Lowell Quotes

Live, laugh, love. When you can feel someone else's pain and joy as if it's your own, thats when you know you really love them - Tina Lowell

Fate loves the fearless.

Some of us aren't meant to belong. Some of us have to turn the world upside down and shake the hell out of it until we make our own place in it.

Books are the bees which carry the quickening pollen from one to another mind.

The light at the end of the tunnel is just the light of an oncoming train.

The world runs,” Lowell said, “on the fuel of this endless, fathomless misery. People know it, but they don’t mind what they don’t see. Make them look and they mind, but you’re the one they hate, because you’re the one that made them look.

I'm not perfect. Remember that, and try to forgive me when I fail you.

If it wasn't hard, everyone would do it. It's the hard that makes it great.

All books are either dreams or swords, You can cut, or you can drug, with words.

I am tired, Beloved, of chafing my heart against The want of you; Of squeezing it into little inkdrops, And posting it.

Mr. and Mrs. Lowell are not receiving." What the hell did that mean? "I'm not throwing a forty-yard pass. I just have a few questions. I think their daughter is in danger.

I long ago abandoned the notion of a life without storms, or a world without dry and killing seasons. Life is too complicated, too constantly changing, to be anything but what it is. And I am, by nature, too mercurial to be anything but deeply wary of the grave unnaturalness involved in any attempt to exert too much control over essentially uncontrollable forces. There will always be propelling, disturbing elements, and they will be there until, as Lowell put it, the watch is taken from the wrist.

A black cat among roses, phlox, lilac-misted under a quarter moon, the sweet smells of heliotrope and night-scented stock. The garden is very still. It is dazed with moonlight, contented with perfume...

In the end, there is no end.

Our relationship is complicated by the fact that I am emotionally retarded.

Something about the way she moves through the world does not lend itself to the care of fragile objects.

For books are more than books, they are the life The very heart and core of ages past, The reason why men lived and worked and died, The essence and quintessence of their lives.

Learn to like what doesn't cost much. Learn to like reading, conversation, music. Learn to like plain food, plain service, plain cooking. Learn to like fields, trees, brooks, hiking, rowing, climbing hills. Learn to like people, even though some of them may be different...different from you. Learn to like to work and enjoy the satisfaction doing your job as well as it can be done. Learn to like the song of birds, the companionship of dogs. Learn to like gardening, puttering around the house, and fixing things. Learn to like the sunrise and sunset, the beating of rain on the roof and windows, and the gentle fall of snow on a winter day. Learn to keep your wants simple and refuse to be controlled by the likes and dislikes of others.

You are ice and fire The touch of you burns my hands like snow

All the beautiful sentiments in the world weigh less than a single lovely action.

A wise man travels to discover himself.

To change the world takes time; to change yourself takes courage.

AND what is so rare as a day in June? Then, if ever, come perfect days; Then Heaven tries earth if it be in tune, And over it softly her warm ear lays; Whether we look, or whether we listen, We hear life murmur, or see it glisten;

Ugly people kill people all the time. But when pretty people did, it got attention.

Are there any leading men in your life?" "Several, but they're all fictional.

If we thought of life as a gift, we might not demand nearly as much from it. And if we lived more graciously, giving of ourselves more freely to the well-being of others, many of our personal concerns would disappear, and life would become easier for all.

I loved that Amy Lowell poem when I first read it, how her lover was like red wine at the beginning and then became bread. But that has not happened to me. My loves remain wine to me, yet I become too quickly bread to them.

Whatever you may be sure of, be sure of this, that you are dreadfully like other people.

If you're not going to get any wiser, what's the point of getting older?

If youth is a defect, it is one that we outgrow too soon.

Democracy gives every man the right to be his own oppressor.

Lindsey: Why would you choose me? Rafe: Because you're the one I want.

As life runs on, the road grows strange With faces new, and near the end The milestones into headstones change, ’Neath every one a friend.

A sneer is the weapon of the weak.

I am tired, Beloved, of chafing my heart against The want of you

The nurse of full-grown souls is solitude.

The mind can weave itself warmly in the cocoon of its own thoughts, and dwell a hermit anywhere.

Nature fits all her children with something to do, he who would write and can't write, can surely review.

I long ago abandoned the notion of a life without storms, or a world without dry and killing seasons. Life is too complicated, too constantly changing, to be anything but what it is. And I am, by nature, too mercurial to be anything but deeply wary of the grave unnaturalness involved in any attempt to exert too much control over essentially uncontrollable forces. There will always be propelling, disturbing elements, and they will be there until, as Lowell put it, the watch is taken from the wrist. It is, at the end of the day, the individual moments of restlessness, of bleakness, of strong persuasions and maddened enthusiasms, that inform one’s life, change the nature and direction of one’s work, and give final meaning and color to one’s loves and friendships.

It's a mistake to lie to a librarian, you know. Some people assume we're shy and gullible, but we know how to dig up the dirt.

Mishaps are like knives, that either serve us or cut us, as we grasp them by the blade or by the handle.

One shouldn't get too involved with people who can't possibly understand one

Some morbidity in me attracts mosquitoes

Whatever you think this is going to be like," she whispers, "it's going to be worse.

All books are either dreams or swords.

Everything mortal has moments immortal

None of us ever do," said Mrs. Allan with a sigh. "But then, Anne, you know what Lowell says, 'Not failure but low aim is crime.' We must have ideals and try to live up to them, even if we never quite succeed. Life would be a sorry business without them. With them it's grand and great. Hold fast to your ideals, Anne.

Decade When you came, you were like red wine and honey, And the taste of you burnt my mouth with its sweetness. Now you are like morning bread, Smooth and pleasant. I hardly taste you at all for I know your savour, But I am completely nourished.

What we love we are.

The dead season when wolves live off the wind.

In the end, every hypochondriac is his own prophet.

We are all old-timers, each of us holds a locked razor.

A weed is no more than a flower in disguise.

Pity the planet, all joy gone from this sweet volcanic cone; peace to our children when they fall in small war on the heel of small war--until the end of time to police the earth, a ghost orbiting forever lost in our monotonous sublime

Both Fen & Helen needed me to choose, to be their one & only when I didn’t want a one & only. I loved that Amy Lowell poem when I first read it, how her lover was like red wine at the beginning and then became bread. But that has not happened to me. My loves remain wine to me, yet I become too quickly bread to them.

96. For a prince of blue is a prince of blue because keeps 'a pet sorrow, a blue-devil familiar, that goes with him everywhere' (Lowell, 1870) This is how a prince of blue becomes a pain devil.

how fine our distinctions when we cannot choose

Being a part of something special makes you special...

It was the sort of library you'd marry a man for.

t's okay to let yourself go, as long as you can get yourself back. -

Not what we give, But what we share, For the gift without the giver Is bare.

