Lyric Poetry Quotes

Poetry is the shadow cast by our streetlight imaginations.

Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility.

A poet should be so crafty with words that he is envied even for his pains.

Her happiness floated like waves of ocean along the coast of her life. She found lyrics of her life in his arms but she never sung her song.

The eye--it cannot choose but see; We cannot bid the ear be still; Our bodies feel, where'er they be, Against or with our will.

She’s like poetry. Like prose and love letters and lyrics, cascading down the center of a page.

Sing your life; any fool can think of words that rhyme.

I think there is a song out there to describe just about any situation.

Music is storming, driving, relentless, devotional, slinky, subtle, heartbreakingly-beautiful sounds that, lyrically, switch from the cynical to the sanguine, the defeated to the defiant, dealing in love, war, beauty, children, romance, rejection, Pethedine, poetry, panties, God, Auden, Johnny Cash, cold potatoes, too-much-money, not enough money, writer’s block, flowers, animals and more flowers. But maybe I’m projecting here.

I have my books And my poetry to protect me; I am shielded in my armor, Hiding in my room, safe within my womb. I touch no one and no one touches me. I am a rock, I am an island.

The large print giveth and the small print taketh away.

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

The best ideas will eat at you for days, maybe even weeks, until something, some incident, some impulse, triggers you to finally express them.

Maybe I’ve always been more comfortable in chaos.

Waktu berjalan ke Barat di waktu pagi hari matahari mengikutiku di belakang. Aku berjalan mengikuti bayang-bayangku sendiri yang memanjang di depan. Aku dan matahari tidak bertengkar tentang siapa di antara kami yang telah menciptakan bayang-bayang, aku dan bayang-bayang tidak bertengkar tentang siapa di antara kami yang harus berjalan di depan.

One difference between poetry and lyrics is that lyrics sort of fade into the background. They fade on the page and live on the stage when set to music.

I have my books and my poetry to protect me

Sweet is the lore which nature brings; Our meddling intellect Misshapes the beauteous forms of things— We murder to dissect.

Thou shalt not use poetry, art or music to get into girls’ pants - use it to get into their heads.

The foolish rush to end their lives. Only the steadfast soul survives.

Oh you're in my blood like holy wine You taste so bitter and so sweet Oh I could drink a case of you darling And I would still be on my feet Oh I would still be on my feet

poetry is the breath and finer spirit of knowledge

I like people who've seen some darkness The haunted ones. I like people who don't claim to know what love is The honest ones.

I'm a wanderess I'm a one night stand Don't belong to no city Don't belong to no man (Note: These lyrics were inspired by Roman Payne's quote from his novel "The Wanderess".)

Songs can be incredibly prophetic, like subconscious warnings or messages to myself, but I often don't know what I'm trying to say till years later. Or a prediction comes true and I couldn't do anything to stop it, so it seems like a kind of useless magic.

If a thing can be said in ten words, I may be relied upon to take a hundred to say it. I ought to apologize for that. I ought to prune, pare and extirpate excess growth, but I will not. I like words—strike that, I love words—and while I am fond of the condensed and economical use of them in poetry, in song lyrics, in Twitter, in good journalism and smart advertising, I love the luxuriant profusion and mad scatter of them too.

There is also a third kind of madness, which is possession by the Muses, enters into a delicate and virgin soul, and there inspiring frenzy, awakens lyric....But he, who, not being inspired and having no touch of madness in his soul, comes to the door and thinks he will get into the temple by the help of art--he, I say, and his poetry are not admitted; the sane man is nowhere at all when he enters into rivalry with the madman.

But you have to satisfy the monster. The monster has loved you for longer than anyone else.

We ache with the yearning that turns half into whole and offer no excuses for the beauty of our souls.

I am a tale, I am a book, written in different languages and styles I can’t be read, can’t be understood, neither by me nor the greatest of minds I am too big, I am too small, to be processed or seen by the naked eye I am too dim, I am too bright, to appear in the shadows or the sunshine.

