Galway Kinnell Quotes

Let our scars fall in love.

Sometimes it is necessary To reteach a thing its loveliness

The first step ... shall be to lose the way.

To me, poetry is somebody standing up, so to speak, and saying, with as little concealment as possible, what it is for him or her to be on earth at this moment

...it is necessary to reteach a thing its loveliness, to put a hand on its brow of the flower and retell it in words and in touch it is lovely until it flowers again from within, of self-blessing...

Prose is walking; poetry is flying

Never mind. The self is the least of it. Let our scars fall in love

When I sleepwalk into your room, and pick you up, and hold you up in the moonlight, you cling to me hard, as if clinging could save us. I think you think I will never die, I think I exude to you the permanence of smoke or stars, even as my broken arms heal themselves around you.

I did care... I did say everything I thought In the mildest words I knew. And now,... I have to say I'm relieved it is over: At the end I could feel only pity For that urge toward more life. ...Goodbye

Wait Wait, for now. Distrust everything, if you have to. But trust the hours. Haven't they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become lovely again. Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don't go too early. You're tired. But everyone's tired. But no one is tired enough. Only wait a while and listen. Music of hair, Music of pain, music of looms weaving all our loves again. Be there to hear it, it will be the only time, most of all to hear, the flute of your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

Whatever happens. Whatever what is is is what I want. Only that. But that.

Turn on the dream you lived through the unwavering gaze. It is as you thought: the living burn. In the floating days may you discover grace.

Little sleep's-head sprouting hair in the moonlight, when I come back we will go out together, we will walk out together among, the ten thousand things, each scratched too late with such knowledge, the wages of dying is love.

There are two versions to every poem – the crying version and the straight version

Choice, and all its attendant energy, is a characteristic of youth. It is before one chooses that one feels desire and longing without fulfillment, which gives an edge to any artistic endeavor. Galway Kinnell recently said in an interview that a young poet has so many choices but an old poet must simply endure his chosen life.

The wages of dying are love.

The bud stands for all things, even for those things that don’t flower, for everything flowers, from within, of self-blessing; though sometimes it is necessary to reteach a thing its loveliness, to put a hand on its brow of the flower and retell it in words and in touch it is lovely until it flowers again from within, of self-blessing

Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old.

When a group of people get up from a table, the table doesn’t know which way any of them will go.

Isn't it worth missing whatever joy / you might have dreamed, to wake in the night and find / you and your beloved are holding hands in your sleep?

The secret title of every good poem might be 'Tenderness

It was more or less late afternoon and I came over a hilltop and smack in front of me was the sunset.

I have always intended to live forever; but not until now, to live now.

This happened to your father and to you, Galway-sick to stay, longing to come up against the ends of the earth, and climb over.

How many nights must it take one such as me to learn that we aren’t, after all, made from that bird that flies out of its ashes, that for us as we go up in flames, our one work is to open ourselves, to be the flames?

maybe there is no sublime; only the shining of the amnion's tatters.

For here, the moment all the spaces along the road between here and there - which the young know are infinite and all others know are not - get used up, that's it.

the wages of dying is love.

You live under the Sign of the Bear, who flounders through chaos in his starry blubber: poor fool, poor forked branch of applewood, you will feel all your bones break over the holy waters you will never drink.

Is there a mechanism of death, that so mutilates existence no one, gets over it not even the dead?

Kiss the mouth which tells you, here, here is the world. This mouth. This laughter. These temple bones.

What do they sing, the last birds coasting down the twilight, banking across woods filled with darkness, their frayed wings curved on the world like a lover’s arms which form, night after night, in sleep, an irremediable absence?

Galway Kinnell, almost a prose poem. (“If one day it happens / you find yourself with someone you love / in a café at one end /of the Pont Mirabeau, at the zinc bar / where wine stands in upward opening glasses…

Love is the religion that bereaves the bereft.

Computers can deliver nuclear explosions to precisely anywhere on earth. A lightning bolt is made entirely of error.

And yet perhaps this is the reason you cry, this the nightmare you wake screaming from: being forever in the pre-trembling of a house that falls.