The great reward given to intelligent people is that they can invent all the rules and equate any dissent with stupidity.

I made a mental note to figure out some way to stop making mental notes and start making real notes. That way I might be able to delegate a few of them, and even remember what they were.

There will be time to diet when people stopped killing one another.

Solitude is as needful to the imagination as society is wholesome for the character.

One thorn of experience is worth a whole wilderness of warning.

Choose your tempo,” he whispered in her ear. “What?” “Fast and hard or slow and easy. Your tempo, your choice. You get to direct this symphony.

Life is a stream On which we strew Petal by petal the flower of our heart; The end lost in dream, They float past our view, We only watch their glad, early start. Freighted with hope, Crimsoned with joy, We scatter the leaves of our opening rose; Their widening scope, Their distant employ, We never shall know. And the stream as it flows Sweeps them away, Each one is gone Ever beyond into infinite ways. We alone stay While years hurry on, The flower fared forth, though its fragrance still stays.

Things always seem fairer when we look back at them, and it is out of that inaccessible tower of the past that Longing leans and beckons.

My eyes ache with the weight of unshed tears. You are my home, do you not understand?

But people in masks were always assholes. It was a scientific law. Give someone anonymity and all social niceties break down. The Internet had proven that.

They want a woman who is a canvas, white and empty. Standing still, existing for no other purpose than to serve as a mute object onto which they can paint their own hopes and desires. They want their brides veiled. They want a demure, blank space they can fill with whatever they desire.” “Miss Lowell, you magnificent creature, I want you to paint your own canvas. I want you to unveil yourself.

I do think free will is sewn into everything we do; you can't cross a street, light a cigarette, drop saccharine in your coffee without really doing it. Yet the possible alternatives that life allows us are very few, often there must be none. I've never thought there was any choice for me about writing poetry. No doubt if I used my head better, ordered my life better, worked harder etc., the poetry would be improved, and there must be many lost poems, innumerable accidents and ill-done actions. But asking you is the might have been for me, the one towering change, the other life that might have been had.

Lovely chatting with you, darling, but I've got to run. Face it, you're always more content when you're chasing me than when you have me locked up. I think we're going to have a lot of fun.

How long can a man live on the outside before he loses his ability to love? How long before there's no more hope?

Love is the light that casts no shadow.

Show me your dreams. Let me make them come true.

At the devil's booth are all things sold. Each ounce of dross costs its ounce of gold.

Do a little more each day than you think you possibly can.

I’m seeing so much of America today,” Luya kept telling Lowell in nervously accented English. It became a personal catchphrase for him — whenever things were not to his liking, he’d say that — I’m seeing so much of America today.

You are ice and fire, The touch of you burns my hands like snow. You are cold and flame. You are the crimson of amaryllis, The silver of moon-touched magnolias. When I am with you, My heart is a frozen pond Gleaming with agitated torches.

No man can produce great things who is not thoroughly sincere in dealing with himself.

Sometimes the best part in life is an accident that goes right.

There is no good arguing with the inevitable. The only argument available with an east wind is to put on your overcoat.

More than anything, I began to hate women writers. Frances Burney, Jane Austen, Elizabeth Browning, Mary Shelley, George Eliot, Virginia Woolf. Bronte, Bronte, and Bronte. I began to resent Emily, Anne, and Charlotte—my old friends—with a terrifying passion. They were not only talented; they were brave, a trait I admired more than anything but couldn't seem to possess. The world that raised these women hadn't allowed them to write, yet they had spun fiery novels in spite of all the odds. Meanwhile, I was failing with all the odds tipped in my favor. Here I was, living out Virginia Woolf's wildest feminist fantasy. I was in a room of my own. The world was no longer saying, "Write? What's the good of your writing?" but was instead saying "Write if you choose; it makes no difference to me.

Debbie often talked about Gretchen as if she was his mistress. But to Archie it sometimes felt like the other way around. As if, by moving back in with his ex-wife, he was cheating on Gretchen. That was probably worthy of bringing up in therapy

He nodded. “Oh, ambition. Yes. She has ambition by the bucket but she wants somebody else to carry the pail.

The foolish and the dead alone never change their opinion.

And blue-lung'd combers lumbered to the kill.

Dante's Hell is part of our world as much as part of the underworld, and shouldn't be avoided, Lowell said, but rather confronted. We sound the depths of Hell very often in this life.

«Cuarto, educado». Yo soy muy educado, casi nunca digo tacos, solamente cuando me irrito si algo me saca de mis casillas, y respecto a lo del «cerdo del vecino», yo no tengo ningún cerdo.

Great. First the anonymous call. Now letters. Body parts all over town. It was like a scavenger hunt for psychos. Running after clues with a half-deranged, serial-killer-obsessed, recovering-addict cop was not a good idea. Then again...

You lie upon my heart as on a nest, Folded in peace, for you can never know How crushed I am with having you at rest Heavy upon my life. I love you so You bind my freedom from its rightful quest. In mercy lift your drooping wings and go.

He was a nice guy. That was the sort of thing you said about somebody you had nothing against and nothing in common with; you called him a nice guy. That was what Lowell was, even to himself

She laughed. ‘Was she wine or bread to you?’ ‘What do you mean?’ ‘It’s from an Amy Lowell poem we all loved in college. Wine is sort of thrilling and sensual, and bread is familiar and essential.

I realized that my life of late had consisted of far too much dialogue and not enough exposition. I imagined an angry, bespectacled English teacher slashing his pen through the transcript of my life, wondering how someone could possibly say so much and think so little.

I call that creativity," Orville said. "The purpose of literature is to teach you how to THINK, not how to be practical. Learning to discover the connective tissue between seemingly unrelated events is the only way we are equipped to understand patterns in the real world.

Once to every man and nation comes the moment to decide, In the strife of truth and falsehood, for the good or evil side; Some great cause, some new decision, offering each bloom or blight, And the choice goes by forever twixt that darkness and that light.

I long ago abandoned the notion of a life without storms, or a world without dry and killing seasons. Life is too complicated, too constantly changing, to be anything but what it is. And I am, by nature, too mercurial to be anything but deeply wary of the grave unnaturalness involved in any attempt to exert too much control over essentially uncontrollable forces. There will always be propelling, disturbing elements, and they will be there until, as Lowell put it, the watch is taken from the wrist. It is, at the end of the day, the individual moments of restlessness, of bleakness, of strong persuasions and maddened enthusiasms, that inform one's life, change the nature and direction of one's work, and give final meaning and color to one's loves and friendships.

I wanted you to understand right away how committed I am to you...That you are the only one

I like to think of you not being able to end your suffering,' she said. 'I like to think of you not being able to satisfy your blood-lust,' he said.

You're a fucking aberration, sweetheart.