I guess I won't write poetry I'll just stare at my phone for fucking eternity

I suppose I'm saying that defiance is actually part of the lyric job

You ask me why I don't speak Not a word at will But write so much worth well over a mill' Well I value words like I value kisses A sober one, a closer one penetrates the heart Darling it's how it mends it

If I knew what to do I'd do more than write a song for you

I make songs to tie people to me With a ribbon of fantasy around their necks Such a beautiful bow. That I hold in my fist And I will not let go.

Literature, especially poetry, and lyric poetry most of all, is a kind of family joke, with little or no value outside its own language-group.

Relate comic things in pompous fashion. Irregularity, in other words the unexpected, the surprising, the astonishing, are essential to and characteristic of beauty. Two fundamental literary qualities: supernaturalism and irony. The blend of the grotesque and the tragic are attractive to the mind, as is discord to blasé ears. Imagine a canvas for a lyrical, magical farce, for a pantomime, and translate it into a serious novel. Drown the whole thing in an abnormal, dreamy atmosphere, in the atmosphere of great days … the region of pure poetry.

There have been times I've felt so much art in my soul I grew sick of artists.

Music straightjackets a poem and prevents it from breathing on its own, whereas it liberates a lyric. Poetry doesn't need music; lyrics do.

My heart is strong, I will not fail, I won't be wronged, I will prevail.

Did I live the spring I’d sought? It’s true in joy, I walked along, took part in dance, and sang the song. and never tried to bind an hour to my borrowed garden bower; nor did I once entreat a day to slumber at my feet. Yet days aren’t lulled by lyric song, like morning birds they pass along, o’er crests of trees, to none belong; o’er crests of trees of drying dew, their larking flight, my hands, eschew Thus I’ll say it once and true… From all that I saw, and everywhere I wandered, I learned that time cannot be spent, It only can be squandered.

That’s all you want really To be out of your own and consumed by another To swim inside the skin of your lover

You saw the stars out in front of you Too tempting not to touch

To give yourself over to another body That’s all you want really To be out of your own and consumed by another To swim inside the skin of your lover Not have to breathe Not have to think But you can’t live on love And salt water’s no drink We're dying of thirst so we feast on each other The sea is still our violent mother The blood round here pours down like water Each wave a lamb lead to the slaughter And like children that she just can’t teach We break, and break, and break And break ourselves upon the beach- Body of Water

Sad Songs Once there was a boy who couldn't speak but owned a music box that held every song in all the world. One day he met a girl who had never heard a single melody in her entire life and so he played her his favorite song. He watched while her face lit up with wonder as the music filled the sky and the poetry of lyrics moved her in a way she had never felt before. He would play his songs for her day after day and she would sit by him quietly—never seeming to mind that he could only speak to her through song. She loved everything he played for her, but of them all—she loved the sad songs best. So he began to play them more and more until eventually, sad songs were all she would hear. One day, he noticed it had been a very long time since her last smile. When he asked her why, she took both his hands in hers and kissed them warmly. She thanked him for his gift of music and poetry but above all else—for showing her sadness because she had known neither of these things before him. But it was now time for her to go away—to find someone who could show her what happiness was. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Do you remember the song that was playing the night we met? No, but I remember every song I have heard since you left.

I don't know what makes a song a song and a poem a poem: they have started to bleed into each other at this stage. You can have everything.

Cause I'm gonna be free and I'm gonna be fine But maybe not tonight

Language can never adequately render the cosmic symbolism of music, because music stands in symbolic relation to the primordial contradiction and primordial pain in the heart of the primal unity, and therefore symbolizes a sphere which is beyond and prior to all phenomena. Rather, all phenomena, compared with it, are merely symbols: hence language, as the organ and symbol of phenomena, can never by any means disclose the innermost heart of music; language, in its attempt to imitate it, can only be in superficial contact with music; while all the eloquence of lyric poetry cannot bring the deepest significance of the latter one step nearer to us.