The Correspondence-School Instructor Says Goodbye to His Poetry Students Goodbye, lady in Bangor, who sent me snapshots of yourself, after definitely hinting you were beautiful; goodbye, Miami Beach urologist, who enclosed plain brown envelopes for the return of your very “Clinical Sonnets”; goodbye, manufacturer of brassieres on the Coast, whose eclogues give the fullest treatment in literature yet to the sagging breast motif; goodbye, you in San Quentin, who wrote, “Being German my hero is Hitler,” instead of “Sincerely yours,” at the end of long, neat-scripted letters extolling the Pre-Raphaelites: I swear to you, it was just my way of cheering myself up, as I licked the stamped, self-addressed envelopes, the game I had of trying to guess which one of you, this time, had poisoned his glue. I did care. I did read each poem entire. I did say everything I thought in the mildest words I knew. And now, in this poem, or chopped prose, no better, I realize, than those troubled lines I kept sending back to you, I have to say I am relieved it is over: at the end I could feel only pity for that urge toward more life your poems kept smothering in words, the smell of which, days later, tingled in your nostrils as new, God-given impulses to write. Goodbye, you who are, for me, the postmarks again of imaginary towns—Xenia, Burnt Cabins, Hornell— their solitude given away in poems, only their loneliness kept. Galway Kinnell

When the man touches through to the exact center of the woman, he lies motionless, in equilibrium, in absolute desire, at the threshold of the world to which the Creator Spirit knows the pass-whisper, and whispers it, and his loving friend becomes his divinity.

When the lover goes, the vow though broken remains, that trace of eternity love brings down among us stays, to give dignity to the suffering and to intensify it.

poem by Galway Kinnell that Ma had underlined in her book: I have to say I am relieved it is over: At the end I could feel only pity For that urge toward more life. . . . Goodbye.

Galway Kinnell that Ma had underlined in her book: I have to say I am relieved it is over: At the end I could feel only pity For that urge toward more life. . . . Goodbye.

and one knows, after a long time of solitude, after the many steps taken away from one's kind, toward the kingdom of strangers, the hard prayer inside one's own singing is to come back, if one can, to one's own, a world almost lost, in the exile that deepens, when one has lived a long time alone.

Rapture I can feel she has got out of bed. That means it is seven a.m. I have been lying with eyes shut, thinking, or possibly dreaming, of how she might look if, at breakfast, I spoke about the hidden place in her which, to me, is like a soprano’s tremolo, and right then, over toast and bramble jelly, if such things are possible, she came. I imagine she would show it while trying to conceal it. I imagine her hair would fall about her face and she would become apparently downcast, as she does at a concert when she is moved. The hypnopompic play passes, and I open my eyes and there she is, next to the bed, bending to a low drawer, picking over various small smooth black, white, and pink items of underwear. She bends so low her back runs parallel to the earth, but there is no sway in it, there is little burden, the day has hardly begun. The two mounds of muscles for walking, leaping, lovemaking, lift toward the east—what can I say? Simile is useless; there is nothing like them on earth. Her breasts fall full; the nipples are deep pink in the glare shining up through the iron bars of the gate under the earth where those who could not love press, wanting to be born again. I reach out and take her wrist and she falls back into bed and at once starts unbuttoning my pajamas. Later, when I open my eyes, there she is again, rummaging in the same low drawer. The clock shows eight. Hmmm. With huge, silent effort of great, mounded muscles the earth has been turning. She takes a piece of silken cloth from the drawer and stands up. Under the falls of hair her face has become quiet and downcast, as if she will be, all day among strangers, looking down inside herself at our rapture.

What is the delivery system for resilience? In part, it's the loving, caring adult who pays attention. It's the community of unconditional love, representing the very "no matter whatness" of God. They say that an educated inmate will not reoffend. This is not because an education assures that this guy will get hired somewhere. It is because his view is larger and more educated, so that he can be rejected at ninety-three job interviews and still not give up. he's acquired resilience. Sometimes resilience arrives in the moment you discover your own unshakable goodness. Poet Galway Kinnell writes, "Sometimes it's necessary to reteach a thing its loveliness.

Galway Kinnell. I did care. . . . I did say everything I thought In the mildest words I knew. And now, . . . I have to say I am relieved it is over: At the end I could feel only pity For that urge toward more life. . . . Goodbye.