We lie to each other all the time. Whatever we say, it doesn't mean anything." "I'll believe you," she said.

We are poor passing facts. warned by that to give each figure in the photograph his living name.

That woman was always very good at not seeing what was in front of her. In my experience, people who lie to themselves long enough don't even know when they're blind.

Ants, like human beings, can create civilizations without the use of reason.

Don’t ask a writer what he’s working on. It’s like asking someone with cancer on the progress of his disease.

Even Pain pricks to livelier living.

Grief, however, creates a strange sensitivity. The world is too intense to tolerate: a veil, a drink, another anesthetic is required to blot out the ache of what remains. One sees too much and feels it, as Robert Lowell puts it, "with one skin-layer missing.

Underneath my stiffened gown Is the softness of a woman bathing in a marble basin, A basin in the midst of hedges grown So thick, she cannot see her lover hiding, But she guesses he is near, And the sliding of the water Seems the stroking of a dear Hand upon her.

A new adaptation of Jane Eyre came out every year, and every year it was exactly the same. An unknown actress would play Jane, and she was usually prettier than she should have been. A very handsome, very brooding, very 'ooh-la-la' man would play Rochester, and Judi Dench would play everyone else.

You should have me restrained,' she said. 'I could kill you. You never know when I might have a razor blade tucked up my sleeve.' 'Why kill me now?' Archie said. 'It would seem anticlimactic.

She pushed herself up, swayed, and might have tumbled if Feeney hadn’t gripped her arm. “Head rush. I’m okay, just a little queasy. Lowell’s in there, secured. You need to haul his ass in. Your collar.” “No, it’s not.” Feeney gave her arm a squeeze. “But I’ll haul his ass in for you. McNab, help the lieutenant upstairs, then get your butt back down here and start on the electronics.” “I don’t need help,” Eve protested. “You fall on your face,” Feeney murmured in her ear, “you’ll ruin your exit.” “Yeah. Yeah.” “Just lean on me, Lieutenant.” McNab wrapped an arm around her waist. “You try to cop a feel, I can still put you down.” “Whatever your condition, Dallas, you still scare me.” “Aw.” Touched, she slung an arm around his shoulders. “That’s so sweet.

The curtains were blood-red and drawn. This was not an office. It was a small library, two storeys high, with thin ladders and impractical balconies and an expansive ceiling featuring a gaggle of naked Greeks. It was the sort of library you'd marry a man for.

Democracy has a habit of making itself generally disagreeable by asking the powers-that-be at the most inconvenient moment whether they are the powers-that-ought-to-be

Isn't there some truth in all fiction?" "There's some fiction in all truth too.

Nothing, I learned, brings you into the present quite like holding hands. The past seemed irrelevant; the future, unnecessary.

...in that moment she realised that Archie had never told her anything, never let her see anything, that he didn't want her to know.

Why did you come here?' Gretchen asked. 'To kill you,' Archie said. 'How badly do you want it?' 'Pretty badly,' Archie said.

You can't control another person's agenda. You can only be clear about your own.

She consoled herself with the thought that she looked terrifying.

Christ! What are patterns for?

She was a beautiful girl, but the lack of any spark dampened her prettiness.

Joy comes, grief goes, we know not how.

What Orwell failed to predict is that we'd buy the cameras ourselves, and that our biggest fear would be that nobody was watching.

Some day the soft Ideal that we wooed Confronts us fiercely, foe-beset, pursued, And cries reproachful: “Was it then my praise, And not myself was loved? Prove now thy truth; I claim of thee the promise of thy youth.

La Lowell wanted nothing; she lived for the day, unfettered, free, fearless; she wasn't afraid of poverty, loneliness, or infirmity. She accepted everything with good grace; for her, life was an entertaining voyage that inevitably led to old age and death. There was no point in accumulating wealth since in the end, she maintained, we all go to the grave in our birthday suit.

The inkstand is full of ink, and the paper lies white and unspotted, in the round of light thrown by a candle. Puffs of darkness sweep into the corners, and keep rolling through the room behind his chair. The air is silver and pearl, for the night is liquid with moonlight. See how the roof glitters, like ice! Over there, a slice of yellow cuts into the silver-blue, and beside it stand two geraniums, purple because the light is silver-blue, to-night.

Venus Transiens" Tell me, Was Venus more beautiful Than you are, When she topped The crinkled waves, Drifting shoreward On her plaited shell? Was Botticelli’s vision Fairer than mine; And were the painted rosebuds He tossed his lady Of better worth Than the words I blow about you To cover your too great loveliness As with a gauze Of misted silver? For me, You stand poised In the blue and buoyant air, Cinctured by bright winds, Treading the sunlight. And the waves which precede you Ripple and stir The sands at my feet. Amy Lowell, Imagist Poetry: An Anthology. Ed. Bob Blaisdell (Dover Publications; Later Printing edition, March 17, 2011)

So often, we had the tendency of saying, they're the problem. No, they're not the problem. Our heart is the problem. they are just there to show me what is in my heart. They don't put those things in my heart. They don't put the wrath, the bitterness in my heart. Those things are already there. They are the vessels God uses to to release what is in my heart so that I am aware of how black my heart really is.

I saw the spiders marching through the air, Swimming from tree to tree that mildewed day In latter August when the hay Came creaking to the barn. But where The wind is westerly, Where gnarled November makes the spiders fly Into the apparitions of the sky, They purpose nothing but their ease and die Urgently beating east to sunrise and the sea;

I do know I can lie awake all night and it feels as if someone is cutting out my stomach the pain of having lost her is so awful. And I am angry that I was made to choose, that both Fen & Helen needed me to choose, to be their one & only when I didn’t want a one & only. I loved that Amy Lowell poem when I first read it, how her lover was like red wine at the beginning and then became bread. But that has not happened to me. My loves remain wine to me, yet I become too quickly bread to them. It was unfair, the way I had to decide one way or another in Marseille. Perhaps I made the conventional choice, the easy way for my work, my reputation, and of course for a child. A child that does not come.

The promising young poets, the hopefuls? I'd name Richard Wilbur, Peter Viereck, Karl Shapiro, Elizabeth Bishop, Robert Lowell, John Ciardi...Leonard Bacon...but it is still too early to assertions. They're all 'in the field.' It remains to be seen how many will cross the finish line.

Yes," Shannon said calmly. "I could have died. But so what? The stars would have come out tonight and the sun would have risen tomorrow morning. The only difference would be that I wouldn't see it." Shannon to Whip.

One universe, one body...in this urn the animal night sweats of the spirit burn

History has to live with what was here, clutching and close to fumbling all we had - it is so dull and gruesome how we die, unlike writing, life never finishes.

Something about the way she moved through the world did not lend itself to the care of fragile objects.