Her close friends have gathered. Lord, ain't it a shame Grieving together Sharing the blame. But when she was dying Lord, we let her down. There's no use cryin' It can't help her now. The party's all over Drink up and go home. It's too late to love her And leave her alone. Just say she was someone Lord, so far from home Whose life was so lonesome She died all alone Who dreamed pretty dreams That never came true Lord, why was she born So black and blue? Oh, why was she born So black and blue? Epitaph (Black And Blue) Written by: Kris Kristofferson Note: "Epitaph" is about Janis Joplin.

You own me with whispers like poetry. Your mouth is a melody I memorize.

You’ll always be my favorite ghost

I am teaching myself how to be free

It bothers me a lot that I don’t seem to own any real feelings anymore, but always have to pretend that I do by copying other people’s reactions. It’s as if I’m only moved by things that come to me indirectly. I can cry when I see a picture in the newspaper of an unfortunate family that’s been evicted, but when I see the same ordinary sight in reality, it doesn’t touch me. I’m moved by poetry and lyrical prose, now as always – but the things that are described leave me completely cold. I don’t think very much of reality.

I'm in love with New York. It matches my mood. I'm not overwhelmed. It is the suitable scene for my ever ever heightened life. I love the proportions, the amplitude, the brilliance, the polish, the solidity. I look up at Radio City insolently and love it. It's all great, and Babylonian. Broadway at night. Cellophane. The newness. The vitality. True, it is only physical. But it's inspiring. Just bring your own contents, and you create a sparkle of the highest power. I'm not moved, not speechless. I stand straight, tough and I meet the impact. I feel the glow and the dancing in everything. The radio music in the taxis, scientific magic, which can all be used lyrically. That's my last word. Give New York to a poet. He can use it. It can be poetized. Or maybe that's mania of mine, to poetize. I live lightly, smoothly, actively, ears or eyes wide open, alert, oiled! I feel the glow and the dancing in every thing and the tempo is like that of my blood. I'm at once beyond, over and in New York, tasting it fully.

A good poem is a tautology. It expands one word by adding a number which clarify it, thus making a new word which has never before been spoken. The seedword is always so ordinary that hardly anyone perceives it. Classical odes grow from and or because, romantic lyrics from but and if. Immature verses expand a personal pronoun ad nauseam, the greatest works bring glory to a common verb. Good poems, therefore, are always close to banality, over which, however, they tower like precipices.

My past is being burnt down I've shown you the ash Is it me, or are we more than just friends now? I have to ask.

When the lyrical muse sings the creative pen dances.

One moment now may give us more Than fifty years of reason; Our minds shall drink at every pore The spirit of the season.

When there's music in your soul, there's soul in your music.

My mind has claws and sets of teeth if left unchecked it will eat and eat -Depressive Pacman

I heard a thousand blended notes While in a grove I sate reclined, In that sweet mood when pleasant thoughts Bring sad thoughts to the mind. To her fair works did Nature link The human soul that through me ran; And much it grieved my heart to think What man has made of man.

There are only so many people capable of putting together words that stir and move and sing. When it became possible to earn a very good living in advertising by exercising this capability, lyric poetry was left to untalented screwballs who had to shriek for attention and compete by eccentricity.

How to care for the injured body, the kind of body that can't hold the content it is living?

Those who have suffered understand suffering and thereby extend their hand.

For all but the sliver of poetry fans, over the past forty years popular song lyrics have been the nation’s poetry.

I will find comfort in the rhythm of the sea.

I. At Tea THE kettle descants in a cosy drone, And the young wife looks in her husband's face, And then in her guest's, and shows in her own Her sense that she fills an envied place; And the visiting lady is all abloom, And says there was never so sweet a room. And the happy young housewife does not know That the woman beside her was his first choice, Till the fates ordained it could not be so.... Betraying nothing in look or voice The guest sits smiling and sips her tea, And he throws her a stray glance yearningly.

So you start to take pieces of your own life. And somewhat selfishly Other people's lives And feed them to the song At what cost This wondrous creature That becomes more precious to you Than the people that you took from How awful To make human sacrifices A late night conversation A private thought All placed upon the altar But you have to satisfy the monster The monster has loved you for longer Than anyone else.

When did you become something I couldn’t write about, Did you become real to me?

