Hopkins Poet Quotes

The beauty of a woman is first a soulful beauty. And yes, as we live it out, own it, inhabit our beauty, we do become more lovely. More alluring. As the poet Gerard Manley Hopkins wrote, “Self flashes off frame and face.” Our true self becomes reflected in our appearance. But it flows from the inside

Love is an elixir, so poets claim, a frothy hormonal brew to cure what's ailing you. Drink it in. Sip it slowly. Savor its peculiar flavour as loneliness and pain all melt away. Dive headlong into the rush, ride the raging river up against the brink, careful not to drown. Drop over the edge. Negotiate your fall, for drug or love or object thrown, one thing is certain. What goes up eventually come down.

McIntyre’s tale may have predecessors, but it is unique. I strain for literary comparisons and think: Kipling, the classical Chinese poets, early Patrick O’Brian, Hopkins. I search for a definition of its animating presence: the predator, the Buddhist sage, the hunter. All fall short. I stand before The Snow Leopard’s Tale in awe and with a little envy. It is a gem, an uncanny evocation of the cold ancient dusty highlands of Central Asia, and could only have come from Tom McIntyre. It is his best.

Shortly before you were born, I was pulled over by the PG County police, the same police that all the D.C. poets had warned me of. They approached on both sides of the car, shining their flashing lights through the windows. They took my identification and returned to the squad car. I sat there in terror. By then I had added to the warnings of my teachers what I’d learned about PG County through reporting and reading the papers. And so I knew that the PG County police had killed Elmer Clay Newman, then claimed he’d rammed his own head into the wall of a jail cell. And I knew that they’d shot Gary Hopkins and said he’d gone for an officer’s gun. And I knew they had beaten Freddie McCollum half-blind and blamed it all on a collapsing floor. And I had read reports of these officers choking mechanics, shooting construction workers, slamming suspects through the glass doors of shopping malls. And I knew that they did this with great regularity, as though moved by some unseen cosmic clock. I knew that they shot at moving cars, shot at the unarmed, shot through the backs of men and claimed that it had been they who’d been under fire. These shooters were investigated, exonerated, and promptly returned to the streets, where, so emboldened, they shot again. At that point in American history, no police department fired its guns more than that of Prince George’s County. The FBI opened multiple investigations—sometimes in the same week. The police chief was rewarded with a raise. I replayed all of this sitting there in my car, in their clutches. Better to have been shot in Baltimore, where there was the justice of the streets and someone might call the killer to account. But these officers had my body, could do with that body whatever they pleased, and should I live to explain what they had done with it, this complaint would mean nothing. The officer returned. He handed back my license. He gave no explanation for the stop.

This creative tension between wonderful and terrible is named so well by Gerard Manley Hopkins, as only poets can. Even the long title of his poem reveals his acceptance of the ever-changing flow of Heraclites and also his trust in the final outcome: “That Nature Is a Heraclitean Fire and of the Comfort of the Resurrection.” Flesh fade, and mortal trash fall to the residuary worm; world's wildfire, leave but ash: In a flash, at a trumpet crash, I am all at once what Christ is, since he was what I am, and This Jack, joke, poor potsherd, patch, matchwood, immortal diamond,

McIntyre’s tale may have predecessors, but it is unique. I strain for literary comparisons and think: Kipling, the classical Chinese poets, early Patrick O’Brian, Hopkins. I search for a definition of its animating presence: the predator, the Buddhist sage, the hunter. All fall short. I stand before The Snow Leopard’s Tale in awe and with a little envy. It is a gem, an uncanny evocation of the cold ancient dusty highlands of Central Asia, and could only have come from Tom McIntyre. It is his best.” — Stephen J. Bodio

McIntyre’s tale may have predecessors, but it is unique. I strain for literary comparisons and think: Kipling, the classical Chinese poets, early Patrick O’Brian, Hopkins. I search for a definition of its animating presence: the predator, the Buddhist sage, the hunter. All fall short. I stand before The Snow Leopard’s Tale in awe and with a little envy. It is a gem, an uncanny evocation of the cold ancient dusty highlands of Central Asia, and could only have come from Tom McIntyre. It is his best.

...the sacramentality of the tragic in a poet like Gerard Manley Hopkins or a depressive like Logan Runnalls: In his critique of disability studies, Logan holds the Weilian tension as his own confession: 'What I understand (in my vague way) disability studies to be doing is erasing the tension we find in life. I'm not comfortable thinking of my depression as in the realms of good or unflawed. And yet I now believe that this is a really important way that I bear the image of Christ. I too am a 'man of sorrows.' I do not want to get rid of the tension between depression as flaw and depression as way of bearing the image of God. Nor do I see any reason to be compelled to. To do so is to give up on loving the Other and settling for a weak justice.' Runnalls' tension is perfect commentary for Weil's amor fati and George Grant's theodicy of the Cross. His consent to God and to the reality of his depression becomes a means of grace in this world—or light in the cave.

I've read dozens of interviews and accounts that basically come down to How Poets Do It and the truth is they're all do-lally and they're all different. There's Gerard Manly Hopkins in his black Jesuit clothes lying face down on the ground to look at an individual bluebell, Robert Frost who never used a desk, was once caught short by a poem coming and wrote it on the sole of his shoe, T.S. Eliot in his I'm-not-a-Poet suit with his solid sensible available-for-poetry three hours a day, Ted Hughes folded into his tiny cubicle at the top of the stairs where there is no window, no sight or smell of earth or animal but the rain clatter on the roof bows him to the page, Pablo Neruda who grandly declared poetry should only ever be handwritten, and then added his own little bit of bonkers by saying: in green ink. Poets are their own nation. Most of them know.

The child is father to the man.' How can he be? The words are wild. Suck any sense from that who can: ‘The child is father to the man.' No; what the poet did write ran, ‘The man is father to the child.' ‘The child is father to the man!' How can he be? The words are wild!

The nineteenth-century poet Gerard Manley Hopkins called this inner terrain 'inscape.' And just as no landscape can flourish without sun and water, our inscape must be irrigated and drenched with many forms of life if we are to thrive.