She lied to me today," Archie said. "A teenager?" Susan said with faux surprise. "Lying to an authority figure? Impossible.

[T]o tell a good story, you need courage. Courage to fully become someone else, even if -- and especially if -- that person was a more vulnerable version of yourself.

Are there any leading men in your life?' 'Several, but they're all fictional.

How can I help?

Her German language made my arteries harden- I've no annuity for the play we blew. I chartered an aluminum canoe, I had her six times in the English Garden.

The Lord survives the rainbow of His will.

Indeed, school was so important that the mill owners quickly decided to make it mandatory. “No language of ours can convey too strongly our sense of the dangers which wait us from [those who] are not and have never been members of our public schools,” warned the Lowell School Committee. Universal schooling is “our surest safety against internal commotions.”‡

Sure...the boy was precocious. But having been precocious himself, Lowell was never wowed by teenagers who could recite the periodic table of elements or whatever. He was on to them. Precocious was not the same as smart, much less the same as wise, and the perfect opposite of informed - since the more you prided yourself on knowing the less you listened and the less you learned. Worse, with application less glibly gifted peers often caught up with or overtook prodigies by early adulthood, and meanwhile the kid to whom everything came so effortlessly never mastered the grind of sheer hard work.

Epilogue Those blessèd structures, plot and rhyme-- why are they no help to me now I want to make something imagined, not recalled? I hear the noise of my own voice: The painter's vision is not a lens, it trembles to caress the light. But sometimes everything I write with the threadbare art of my eye seems a snapshot, lurid, rapid, garish, grouped, heightened from life, yet paralyzed by fact. All's misalliance. Yet why not say what happened? Pray for the grace of accuracy Vermeer gave to the sun's illumination stealing like the tide across a map to his girl solid with yearning. We are poor passing facts, warned by that to give each figure in the photograph his living name.

None of us ever do,” said Mrs. Allan with a sigh. “But then, Anne, you know what Lowell says, ‘Not failure but low aim is crime.’ We must have ideals and try to live up to them, even if we never quite succeed. Life would be a sorry business without them. With them it’s grand and great. Hold fast to your ideals, Anne.

...in that moment Archie realised that Gretchen had never told him anything, never let him see anything that she didn't want him to know. She had always been in control. She had always been one move ahead.

Vernal Equinox The scent of hyacinths, like a pale mist, lies between me and my book; And the South Wind, washing through the room, Makes the candles quiver. My nerves sting at a spatter of rain on the shutter, And I am uneasy with the thrusting of green shoots Outside, in the night. Why are you not here to overpower me with your tense and urgent love?

We entered a vast, bottomless silence. I scrambled for better conversation topics. This all would have been far less stressful in the movie version of our lives. The long silences would have been edited out.

Mania has been described as having a mystical quality, an example of which is described by the writer Theodore Roethke. One day he felt good, and then felt that he knew what it was like to be a rabbit, and then a lion; so he entered a restaurant and ordered and ate raw meat. Kay Redfield Jameson bought twenty Penguin books in order to form a colony of penguins, and the poet Robert Lowell believed on one occasion that he might be the reincarnation of the Holy Ghost and could, if he wished, paralyze cars.

If astronomy teaches anything, it teaches that man is but a detail in the evolution of the universe, and the resemblant though diverse details are inevitably to be expected in the hosts of orbs around him. He learns that, though he will probably never find his double anywhere, he is destined to discover any number of cousins scattered through space.

To keep moving forward, we have to let purpose lead the way. Lukas Klessig

Her body was spattered with tiny bits of the reverend’s flesh and blood, like someone had combined shrimp and tomato soup and then forgot to put the lid on the blender.

We can live in fear, or not.

There was no romantic ending for Charlotte, but that's where writing your own novel can be so useful.

His whole relationship with Gretchen was one long postcoital illusion

Gretchen took a beautiful mugshot.

An appeal to the reason of the people has never been known to fail in the long run.

His expression was impassive. Somewhere, I just knew, he must have a slew of illegitimate children, all named Bartholomew.

Art is the desire of a man to express himself, to record the reactions of his personality to the world he lives in.

Sometimes you needed to be an outsider to really appreciate how things worked.

Since we do float on an unknown sea, I think we should examine the other floating things that come our way carefully; who knows what may depend on it?

Thus, in that inevitable taking of sides which comes from selection and emphasis in history, I prefer to try to tell the story of the discovery of America from the viewpoint of the Arawaks, of the Constitution from the standpoint of the slaves, of Andrew Jackson as seen by the Cherokees, of the Civil War as seen by the New York Irish, of the Mexican war as seen by the deserting soldiers of Scott’s army, of the rise of industrialism as seen by the young women in the Lowell textile mills, of the Spanish-American war as seen by the Cubans, the conquest of the Philippines as seen by black soldiers on Luzon, the Gilded Age as seen by southern farmers, the First World War as seen by socialists, the Second World War as seen by pacifists, the New Deal as seen by blacks in Harlem, the postwar American empire as seen by peons in Latin America. And so on, to the limited extent that any one person, however he or she strains, can “see” history from the standpoint of others.

If Gretchen had been feeling charitable she would have let me die...I wanted to die. I was ready to die. If she had put a scalpel in my hand, I would have stabbed myself in the neck and happily bled to death right there in her basement. She didn't do me any favours by not killing me. Gretchen enjoys people's pain. And she just found a way to prolong my pain and her pleasure. Believe me, it was the cruellest thing she could have done to me. If she could have thought of something crueller she would have done it. Gretchen doesn't show people mercy.

If, however, we treat the madwoman as a sane woman who has been locked up, then we force ourselves to acknowledge what did exist in the Brontës’ world: generations of women, who, silent and confined, reined in their passions and lived lives of seclusion.

My father used to say that all protagonists were versions of the author who wrote them—even if it meant the author had to acknowledge a side of himself that he did not know existed. It just required courage.

No doubt she was wondering how to fight him off. That made him feel like some sordid roué, thinking of nothing but his own pleasure. But as little as he’d been in polite company, even Ash knew better than to issue a clarification. “No, Miss Lowell,” Ash could imagine himself saying, “I would never force myself on you. I mean to seduce you into willingness. That’s all.” That would get him a fork stabbed through his hand, by the black look she gave her pudding. Thank God the knives had been removed along with the beef.

No weekends for the gods now. Wars flicker, earth licks its open sores, fresh breakage, fresh promotions, chance assassinations, no advance. Only man thinning out his own kind sounds through the Sabbath noon, the blind swipe of the pruner and his knife busy about the tree of life... Pity the planet, all joy gone from this sweet volcanic cone; peace to our children when they fall in small war on the heels of small war - until the end of time to police th eearth, a ghost orbiting forever lost in our monotonous sublime.