There are moments in every relationship that define when two people start to fall in love. A first glance A first smile A first kiss A first fall… (I remove the Darth Vader house shoes from my satchel and look down at them.) You were wearing these during one of those moments. One of the moments I first started to fall in love with you. The way you gave me butterflies that morning Had absolutely nothing to do with anyone else, and everything to do with you. I was falling in love with you that morning because of you. (I take the next item out of the satchel. When I pull it out and look up, she brings her hands to her mouth in shock.) This ugly little gnome With his smug little grin… He's the reason I had an excuse to invite you into my house. Into my life. You took a lot of aggression out on him over those next few months. I would watch from my window as you would kick him over every time you walked by him. Poor little guy. You were so tenacious. That feisty, aggressive, strong-willed side of you…. The side of you that refused to take crap from this concrete gnome? The side of you that refused to take crap from me? I fell in love with that side of you because of you. (I set the gnome down on the stage and grab the CD) This is your favorite CD ‘Layken’s shit.’ Although now I know you intended for shit to be possessive, rather than descriptive. The banjo started playing through the speakers of your car and I immediately recognized my favorite band. Then when I realized it was your favorite band, too? The fact that these same lyrics inspired both of us? I fell in love with that about you. That had absolutely nothing to do with anyone else. I fell in love with that about you because of you. (I take a slip of paper out of the satchel and hold it up. When I look at her, I see Eddie slide her a napkin. I can’t tell from up here, but that can only mean she’s crying.) This is a receipt I kept. Only because the item I purchased that night was on the verge of ridiculous. Chocolate milk on the rocks? Who orders that? You were different, and you didn’t care. You were being you. A piece of me fell in love with you at that moment, because of you. This? (I hold up another sheet of paper.) This I didn’t really like so much. It’s the poem you wrote about me. The one you titled 'mean?' I don’t think I ever told you… but you made a zero. And then I kept it to remind myself of all the things I never want to be to you. (I pull her shirt from my bag. When I hold it into the light, I sigh into the microphone.) This is that ugly shirt you wear. It doesn’t really have anything to do with why I fell in love with you. I just saw it at your house and thought I’d steal it.

From time to time I once wondered how one wanders from time to time And think up the paradox line Speak of Epoch's crime Oh I lied, it hasn't happened yet But bet you better believe it's such a habit that I just said that in a past mindset

The moon occurs more frequently than the sun as an image in lyric poetry. There is a greater contrast between the moon and the night sky than there is between the sun and the daytime sky. And this contrast is more conducive to sorrow, which always separates or isolates itself, than it is to happiness, which always joins or blends. And to stand face-to-face with the sun is preposterous -- it would blind you. The moon has no light of its own; our apprehension of it is but a reflection of the sun. And some believe artists reflect the creative powers of some original impulse too great to name. The moon is the incunabulum of photography, the first photograph, the first stilled moment, the first study in contrasts. Me here -- you there. Between 1969 and 1972, six missions left for the moon and six missions came back. The men who went to the moon who were forever altered without exception all say the same thing -- it was not being on the moon that profoundly affected them as much as it was looking at the earth from the vantage point of the moon. You there -- me here.

Holy water cannot help you now See, I have to burn your kingdom down And no rivers and no lakes can put the fire out I'm gonna raise the stakes I'm gonna smoke you out

Rotting like a wreck on the ocean floor. Sinking like a siren that can’t swim anymore.

I could fall in love with a plastic bag if it paid me some attention

You make a fool of death with your beauty

You say you’ve found heaven but you can’t find God

I wish I had more of your staunch American character, Strong, bold, and unflinching, like the desert or a New York skyscraper. But I am more like the English weather Unpredictable and ever changing, Prone to downpours. Battered by sudden winds - thin skinned, eye-bagged and always cold, Proud and leaking.

Astray from a deep sleep chronic as I write by phonics, like insomnia I will always live the onyx night for revealing, and, upon it, still I'll steal the bright light of day right away just to keep building at speeds hypersonic.