And this one by Galway Kinnell. I did care. . . . I did say everything I thought In the mildest words I knew. And now, . . . I have to say I am relieved it is over: At the end I could feel only pity For that urge toward more life. . . . Goodbye.

Now is when the point of the story changes.

And Paris! All afternoon in someone's attic We raised our glasses And drank to the asses Who ran the world and turned neurotic.

The Lord turned away washing His hands without soap and water Like a common housefly.

My tongue goes to the Secretary of the Dead to tell the corpses, "I'm sorry, fellows, the killing was just one of those things difficult to pre-visualize - like a cow, say, getting hit by lightning.

Wait, for now. Distrust everything if you have to. But trust the hours. Haven’t they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become interesting. Second-hand gloves will become lovely again; their memories are what give them the need for other hands. The desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don’t go too early. You’re tired. But everyone’s tired. But no one is tired enough. Only wait a little and listen: music of hair, music of pain, music of looms weaving our loves again. Be there to hear it, it will be the only time, most of all to hear your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

Bending over her bed, I saw the smile I must have seen when gaping up from the crib. Knowing death will come, sensing its onset, may be a fair price for consciousness. But looking at my sister, I wished she could have died by surprise, without ever knowing about death. Too late. Wendy said, “I am in three parts. Here on the left is red. That is pain. On the right is yellow. That is exhaustion. The rest is white. I don’t know yet what white is.

Flower Herding On Mount Monadnock In the forest I discover a flower. The invisible life of the thing Goes up in flames that are invisible, Like cellophane burning in the sunlight. It burns up. Its drift is to be nothing. In its covertness it has a way Of uttering itself in place of itself, Its blossoms claim to float in the Empyrean, A wrathful presence on the blur of the ground. The appeal to heaven breaks off. The petals begin to fall, in self-forgiveness. It is a flower. On this mountainside it is dying.

When one has lived a long time alone, one wants to live again among men and women, to return to that place where one's ties with the human broke, where the disquiet of death and now also of history glimmers its firelight on faces, where the gaze of the new baby looks past the gaze of the great granny, and where lovers speak, on lips blowsy from kissing, that language the same in each mouth, and like birds at daybreak blether the song that is both earth's and heaven's, until the sun has risen, and they stand in the daylight of being made one: kingdom come, when one has lived a long time alone.

Flying Home As this plane dragged its track of used ozone half the world long thrusts some four hundred of us toward places where actual known people live and may wait, we diminish down in our seats, disappeared into novels of lives clearer than ours, and yet we do not forget for a moment the life down there, the doorway each will soon enter: where I will meet her again and know her again, dark radiance with, and then mostly without, the stars. Very likely she has always understood what I have slowly learned, and which only now, after being away, almost as far away as one can get on this globe, almost as far as thoughts can carry - yet still in her presence, still surrounded not so much by reminders of her as by things she had already reminded me of, shadows of her cast forward and waiting - can I try to express: that love is hard, that while many good things are easy, true love is not, because love is first of all a power, its own power, which continually must make its way forward, from night into day, from transcending union always forward into difficult day. And as the plane descends, it comes to me in the space where tears stream down across the stars, tears fallen on the actual earth where their shining is what we call spirit, that once the lover recognizes the other, knows for the first time what is most to be valued in another, from then on, love is very much like courage, perhaps it is courage, and even perhaps only courage. Squashed out of old selves, smearing the darkness of expectation across experience, all of us little thinkers it brings home having similar thoughts of landing to the imponderable world, the transoceanic airliner, resting its huge weight down, comes in almost lightly, to where with sudden, tiny, white puffs and long, black, rubberish smears all its tires know the home ground.