I've had a really bad day," she said to Jack. "Your party sucked. I think my boyfriend and I are breaking up. I got taken hostage by a serial killer. I have spiders in my hair. And you're being a pig-headed asshole. I'm telling you," she added, with a glance over her shoulder at Razor Burn, "if someone points a gun at me again, or threatens me in any way, I'm going to lose it.

Sylvia Plath" A miniature mad talent? Sylvia Plath, who'll wipe off the spit of your integrity, rising in the saddle to slash at Auschwitz, life tearing this or that, I am a woman? Who'll lay the graduate girl in marriage, queen bee, naked, unqueenly, shaming her shame? Each English major saying, "I am Sylvia, I hate marriage, I must hate babies." Even men have a horror of giving birth, mother-sized babies splitting us in half, sixty thousand American infants a year, U.I.D., Unexplained Infant Deaths, born physically whole and hearty, refuse to live, Sylvia...the expanding torrent of your attack.

Children should have some warning, some way of knowing it was dangerous to look out at the world with unguarded pleasure. But who would want to tell them, to deprive them of those few moments of blissful ignorance that would have to last a lifetime?

The Taxi When I go away from you The world beats dead Like a slackened drum. I call out for you against the jutted stars And shout into the ridges of the wind. Streets coming fast, One after the other, Wedge you away from me, And the lamps of the city prick my eyes So that I can no longer see your face. Why should I leave you, To wound myself upon the sharp edges of the night?

Reading Myself" Like thousands I took just pride and more than just, struck matches that brought my blood to a boil; I memorized the tricks to set the river on fire-- somehow never wrote something to go back to. Can I suppose I am finished with wax flowers and have earned my grass on the minor slopes of Parnassus... No honeycomb is built without a bee adding circle to circle, cell to cell, the wax and honey of a mausoleum-- this round dome proves its maker is alive; the corpse of the insect lives embalmed in honey, prays that its perishable work live long enough for the sweet tooth bear to desecrate-- this open book..my open coffin

We are going to win our freedom because both the sacred heritage of our nation and the eternal will of the Almighty God are embodied in our echoing demands. So however difficult it is during this period, however difficult it is to continue to live with the agony and the continued existence of racism, however difficult it is to live amidst the constant hurt, the constant insult and the constant disrespect, I can still sing we shall overcome. We shall overcome because the arc of the moral universe is long but it bends towards justice. We shall overcome because Carlisle is right. "No lie can live forever." We shall overcome because William Cullen Bryant is right. "Truth crushed to earth will rise again." We shall overcome because James Russell Lowell is right. "Truth forever on the scaffold, wrong forever on the throne."   Yet that scaffold sways the future. We shall overcome because the Bible is right.  "You shall reap what you sow." With this faith we will be able to hew out of the mountain of despair, a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to speed up the day when all of God's children all over this nation - black men and white men, Jews and Gentiles, Protestants and Catholics will be able to join hands and sing in the words of the old negro spiritual, "Free at Last, Free at Last, Thank God Almighty, We are Free At Last.

Even the most blatant assholes seemed to function in a state of grace when confronted with the brutal loss of a loved one. They moved through the world differently than other people. When they looked at you, you had the feeling that they were really seeing you. Their entire universe was just this one thing, this one event, this one loss. They seemed, for a few weeks, to have things in perspective. Then the inconsequential shit of their lives would start to seep back in.

We've inherited many ideas about writing that emerged in the eighteenth century, especially an interest in literature as both an expression and an exploration of the self. This development — part of what distinguishes the "modern" from the "early modern" — has shaped the work of many of our most celebrated authors, whose personal experiences indelibly and visibly mark their writing. It's fair to say that the fiction and poetry of many of the finest writers of the past century or so — and I'm thinking here of Conrad, Proust, Lawrence, Joyce, Woolf, Kafka, Plath, Ellison, Lowell, Sexton, Roth, and Coetzee, to name but a few — have been deeply autobiographical. The link between the life and the work is one of the things we're curious about and look for when we pick up the latest book by a favorite author.

Eating Out Alone" The loneliness inside me is a place, Harvard where no one might always be someone. When we're alone people we run from change to the mysterious and beautiful— I am eating alone at a small white table, visible, ignored…the moment that tries the soul, an explorer going blind in polar whiteness. Yet everyone who is seated is a lay, or Paul Claudel, at the next table declaiming: "L'Academie Groton, eh, c'est une ecole des cochons." He soars from murdered English to killing French, no word unheard, no sentence understood… a vocabulary to mortify Racine… the minotaur steaming in a maze of eloquence.

You never know that. I don't know it; Robert Lowell doesn't know it; John Berryman didn't know it; and Shakespeare probably didn't know it. There's never any final certainty about what you do. Your opinion of your own work fluctuates wildly. Under the right circumstances you can pick up something that you've written and approve of it; you'll think it's good and that nobody could have done exactly the same thing. Under different circumstances, you'll look at exactly the same poem and say, “My Lord, isn't that boring.” The most important thing is to be excited about what you are doing and to be working on something that you think will be the greatest thing that ever was. One of the difficulties in writing poetry is to maintain your sense of excitement and discovery about what you write.

Spleen Je suis comme le roi d'un pays pluvieux, Riche, mais impuissant, jeune et pourtant très vieux, Qui, de ses précepteurs méprisant les courbettes, S'ennuie avec ses chiens comme avec d'autres bêtes. Rien ne peut l'égayer, ni gibier, ni faucon, Ni son peuple mourant en face du balcon. Du bouffon favori la grotesque ballade Ne distrait plus le front de ce cruel malade; Son lit fleurdelisé se transforme en tombeau, Et les dames d'atour, pour qui tout prince est beau, Ne savent plus trouver d'impudique toilette Pour tirer un souris de ce jeune squelette. Le savant qui lui fait de l'or n'a jamais pu De son être extirper l'élément corrompu, Et dans ces bains de sang qui des Romains nous viennent, Et dont sur leurs vieux jours les puissants se souviennent, II n'a su réchauffer ce cadavre hébété Où coule au lieu de sang l'eau verte du Léthé // I'm like the king of a rain-country, rich but sterile, young but with an old wolf's itch, one who escapes his tutor's monologues, and kills the day in boredom with his dogs; nothing cheers him, darts, tennis, falconry, his people dying by the balcony; the bawdry of the pet hermaphrodite no longer gets him through a single night; his bed of fleur-de-lys becomes a tomb; even the ladies of the court, for whom all kings are beautiful, cannot put on shameful enough dresses for this skeleton; the scholar who makes his gold cannot invent washes to cleanse the poisoned element; even in baths of blood, Rome's legacy, our tyrants' solace in senility, he cannot warm up his shot corpse, whose food is syrup-green Lethean ooze, not blood. — Robert Lowell, from Marthiel & Jackson Matthews, eds., The Flowers of Evil (NY: New Directions, 1963)

Now a door slams. The kids have rushed out for the last play, the mothers are planning and slamming in kitchens, you can hear it out in swish leaf orchards, on popcorn swings, in the million-foliaged sweet wafted night of sighs, songs, shushes. A thousand things up and down the street, deep, lovely, dangerous, aureating, breathing, throbbing like stars; a whistle, a faint yell; the flow of lowell over rooftops beyond; the bark on the river, the wild goose of the night yakking, ducking in the sand and sparkle; the ululating lap and purl and lovely mystery on the shore, dark, always dark the river's cunning unseen lips murmuring kisses, eating night, stealing sand, sneaky.