There is a third form of possession or madness, of which the Muses are the source. This seizes a tender, virgin soul and stimulates it to rapt passionate expression, especially in lyric poetry, glorifying the countless mighty deeds of ancient times for the instruction of posterity. But if any man comes to the gates of poetry without the madness of the Muses, persuaded that skill alone will make him a good poet, then shall he and his works of sanity with him be brought to nought by the poetry of madness, and behold, their place is nowhere to be found.

It starts off like climbing a tree or solving a puzzle - poetry, if nothing else, is just fun to write. But deeper into each and every piece, you no longer hesitate to call it work. It's passion. A poet's sense of lyrical accomplishment is then his food and water, his means of survival.

I've played Romeo for Juliet (But in depth) It's vignettes of silhouettes (And then read) And watched Russian roulette, yeah red Soviet Yet doing it simultaneously While dropping down shed oubliettes Turned around and took truth to the head that Love is the ugliest thing too beautiful for death

I won't be stuck in traffic 'til I see how rugged my path is And right now I'm loving how fast my troubles are fasting No they don't bother me oh realizing I'm psychopathic A wild beast, baby I'm gladly running after Yes a thing called peace outlasting any madness The devil fears me oh he's feeling Like a fragment of a fraction No he won't come near me 'Cause his hat trick's out of practice

Such views the youthful Bard allure, But, heedless of the following gloom, He deems their colours shall endure 'Till peace go with him to the tomb. —And let him nurse his fond deceit, And what if he must die in sorrow! Who would not cherish dreams so sweet, Though grief and pain may come tomorrow?

As the days and weeks and seasons wore on he found himself repeating this nothing, not wanting to. Gradually he came to understand that this particular nothing was all that he could really say now. He chanted it to himself in cell blocks and dingy apartments, recited it like a litany, ripped himself to rags against the sharp and ugly poetry of it. It echoed down the grimy hallways and squandered moments of his life, the answer to every question, the lyric of all songs.

I’m passing the bar Where you first got in my car I’m not ashamed to admit That it’s you I won’t forget I saved your cigarettes and Bad habits I regret But the hours flew by like clouds Whenever I had you around Parachute lover Take me away From the plane that went crashing And the earth that’s in flames Saving you is saving me High above the redwood trees But down below I see shadows And parachute debris We're drifting like children Along for the ride Each time we find love Another parachute arrives Our madness will burn As bright as the sun And I’ll keep finding lovers But you were the one

Many Americans first fell in love with the poetry of the thirteenth century teacher and spiritual leader Jelalludin Rumi during the early 1990s when the unparalleled lyrical grace, philosophical brilliance, and spiritual daring of his work took modern Western readers completely by surprise. The impact of its soulful beauty and the depth of its profound humanity were so intense that they reportedly prompted numerous individuals to spontaneously compose poetry.

Reminiscing in the drizzle of Portland, I notice the ring that’s landed on your finger, a massive insect of glitter, a chandelier shining at the end of a long tunnel. Thirteen years ago, you hid the hurt in your voice under a blanket and said there’s two kinds of women—those you write poems about and those you don’t. It’s true. I never brought you a bouquet of sonnets, or served you haiku in bed. My idea of courtship was tapping Jane’s Addiction lyrics in Morse code on your window at three A.M., whiskey doing push-ups on my breath. But I worked within the confines of my character, cast as the bad boy in your life, the Magellan of your dark side. We don’t have a past so much as a bunch of electricity and liquor, power never put to good use. What we had together makes it sound like a virus, as if we caught one another like colds, and desire was merely a symptom that could be treated with soup and lots of sex. Gliding beside you now, I feel like the Benjamin Franklin of monogamy, as if I invented it, but I’m still not immune to your waterfall scent, still haven’t developed antibodies for your smile. I don’t know how long regret existed before humans stuck a word on it. I don’t know how many paper towels it would take to wipe up the Pacific Ocean, or why the light of a candle being blown out travels faster than the luminescence of one that’s just been lit, but I do know that all our huffing and puffing into each other’s ears—as if the brain was a trick birthday candle—didn’t make the silence any easier to navigate. I’m sorry all the kisses I scrawled on your neck were written in disappearing ink. Sometimes I thought of you so hard one of your legs would pop out of my ear hole, and when I was sleeping, you’d press your face against the porthole of my submarine. I’m sorry this poem has taken thirteen years to reach you. I wish that just once, instead of skidding off the shoulder blade’s precipice and joyriding over flesh, we’d put our hands away like chocolate to be saved for later, and deciphered the calligraphy of each other’s eyelashes, translated a paragraph from the volumes of what couldn’t be said.