Little Sleep's-Head Sprouting Hair in the Moonlight 1 You scream, waking from a nightmare. When I sleepwalk into your room, and pick you up, and hold you up in the moonlight, you cling to me hard, as if clinging could save us. I think you think I will never die, I think I exude to you the permanence of smoke or stars, even as my broken arms heal themselves around you. 2 I have heard you tell the sun, don't go down, I have stood by as you told the flower, don't grow old, don't die. Little Maud, I would blow the flame out of your silver cup, I would suck the rot from your fingernail, I would brush your sprouting hair of the dying light, I would scrape the rust off your ivory bones, I would help death escape through the little ribs of your body, I would alchemize the ashes of your cradle back into wood, I would let nothing of you go, ever, until washerwomen feel the clothes fall asleep in their hands, and hens scratch their spell across hatchet blades, and rats walk away from the culture of the plague, and iron twists weapons toward truth north, and grease refuse to slide in the machinery of progress, and men feel as free on earth as fleas on the bodies of men, and the widow still whispers to the presence no longer beside her in the dark. And yet perhaps this is the reason you cry, this the nightmare you wake screaming from: being forever in the pre-trembling of a house that falls. 3 In a restaurant once, everyone quietly eating, you clambered up on my lap: to all the mouthfuls rising toward all the mouths, at the top of your voice you cried your one word, caca! caca! caca! and each spoonful stopped, a moment, in midair, in its withering steam. Yes, you cling because I, like you, only sooner than you, will go down the path of vanished alphabets, the roadlessness to the other side of the darkness, your arms like the shoes left behind, like the adjectives in the halting speech of old folk, which once could call up the lost nouns. 4 And you yourself, some impossible Tuesday in the year Two Thousand and Nine, will walk out among the black stones of the field, in the rain, and the stones saying over their one word, ci-gît, ci-gît, ci-gît, and the raindrops hitting you on the fontanel over and over, and you standing there unable to let them in. 5 If one day it happens you find yourself with someone you love in a café at one end of the Pont Mirabeau, at the zinc bar where wine takes the shapes of upward opening glasses, and if you commit then, as we did, the error of thinking, one day all this will only be memory, learn to reach deeper into the sorrows to come—to touch the almost imaginary bones under the face, to hear under the laughter the wind crying across the black stones. Kiss the mouth that tells you, here, here is the world. This mouth. This laughter. These temple bones. The still undanced cadence of vanishing. 6 In the light the moon sends back, I can see in your eyes the hand that waved once in my father's eyes, a tiny kite wobbling far up in the twilight of his last look: and the angel of all mortal things lets go the string. 7 Back you go, into your crib. The last blackbird lights up his gold wings: farewell. Your eyes close inside your head, in sleep. Already in your dreams the hours begin to sing. Little sleep's-head sprouting hair in the moonlight, when I come back we will go out together, we will walk out together among the ten thousand things, each scratched in time with such knowledge, the wages of dying is love.

Two Set Out on Their Journey We sit side by side, brother and sister, and read the book of what will be, while a breeze blows the pages over— desolate odd, cheerful even, and otherwise. When we come to our own story, the happy beginning, the ending we don’t know yet, the ten thousand acts encumbering the days between, we will read every page of it. If an ancestor has pressed a love-flower for us, it will lie hidden between pages of the slow going, where only those who adore the story ever read. When the time comes to shut the book and set out, we will take childhood’s laughter as far as we can into the days to come, until another laughter sounds back from the place where our next bodies will have risen and will be telling tales of what seemed deadly serious once, offering to us oldening wayfarers the light heart, now made of time and sorrow, that we started with.

Wait" Wait, for now. Distrust everything, if you have to. But trust the hours. Haven’t they carried you everywhere, up to now? Personal events will become interesting again. Hair will become interesting. Pain will become interesting. Buds that open out of season will become lovely again. Second-hand gloves will become lovely again, their memories are what give them the need for other hands. And the desolation of lovers is the same: that enormous emptiness carved out of such tiny beings as we are asks to be filled; the need for the new love is faithfulness to the old. Wait. Don’t go too early. You’re tired. But everyone’s tired. But no one is tired enough. Only wait a while and listen. Music of hair, Music of pain, music of looms weaving all our loves again. Be there to hear it, it will be the only time, most of all to hear, the flute of your whole existence, rehearsed by the sorrows, play itself into total exhaustion.