And at night the river flows, it bears pale stars on the holy water, some sink like veils, some show like fish, the great moon that once was rose now high like a blazing milk flails its white reflection vertical and deep in the dark surgey mass wall river's grinding bed push. As in a sad dream, under the streetlamp, by pocky unpaved holes in dirt, the father James Cassidy comes home with lunchpail and lantern, limping, redfaced, and turns in for supper and sleep. Now a door slams. The kids have rushed out for the last play, the mothers are planning and slamming in kitchens, you can hear it out in swish leaf orchards, on popcorn swings, in the million-foliaged sweet wafted night of sighs, songs, shushes. A thousand things up and down the street, deep, lovely, dangerous, aureating, breathing, throbbing like stars; a whistle, a faint yell; the flow of Lowell over rooftops beyond; the bark on the river, the wild goose of the night yakking, ducking in the sand and sparkle; the ululating lap and purl and lovely mystery on the shore, dark, always dark the river's cunning unseen lips, murmuring kisses, eating night, stealing sand, sneaky. 'Mag-gie!' the kids are calling under the railroad bridge where they've been swimming. The freight train still rumbles over a hundred cars long, the engine threw the flare on little white bathers, little Picasso horses of the night as dense and tragic in the gloom comes my soul looking for what was there that disappeared and left, lost, down a path--the gloom of love. Maggie, the girl I loved.

Any clear thing that blinds us with surprise, your wandering silences and bright trouvailles, dolphin let loose to catch the flashing fish... saying too little, then too much. Poets die adolescents, their beat embalms them, the archetypal voices sing offkey; the old actor cannot read his friends, and nevertheless he reads himself aloud, genuis hums the auditorium dead. The line must terminate. Yet my heart rises, I know I've gladdened a lifetime knotting, undoing a fishnet of tarred rope; the net will hang on the wall when the fish are eaten, nailed like illegible bronze on the futureless future.

You're wrong, you know," Susan said. "She doesn't belong here. I'm against the death penalty. I don't think the state should be in the business of killing people. I think it's wrong. And it's hypocritical. Mostly, I just think it's mean. Gretchen Lowell ? She is the exception. She deserves to die. If we kill one person, one criminal in the history of the world, it should be her." Susan paused, reconsidering. "And Hitler. Her, and Hitler". Prescott had that shrink look on his face again, passive and unimpressed, and yet somehow judgmental at the same time. Susan continued. "She removed a detective's spleen without anesthesia. She stuck a wire through an old woman's eyeball and then threaded it behind her nose and out through the other eye socket and then she stuck the wire into an outlet." Prescott raised an eyebrow. "And you're arguing that she's sane?

What's she like?' Archie repeated softly. He put his hand on the trooper's shoulder and leaned forward, so his face was inched from his. Gretchen was a beautiful, sensual, charismatic, manipulative bitch, the object of Archie's sexual obsession, his torturer, and the person who knew him best in the world. 'She's a serial killer,' Archie said. He smiled and gave the trooper's shoulder an avuncular pat. 'If you ever lay eyes on her, shoot her.' Archie turned to Henry. 'I'm ready to go back to the loony bin,' he said

Grief said C.S. Lewis is like "a winding valley where any bend may reveal a totally new landscape." This is so. The lessons that come from grief come from its unexpected moves, from its shifting views of what had gone before and what is yet to come. Pain brought so often into one's consciousness cannot maintain the same capacity to wound. Grief, however creates strange sensitivity. The world is too intense to tolerate: a veil, a drink, another anaesthetic is required to blot out the ache of what remains. One sees too much and feels it, as Robert Lowell put it, "with one skin-layer missing." Grief conspires to ensure that it will in time wear itself out. Unlike depression, it acts to preserve the self. Depression is malignant, indiscriminately destructive. Grief may bear resemblance to depression, but it is a distant kinship. In Grief, death occasions the pain. In depression, death is the solution to the pain. In Grief, one feels the absence of a life, not life itself. In depression, it is otherwise one cannot access the beat of life!

A few miles away across the East River was the apartment he could never get used to, the job where he had nothing to do, the dozen or so people he knew slightly and cared about not at all: a fabric of existence as blank and seamless as the freshly plaster wall he passed. Soon his wife would return from New Jersey. Soon everyone would be back, and things would go on much as they had before. From the street outside came the sound of laughter and shouting, bottles breaking, voices droning in the warm air, and children playing far past their bedtime. It all meant nothing whatever to Lowell. Standing in the parlor of a house no longer his, listening to the voices of people whose lives were closed to him forever, contemplating a future much like his past, he realized that it was finally too late for him. Everything had gone wrong, and he had succeeded at nothing, and he was never going to have any kind of life at all.

Apples of Hesperides Glinting golden through the trees, Apples of Hesperides! Through the moon-pierced warp of night Shoot pale shafts of yellow light, Swaying to the kissing breeze Swings the treasure, golden-gleaming, Apples of Hesperides!. Far and lofty yet they glimmer, Apples of Hesperides! Blinded by their radiant shimmer, Pushing forward just for these; Dew-besprinkled, bramble-marred, Poor duped mortal, travel-scarred, Always thinking soon to seize And possess the golden-glistening Apples of Hesperides!. Orbed, and glittering, and pendent, Apples of Hesperides! Not one missing, still transcendent, Clustering like a swarm of bees. Yielding to no man's desire, Glowing with a saffron fire, Splendid, unassailed, the golden Apples of Hesperides!

It was against this backdrop that the great fortunes were made, fortunes which allowed the first families to dominate the society of that era. Theodore Parker, a crusading minister in the 1840s, wrote of the Lowells and these other great families: “This class is the controlling one in politics. It mainly enacts the laws of this state and the nation; makes them serve its turn . . . It can manufacture governors, senators, judges to suit its purposes as easily as it can manufacture cotton cloth. This class owns the machinery of society . . . ships, factories, shops, water privileges.” They were also families which had a fine sense of protecting their own position, and they were notorious for giving large grants to Harvard College, which was their college, and just as notorious for doing very little for public education.