Certainly not! I didn't build a machine to solve ridiculous crossword puzzles! That's hack work, not Great Art! Just give it a topic, any topic, as difficult as you like..." Klapaucius thought, and thought some more. Finally he nodded and said: "Very well. Let's have a love poem, lyrical, pastoral, and expressed in the language of pure mathematics. Tensor algebra mainly, with a little topology and higher calculus, if need be. But with feeling, you understand, and in the cybernetic spirit." "Love and tensor algebra?" Have you taken leave of your senses?" Trurl began, but stopped, for his electronic bard was already declaiming: Come, let us hasten to a higher plane, Where dyads tread the fairy fields of Venn, Their indices bedecked from one to n, Commingled in an endless Markov chain! Come, every frustum longs to be a cone, And every vector dreams of matrices. Hark to the gentle gradient of the breeze: It whispers of a more ergodic zone. In Reimann, Hilbert or in Banach space Let superscripts and subscripts go their ways. Our asymptotes no longer out of phase, We shall encounter, counting, face to face. I'll grant thee random access to my heart, Thou'lt tell me all the constants of thy love; And so we two shall all love's lemmas prove, And in bound partition never part. For what did Cauchy know, or Christoffel, Or Fourier, or any Boole or Euler, Wielding their compasses, their pens and rulers, Of thy supernal sinusoidal spell? Cancel me not--for what then shall remain? Abscissas, some mantissas, modules, modes, A root or two, a torus and a node: The inverse of my verse, a null domain. Ellipse of bliss, converge, O lips divine! The product of our scalars is defined! Cyberiad draws nigh, and the skew mind Cuts capers like a happy haversine. I see the eigenvalue in thine eye, I hear the tender tensor in thy sigh. Bernoulli would have been content to die, Had he but known such a^2 cos 2 phi!

For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense, The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

Candle In the Wind Author: Bernie Tauplin Goodbye Norma Jeane. Though I never knew you at all. You had the grace to hold yourself While those around you crawled. And they crawled out of the woodwork, And they whispered into your brain, They set you on the treadmill And they made you change your name. And it seems to me you lived your life Like a candle in the wind, Never knowing who to cling to When the rain set in. And I would have liked to have known you But I was just a kid, Your candle burned out long before Your legend ever did. Loneliness was tough. The toughest role you ever played. Hollywood created a superstar And pain was the price you paid. Even when you died The press still hounded you- All the paper had to say Was that Marilyn was found in the nude. Goodbye Norma Jeane. Though I never knew you at all. You had the grace to hold yourself While those around you crawled. Goodbye Norma Jeane. From the young man in the 22nd row Who sees you as something more than sexual, More than just our Marilyn Monroe.

(About "Black Debt" by Steve McCaffery) 'Impersonal' as this text is, it is by no means unemotional or uninvolved. We learn nothing-- at least nothing direct-- about McCaffery's (or his narrator's) personal life, his opinions or ruminations. Nonetheless I would posit that 'Lag' projects a highly particularized way of looking at things, of processing the most diversified information fields-- geology and genetics, archeology and advertising, classics and commercials-- that is finally recognizable in its particular ways of negotiating with language as is the more personal lyric consciousness we expect to find in poetry.

So while I drove my little and planned his fantasy night of how I was going to give Otter the key to my soul (his words, not mine), I silently panicked and wrote lines of bad poetry. Normally, I am quite adept at writing poems and lyrics to songs I'l never sing, but this stuff was just atrocious. For example: I love you You love me Thank God for that I'm so happy And Ty's personal favorite (which he helped me on): Otter! Otter! Otter! Don't lead cows to slaughter I love you and I know I should've told you soon-a But you didn't buy the dolphin-safe tuna! TY asked me if I got the hidden message in his poem. I told him it was loud and clear.