How Could You Not - for Jane Kenyon It is a day after many days of storms. Having been washed and washed, the air glitters; small heaped cumuli blow across the sky; a shower visible against the firs douses the crocuses. We knew it would happen one day this week. Now, when I learn you have died, I go to the open door and look across at New Hampshire and see that there, too, the sun is bright and clouds are making their shadowy ways along the horizon; and I think: How could it not have been today? In another room, Keri Te Kanawa is singing the Laudate Dominum of Mozart, very faintly, as if in the past, to those who once sat in the steel seat of the old mowing machine, cheerful descendent of the scythe of the grim reaper, and drew the cutter bars little reciprocating triangles through the grass to make the stalks lie down in sunshine. Could you have walked in the dark early this morning and found yourself grown completely tired of the successes and failures of medicine, of your year of pain and despair remitted briefly now and then by hope that had that leaden taste? Did you glimpse in first light the world as you loved it and see that, now, it was not wrong to die and that, on dying, you would leave your beloved in a day like paradise? Near sunrise did you loosen your hold a little? How could you not already have felt blessed for good, having these last days spoken your whole heart to him, who spoke his whole heart to you, so that in the silence he would not feel a single word was missing? How could you not have slipped into a spell, in full daylight, as he lay next to you, with his arms around you, as they have been, it must have seemed, all your life? How could your cheek not press a moment to his cheek, which presses itself to yours from now on? How could you not rise and go, with all that light at the window, those arms around you, and the sound, coming or going, hard to say, of a single-engine plane in the distance that no one else hears?

I’ve always liked that Galway Kinnell poem. ‘Wait, for now. Distrust everything, if you have to. But trust the hours. Haven’t they carried you everywhere, up to now?

How do you reteach a thing its loveliness?” asked the poet Galway Kinnell. “To put a hand on its brow / . . . and retell it in words and in touch / it is lovely.

And this one by Galway Kinnell: 'I did care... I did say everything I thought In the mildest words I knew. And now,... I have to say I am relieved it is over: At the end I could feel only pity For that urge toward more life... Goodbye.

Galway Kinnell’s “Prayer”: Whatever happens. Whatever what is is is what I want. Only that. But that.

Galway Kinnell poem. ‘Wait, for now. Distrust everything, if you have to. But trust the hours. Haven’t they carried you everywhere, up to now?

I’ve always liked that Galway Kinnell poem. ‘Wait, for now. Distrust everything, if you have to. But trust the hours. Haven’t they carried you everywhere, up to now?’” She had a fine voice for reciting poetry, deep-timbered and slow. “Doesn’t that just make everything better?

The bud stands for all things, even for those things that don't flower, for everything flowers, from within, of self-blessing; though sometimes it is necessary to reteach a thing its loveliness, to put a hand on its brow of the flower and retell it in words and in touch it is lovely until it flowers again from within, of self-blessing;

When I sleepwalk into your room, and pick you up, and hold you up in the moonlight, you cling to me hard, as if clinging could save us. I think you think I will never die, I think I exude to you the permanence of smoke or stars, even as my broken arms heal themselves around you.

Who threw their watches off the roof to cast their ballot for eternity outside of time, and alarm clocks fell on their heads every day for the next decades, who cut their wrists three times succesively unsuccessfully, gave up and were forced to open antique stores where they thought they were growing old and cried.

I have no one to turn to because God is my enemy. He gave me lust and joy and cut off my hands. My brain is smothered with his blood. I asked why I should love this body I fear. He said, 'It is so lordly, it can never be shaped again--dear, shining casket. Have you never been so proud of a thing you wanted it for your prey?

poor fool, poor forked branch of applewood, you will feel all your bones break over the holy waters you will never drink.

The last memory I have Is of a flower which cannot be touched, Through the bloom of which, all day, Fly crazed, missing bees. from “Flower Herding on Mount Monadnock

On the mountain tonight the full moon faces the full sun. Now could be the moment when we fall apart or we become whole. Our time seems to be up—I think I even hear it stopping. Then why have we kept up the singing for so long? Because that’s the sort of determined creature we are. Before us, our first task is to astonish, And then, harder by far, to be astonished. —Galway Kinnell

According to [Galway] Kinnell, to make a poem you need the creatures of the world, language, and the unconscious brought together ["That Flickering Bird: Tracking the Unconscious in Poetry for Young Readers," Hungry Mind Review, Winter 1998-1999].