Talk about corporate greed and everything is really crucially beside the point, in my view, and really should be recognized as a very big regression from what working people, and a lot of others, understood very well a century ago. Talk about corporate greed is nonsense. Corporations are greedy by their nature. They’re nothing else – they are instruments for interfering with markets to maximize profit, and wealth and market control. You can’t make them more or less greedy; I mean maybe you can sort of force them, but it’s like taking a totalitarian state and saying “Be less brutal!” Well yeah, maybe you can get a totalitarian state to be less brutal, but that’s not the point – the point is not to get a tyranny to be less brutal, but to get rid of it. Now 150 years ago, that was understood. If you read the labour press – there was a very lively labour press, right around here [Massachusetts] ; Lowell and Lawrence and places like that, around the mid nineteenth century, run by artisans and what they called factory girls; young women from the farms who were working there – they weren’t asking the autocracy to be less brutal, they were saying get rid of it. And in fact that makes perfect sense; these are human institutions, there’s nothing graven in stone about them. They [corporations] were created early in this century with their present powers, they come from the same intellectual roots as the other modern forms of totalitarianism – namely Stalinism and Fascism – and they have no more legitimacy than they do. I mean yeah, let’s try and make the autocracy less brutal if that’s the short term possibility – but we should have the sophistication of, say, factory girls in Lowell 150 years ago and recognize that this is just degrading and intolerable and that, as they put it “those who work in the mills should own them ” And on to everything else, and that’s democracy – if you don’t have that, you don’t have democracy.

MADONNA OF THE EVENING FLOWERS All day long I have been working Now I am tired. I call: “Where are you?” But there is only the oak tree rustling in the wind. The house is very quiet, The sun shines in on your books, On your scissors and thimble just put down, But you are not there. Suddenly I am lonely: Where are you? I go about searching. Then I see you, Standing under a spire of pale blue larkspur, With a basket of roses on your arm. You are cool, like silver, And you smile. I think the Canterbury bells are playing little tunes, You tell me that the peonies need spraying, That the columbines have overrun all bounds, That the pyrus japonica should be cut back and rounded. You tell me these things. But I look at you, heart of silver, White heart-flame of polished silver, Burning beneath the blue steeples of the larkspur, And I long to kneel instantly at your feet, While all about us peal the loud, sweet Te Deums of the Canterbury bells

Two months after marching through Boston, half the regiment was dead; at the dedication, William James could almost hear the bronze Negroes breathe. Their monument sticks like a fishbone in the city's throat. Its Colonel is as lean as a compass-needle. He has an angry wrenlike vigilance, a greyhound's gently tautness; he seems to wince at pleasure, and suffocate for privacy. He is out of bounds now. He rejoices in man's lovely, peculiar power to choose life and die-- when he leads his black soldiers to death, he cannot bend his back.

My Dolphin, you only guide me by surprise, a captive as Racine, the man of craft, drawn through his maze of iron composition by the incomparable wandering voice of Phèdre. When I was troubled in mind, you made for my body caught in its hangman's-knot of sinking lines, the glassy bowing and scraping of my will. . . . I have sat and listened to too many words of the collaborating muse, and plotted perhaps too freely with my life, not avoiding injury to others, not avoiding injury to myself-- to ask compassion . . . this book, half fiction, an eelnet made by man for the eel fighting my eyes have seen what my hand did.

The sacred rowan is a woman born long, long ago, a woman whose refusal to see love cost first her lover's life, then the lives of her family, her clan, her people. But not her own life. Not quite. In pity and punishment she was turned into an undying tree, a rowan that weeps only in the presence of transcendent love; and the tears of the rowan are blossoms that confer extraordinary grace upon those who can see them. When enough tears are wept, the rowan will be free. She waits inside a sacred ring that can be neither weighed or measured nor touched. She waits for love that is worth her tears. The rowan is waiting still.

The Truth the Dead Know For my Mother, born March 1902, died March 1959 and my Father, born February 1900, died June 1959 Gone, I say and walk from church, refusing the stiff procession to the grave, letting the dead ride alone in the hearse. It is June. I am tired of being brave. We drive to the Cape. I cultivate myself where the sun gutters from the sky, where the sea swings in like an iron gate and we touch. In another country people die. My darling, the wind falls in like stones from the whitehearted water and when we touch we enter touch entirely. No one's alone. Men kill for this, or for as much. And what of the dead? They lie without shoes in the stone boats. They are more like stone than the sea would be if it stopped. They refuse to be blessed, throat, eye and knucklebone. Anne Sexton was a model who became a confessional poet, writing about intimate aspects of her life, after her doctor suggested that she take up poetry as a form of therapy. She studied under Robert Lowell at Boston University, where Sylvia Plath was one of her classmates. Sexton won the Pulitzer Prize for Poetry in 1967, but later committed suicide via carbon monoxide poisoning. Topics she covered in her poems included adultery, masturbation, menstruation, abortion, despair and suicide.

Taking us by and large, we're a queer lot We women who write poetry. And when you think How few of us there've been, it's queerer still. I wonder what it is that makes us do it, Singles us out to scribble down, man-wise, The fragments of ourselves. Why are we Already mother-creatures, double-bearing, With matrices in body and in brain? I rather think that there is just the reason We are so sparse a kind of human being; The strength of forty thousand Atlases Is needed for our every-day concerns. There's Sapho, now I wonder what was Sapho. I know a single slender thing about her: That, loving, she was like a burning birch-tree All tall and glittering fire, and that she wrote Like the same fire caught up to Heaven and held there, A frozen blaze before it broke and fell. Ah, me! I wish I could have talked to Sapho, Surprised her reticences by flinging mine Into the wind. This tossing off of garments Which cloud the soul is none too easy doing With us to-day. But still I think with Sapho One might accomplish it, were she in the mood to bare her loveliness of words and tell The reasons, as she possibly conceived them of why they are so lovely. Just to know How she came at them, just watch The crisp sea sunshine playing on her hair, And listen, thinking all the while 'twas she Who spoke and that we two were sisters Of a strange, isolated little family. And she is Sapho -- Sapho -- not Miss or Mrs., A leaping fire we call so for convenience....

