalls from the cliffs, The glacier contracts and turns grayer, The stream cuts new sinuosities in the meadow, The sun moves through space and the earth with it, The stars change places. The snow has lasted longer this year, Than anyone can remember. The lowest meadow is a lake, The next two are snowfields, the pass is covered with snow, Only the steepest rocks are bare. Between the pass And the last meadow the snowfield gapes for a hundred feet, In a narrow blue chasm through which a waterfall drops, Spangled with sunset at the top, black and muscular Where it disappears again in the snow. The world is filled with hidden running water That pounds in the ears like ether; The granite needles rise from the snow, pale as steel; Above the copper mine the cliff is blood red, The white snow breaks at the edge of it; The sky comes close to my eyes like the blue eyes Of someone kissed in sleep. I descend to camp, To the young, sticky, wrinkled aspen leaves, To the first violets and wild cyclamen, And cook supper in the blue twilight. All night deer pass over the snow on sharp hooves, In the darkness their cold muzzles find the new grass At the edge of the snow.

Put yourself in the way of grace,' says a friend of ours, who is a monk, and a bishop; and he smiles his floating and shining smile. And truly, can there be a subject of more interest to each of us than whether or not grace exists, and the soul? And, consequent upon the existence of the soul, a whole landscape of incorruptible forces, perhaps even a source, an almost palpably suggested second universe? A world that is incomprehensible through reason? To believe in the soul---to believe in it exactly as much and as hardily as one believes in a mountain, say, or a fingernail, which is ever in view---imagine the consequences! How far-reaching, and thoroughly wonderful! For everything, by such a belief, would be charged, and changed. You wake in the morning, the soul exists, your mouth sings it, your mind accepts it. And the perceived, tactile world is, upon the instant, only half the world! How easily I travel, about halfway, through such a scenario. I believe in the soul---in mine, and yours, and the blue-jay's, and the pilot whale's. I believe each goldfinch flying away over the coarse ragweed has a soul, and the ragweed too, plant by plant, and the tiny stones in the earth below, and the grains of earth as well. Not romantically do I believe this, nor poetically, nor emotionally, nor metaphorically except as all reality is metaphor, but steadily, lumpishly, and absolutely. The wild waste spaces of the sea, and the pale dunes with one hawk hanging in the wind, they are for me the formal spaces that, in a liturgy, are taken up by prayer, song, sermon, silence, homily, scripture, the architecture of the church itself. And as with prayer, which is a dipping of oneself toward the light, there is a consequence of attentiveness to the grass itself, and the sky itself, and to the floating bird. I too leave the fret and enclosure of my own life. I too dip myself toward the immeasurable. Now winter, the winter I am writing about, begins to ease. And what, if anything, has been determined, selected, nailed down? This is the lesson of age---events pass, things change, trauma fades, good fortune rises, fades, rises again but different. Whereas what happens when one is twenty, as I remember it, happens forever. I have not been twenty for a long time! The sun rolls toward the north and I feel, gratefully, its brightness flaming up once more. Somewhere in the world the misery we can do nothing about yet goes on. Somewhere the words I will write down next year, and the next, are drifting into the wind, out of the ornate pods of the weeds of the Provincelands. Once I went into the woods to find an almost unfindable bird, a blue grosbeak. And I found it: a rough, deep blue, almost black, with heavy beak; it was plucking one by one the humped, pale green caterpillars from the leaves of a thick green tree. Then it vanished into the shadows of the leaves and, in the same moment, from the crown of the tree flew a western bluebird---little aqua thrush of the mountains, hundreds of miles from its home. It is a moment hard to top---but, I can. Once I came upon two angels, they were standing quietly, keeping guard beside a car. Light streamed from them, and a splash of flames lay quietly under their feet. What is one to do with such moments, such memories, but cherish them? Who knows what is beyond the known? And if you think that any day the secret of light might come, would you not keep the house of your mind ready? Would you not cleanse your study of all that is cheap, or trivial? Would you not live in continual hope, and pleasure, and excitement?