Forgotten, as if you never were. Like a bird’s violent death like an abandoned church you’ll be forgotten, like a passing love and a rose in the night . . . forgotten I am for the road . . . There are those whose footsteps preceded mine those whose vision dictated mine. There are those who scattered speech on their accord to enter the story or to illuminate to others who will follow them a lyrical trace . . . and a speculation Forgotten, as if you never were a person, or a text . . . forgotten I walk guided by insight, I might give the story a biographical narrative. Vocabulary governs me and I govern it. I am its shape and it is the free transfiguration. But what I’d say has already been said. A passing tomorrow precedes me. I am the king of echo. My only throne is the margin. And the road is the way. Perhaps the forefathers forgot to describe something, I might nudge in it a memory and a sense Forgotten, as if you never were news, or a trace . . . forgotten I am for the road . . . There are those whose footsteps walk upon mine, those who will follow me to my vision. Those who will recite eulogies to the gardens of exile, in front of the house, free of worshipping yesterday, free of my metonymy and my language, and only then will I testify that I’m alive and free when I’m forgotten! ~ tr. Fady Joudah

If you're reading this book, there is probably an artist or band whose music you have an intense personal relationship with. I would also guess that this artist or band came into your life during a time when you were highly vulnerable. if this is the case, this artist or band might be the closest thing you had to a confidant. in fact, he, she, or it was better than a confidant, because his/her/its music articulated your own thoughts and feeling better than you ever could. This music elevated the raw materials of your life to the heights of art and poetry. It made you feel as if your personal experience was grander and more meaningful than it might otherwise have been. And naturally you attributed whatever that music was doing to your heart and brain to the people who made the music, and you came to believe that the qualities of the music were also true of the music's creators. "If this music understands me, then the people behind the music must also understand me," goes this line of thought.

The knowledge both of the Poet and the Man of science is pleasure; but the knowledge of the one cleaves to us as a necessary part of our existence, our natural and unalienable inheritance; the other is a personal and individual acquisition, slow to come to us, and by no habitual and direct sympathy connecting us with our fellow-beings. The Man of science seeks truth as a remote and unknown benefactor; he cherishes and loves it in his solitude: the Poet, singing a song in which all human beings join with him, rejoices in the presence of truth as our visible friend and hourly companion. Poetry is the breath and finer spirit of all knowledge; it is the impassioned expression which is in the countenance of all Science. Emphatically may it be said of the Poet, as Shakespeare hath said of man, ‘that he looks before and after.’ He is the rock of defence for human nature; an upholder and preserver, carrying everywhere with him relationship and love. In spite of difference of soil and climate, of language and manners, of laws and customs: in spite of things silently gone out of mind, and things violently destroyed; the Poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time. The objects of the Poet’s thoughts are everywhere; though the eyes and senses of man are, it is true, his favourite guides, yet he will follow wheresoever he can find an atmosphere of sensation in which to move his wings. Poetry is the first and last of all knowledge—it is as immortal as the heart of man.