We've spoken of the Knights of the Holy Grail, Percival. Do you know what I was? The Knight of the Unholy Grail. In times like these when everyone is wonderful, what is needed is a quest for evil. You should be interested! Such a quest serves God's cause! How? Because the Good proves nothing. When everyone is wonderful, nobody bothers with God. If you had ten thousand Albert Schweitzers giving their lives for their fellow men, do you think anyone would have a second thought about God? Or suppose the Lowell Professor of Religion at Harvard should actually find the Holy Grail, dig it up in an Israeli wadi, properly authenticate it, carbon date it, and present it to the Metropolitan Museum. Millions of visitors! I would be as curious as the next person and would stand in line for hours to see it. But what different would it make in the end? People would be interested for a while, yes. This is an age of interest. But suppose you could show me one "sin," one pure act of malevolence. A different cup of tea! That would bring matters to a screeching halt. But we have plenty of evil around you say. What about Hitler, the gas ovens and so forth? What about them? As everyone knows and says, Hitler was a madman. And it seems nobody else was responsible. Everyone was following orders. It is even possible that there was no such order, that it was all a bureaucratic mistake. Show me a single "sin." One hundred and twenty thousand dead at Hiroshima? Where was the evil of that? Was Harry Truman evil? As for the pilot and bombardier, they were by all accounts wonderful fellows, good fathers and family men. "Evil" is surely the clue to this age, the only quest appropriate to the age. For everything and everyone's either wonderful or sick and nothing is evil. God may be absent, but what if one should find the devil? Do you think I wouldn't be pleased to meet the devil? Ha, ha, I'd shake his hand like a long-lost friend. The mark of the age is that terrible things happen but there is no "evil" involved. People are either crazy, miserable, or wonderful, so where does the "evil" come in? There I was forty-five years old and I didn't know whether there was "evil" in the world.

We find, therefore, Lowell and Mailer ostensibly locked in converse. In fact, out of the thousand separate enclaves of their very separate personalities, they sensed quickly that they now shared one enclave to the hilt: their secret detestation of liberal academic parties to accompany worthy causes. Yes, their snobbery was on this mountainous face close to identical—each had a delight in exactly the other kind of party, a posh evil social affair, they even supported a similar vein of vanity (Lowell with considerably more justice) that if they were doomed to be revolutionaries, rebels, dissenters, anarchists, protesters, and general champions of one Left cause or another, they were also, in private, grands conservateurs, and if the truth be told, poor damn émigré princes. They were willing if necessary (probably) to die for the cause—one could hope the cause might finally at the end have an unexpected hint of wit, a touch of the Lord’s last grace—but wit or no, grace or grace failing, it was bitter rue to have to root up one’s occupations of the day, the week, and the weekend and trot down to Washington for idiot mass manifestations which could only drench one in the most ineradicable kind of mucked-up publicity and have for compensation nothing at this party which might be representative of some of the Devil’s better creations. So Robert Lowell and Norman Mailer feigned deep conversation. They turned their heads to one another at the empty table, ignoring the potentially acolytic drinkers at either elbow, they projected their elbows out in fact like flying buttresses or old Republicans, they exuded waves of Interruption Repellent from the posture of their backs, and concentrated on their conversation, for indeed they were the only two men of remotely similar status in the room. (Explanations about the position of Paul Goodman will follow later.)

A reflection on Robert Lowell Robert Lowell knew I was not one of his devotees. I attended his famous “office hours” salon only a few times. Life Studies was not a book of central importance for me, though I respected it. I admired his writing, but not the way many of my Boston friends did. Among poets in his generation, poems by Elizabeth Bishop, Alan Dugan, and Allen Ginsberg meant more to me than Lowell’s. I think he probably sensed some of that. To his credit, Lowell nevertheless was generous to me (as he was to many other young poets) just the same. In that generosity, and a kind of open, omnivorous curiosity, he was different from my dear teacher at Stanford, Yvor Winters. Like Lowell, Winters attracted followers—but Lowell seemed almost dismayed or a little bewildered by imitators; Winters seemed to want disciples: “Wintersians,” they were called. A few years before I met Lowell, when I was still in California, I read his review of Winters’s Selected Poems. Lowell wrote that, for him, Winters’s poetry passed A. E. Housman’s test: he felt that if he recited it while he was shaving, he would cut himself. One thing Lowell and Winters shared, that I still revere in both of them, was a fiery devotion to the vocal essence of poetry: the work and interplay of sentences and lines, rhythm and pitch. The poetry in the sounds of the poetry, in a reader’s voice: neither page nor stage. Winters criticizing the violence of Lowell’s enjambments, or Lowell admiring a poem in pentameter for its “drill-sergeant quality”: they shared that way of thinking, not matters of opinion but the matter itself, passionately engaged in the art and its vocal—call it “technical”—materials. Lowell loved to talk about poetry and poems. His appetite for that kind of conversation seemed inexhaustible. It tended to be about historical poetry, mixed in with his contemporaries. When he asked you, what was Pope’s best work, it was as though he was talking about a living colleague . . . which in a way he was. He could be amusing about that same sort of thing. He described Julius Caesar’s entourage waiting in the street outside Cicero’s house while Caesar chatted up Cicero about writers. “They talked about poetry,” said Lowell in his peculiar drawl. “Caesar asked Cicero what he thought of Jim Dickey.” His considerable comic gift had to do with a humor of self and incongruity, rather than wit. More surreal than donnish. He had a memorable conversation with my daughter Caroline when she was six years old. A tall, bespectacled man with a fringe of long gray hair came into her living room, with a certain air. “You look like somebody famous,” she said to him, “but I can’t remember who.” “Do I?” “Yes . . . now I remember!— Benjamin Franklin.” “He was a terrible man, just awful.” “Or no, I don’t mean Benjamin Franklin. I mean you look like a Christmas ornament my friend Heather made out of Play-Doh, that looked like Benjamin Franklin.” That left Robert Lowell with nothing to do but repeat himself: “Well, he was a terrible man.” That silly conversation suggests the kind of social static or weirdness the man generated. It also happens to exemplify his peculiar largeness of mind . . . even, in a way, his engagement with the past. When he died, I realized that a large vacuum had appeared at the center of the world I knew.

I saw the sky descending, black and white, Not blue, on Boston where the winters wore The skulls to jack-o’-lanterns on the slates, And Hunger’s skin-and-bone retrievers tore The chickadee and shrike. The thorn tree waits Its victim and tonight The worms will eat the deadwood to the foot Of Ararat: the scythers, Time and Death, Helmed locusts, move upon the tree of breath; The wild ingrafted olive and the root Are withered, and a winter drifts to where The Pepperpot, ironic rainbow, spans Charles River and its scales of scorched-earth miles. I saw my city in the Scales, the pans Of judgement rising and descending. Piles Of dead leaves char the air— And I am a red arrow on this graph Of Revelations. Every dove is sold. The Chapel’s sharp-shinned eagle shifts its hold On serpent-Time, the rainbow’s epitaph. In Boston serpents whistle at the cold. The victim climbs the altar steps and sings: “Hosannah to the lion, lamb, and beast Who fans the furnace-face of IS with wings: I breathe the ether of my marriage feast.” At the high altar, gold And a fair cloth. I kneel and the wings beat My cheek. What can the dove of Jesus give You now but wisdom, exile? Stand and live, The dove has brought an olive branch to eat.