The story of the rapper and the story of the hustler are like rap itself, two kinds of rhythm working together, having a conversation with each other, doing more together than they could do apart. It's been said that the thing that makes rap special, that makes it different both from pop music and from written poetry, is that it's built around two kinds of rhythm. The first kind of rhythm is the meter. In poetry, the meter is abstract, but in rap, the meter is something you literally hear: it's the beat. The beat in a song never stops, it never varies. No matter what other sounds are on the track, even if it's a Timbaland production with all kinds of offbeat fills and electronics, a rap song is usually built bar by bar, four-beat measure by four-beat measure. It's like time itself, ticking off relentlessly in a rhythm that never varies and never stops. When you think about it like that, you realize the beat is everywhere, you just have to tap into it. You can bang it out on a project wall or an 808 drum machine or just use your hands. You can beatbox it with your mouth. But the beat is only one half of a rap song's rhythm. The other is the flow. When a rapper jumps on a beat, he adds his own rhythm. Sometimes you stay in the pocket of the beat and just let the rhymes land on the square so that the beat and flow become one. But sometimes the flow cops up the beat, breaks the beat into smaller units, forces in multiple syllables and repeated sounds and internal rhymes, or hangs a drunken leg over the last bap and keeps going, sneaks out of that bitch. The flow isn't like time, it's like life. It's like a heartbeat or the way you breathe, it can jump, speed up, slow down, stop, or pound right through like a machine. If the beat is time, flow is what we do with that time, how we live through it. The beat is everywhere, but every life has to find its own flow. Just like beats and flows work together, rapping and hustling, for me at least, live through each other. Those early raps were beautiful in their way and a whole generation of us felt represented for the first time when we heard them. But there's a reason the culture evolved beyond that playful, partying lyrical style. Even when we recognized the voices, and recognized the style, and even personally knew the cats who were on the records, the content didn't always reflect the lives we were leading. There was a distance between what was becoming rap's signature style - the relentlessness, the swagger, the complex wordplay - and the substance of the songs. The culture had to go somewhere else to grow. It had to come home.

You know what I love? The spaces between I love you. The tap of your fork against the plate and how my cup of wine clicks against our table. The scratchy voice coming from the radio in the other room. The quiet sound of your hand reaching across the table and whispering over mine. How your voice sounds like your mouth on the back of my neck. The soft murmur of our easy conversation. Between these quiet Tuesday night routines, following every comma and right after every pause for breath, is I, love, and you. In the middle of every I love you is a sink full of dishes, whisper of socked feet tangled in white sheets, and gentle kisses against curved cheeks. We lyric ourselves into the laundry that needs to be finished, into the ends of every smile that follows me repeating your name. We write ourselves into the grocery bags we need to carry, the cracks running up our rented walls, the sides of the bed we choose to drag up the sails of heavy eyed dreams. Like the spaces between our fingers, in the spaces between I, love, and you, we wait. The in-betweens have always been my favorite.

Channel Firing That night your great guns, unawares, Shook all our coffins as we lay, And broke the chancel window-squares, We thought it was the Judgment-day And sat upright. While drearisome Arose the howl of wakened hounds: The mouse let fall the altar-crumb, The worms drew back into the mounds, The glebe cow drooled. Till God called, “No; It’s gunnery practice out at sea Just as before you went below; The world is as it used to be: “All nations striving strong to make Red war yet redder. Mad as hatters They do no more for Christés sake Than you who are helpless in such matters. “That this is not the judgment-hour For some of them’s a blessed thing, For if it were they’d have to scour Hell’s floor for so much threatening . . . “Ha, ha. It will be warmer when I blow the trumpet (if indeed I ever do; for you are men, And rest eternal sorely need).” So down we lay again. “I wonder, Will the world ever saner be,” Said one, “than when He sent us under In our indifferent century!” And many a skeleton shook his head. “Instead of preaching forty year,” My neighbour Parson Thirdly said, “I wish I had stuck to pipes and beer.” Again the guns disturbed the hour, Roaring their readiness to avenge, As far inland as Stourton Tower, And Camelot, and starlit Stonehenge.

To be real on this path you must be humble -- If you look down at others you'll get pushed down the stairs. If your heart goes around on high, you fly far from this path. There's no use hiding it -- What's inside always leaks outside. Even the one with the long white beard, the one who looks so wise -- If he breaks a single heart, why bother going to Mecca? If he has no compassion, what's the point? My heart is the throne of the Beloved, the Beloved the heart's destiny: Whoever breaks another's heart will find no homecoming in this world or any other. The ones who know say very little while the beasts are always speaking volumes; One word is enough for one who knows. If there is any meaning in the holy books, it is this: Whatever is good for you, grant it to others too -- Whoever comes to this earth migrates back; Whoever drinks the wine of love understands what I say -- Yunus, don't look down at the world in scorn -- Keep your eyes fixed on your Beloved's face, then you will not see the bridge on Judgment Day.