Poem Lines Quotes

Tonight I can write the saddest lines I loved her, and sometimes she loved me too.

This is what you shall do; Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body.

All my life, my heart has sought a thing I cannot name. Remembered line from a long- forgotten poem

He cleared his throat and held up one hand dramatically. “Green grass breaks through snow. Artemis pleads for my help. I am so cool.” He grinned at us, waiting for applause. "That last line was four syllables.” Artemis said. Apollo frowned. “Was it?” “Yes. What about I am so bigheaded?” “No, no, that’s six syllable, hhhm.” He started muttering to himself. Zoe Nightshade turned to us. “Lord Apollo has been going through this haiku phase ever since he visited Japan. Tis not as bad as the time he visited Limerick. If I’d had to hear one more poem that started with, There once was a godess from Sparta-" “I’ve got it!” Apollo announced. “I am so awesome. That’s five syllables!” He bowed, looking very pleased with himself.

That night when you kissed me, I left a poem in your mouth, and you can hear some of the lines every time you breathe out.

Once on a yellow piece of paper with green lines he wrote a poem And he called it "Chops" because that was the name of his dog And that's what it was all about And his teacher gave him an A and a gold star And his mother hung it on the kitchen door and read it to his aunts That was the year Father Tracy took all the kids to the zoo And he let them sing on the bus And his little sister was born with tiny toenails and no hair And his mother and father kissed a lot And the girl around the corner sent him a Valentine signed with a row of X's and he had to ask his father what the X's meant And his father always tucked him in bed at night And was always there to do it Once on a piece of white paper with blue lines he wrote a poem And he called it "Autumn" because that was the name of the season And that's what it was all about And his teacher gave him an A and asked him to write more clearly And his mother never hung it on the kitchen door because of its new paint And the kids told him that Father Tracy smoked cigars And left butts on the pews And sometimes they would burn holes That was the year his sister got glasses with thick lenses and black frames And the girl around the corner laughed when he asked her to go see Santa Claus And the kids told him why his mother and father kissed a lot And his father never tucked him in bed at night And his father got mad when he cried for him to do it. Once on a paper torn from his notebook he wrote a poem And he called it "Innocence: A Question" because that was the question about his girl And that's what it was all about And his professor gave him an A and a strange steady look And his mother never hung it on the kitchen door because he never showed her That was the year that Father Tracy died And he forgot how the end of the Apostle's Creed went And he caught his sister making out on the back porch And his mother and father never kissed or even talked And the girl around the corner wore too much makeup That made him cough when he kissed her but he kissed her anyway because that was the thing to do And at three a.m. he tucked himself into bed his father snoring soundly That's why on the back of a brown paper bag he tried another poem And he called it "Absolutely Nothing" Because that's what it was really all about And he gave himself an A and a slash on each damned wrist And he hung it on the bathroom door because this time he didn't think he could reach the kitchen.

Wherever you are, at any moment, try and find something beautiful. A face, a line out of a poem, the clouds out of a window, some graffiti, a wind farm. Beauty cleans the mind.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice.

You were born a child of light’s wonderful secret— you return to the beauty you have always been.

The day will come When my body no longer exists But in the lines of this poem I will never let you be alone The day will come When my voice is no longer heard But within the words of this poem I will continue to watch over you The day will come When my dreams are no longer known But in the spaces found in the letters of this poem I will never tired of looking for you

Life is a question of nerves, and fibres, and slowly built-up cells in which thought hides itself and passion has its dreams. You may fancy yourself safe and think yourself strong. But a chance tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play... I tell you, that it is on things like these that our lives depend.

re-examine all you have been told in school or church or in any book, and dismiss whatever insults your own soul; and your very flesh shall be a great poem, and have the richest fluency, not only in its words, but in the silent lines of its lips and face, and between the lashes of your eyes, and in every motion and joint of your body. [From the preface to Leaves Grass]

but isn't there always one good thing to look back on? think of how many cups of coffee we drank together.

I love you." lightning. Once it has forked, hot-white, from sky to earth, there is no going back. It's time. I feel it, I know it. My eyes on him, his on me, and both of us breathing, watching, tired of of waiting. Ky close his eyes, but mine are still open. what will it feel like, his lips on mine? Like a secret told, a promise kept? Like that line in the poem-a shower of all my days- silvery rain falling all around me, where the lighting meets the earth? The whistle blows below us and the moment breaks. We are safe. For now.

Rose once told me about this poem she’d read. There was this line, ‘If your eyes weren’t open, you wouldn’t know the difference between dreaming and waking.’ You know what I’m afraid of? That someday, even with my eyes open, I still won’t know.

I see all of us reading ourselves away from ourselves, straining in circles of light to find more light until the line of words becomes a trail of crumbs that we follow across a page of fresh snow

be the kiss in my hair that no one sees move, when i move sigh, when i sigh... be that line from a poem that i hold in my eyes.

A Litany for Survival For those of us who live at the shoreline standing upon the constant edges of decision crucial and alone for those of us who cannot indulge the passing dreams of choice who love in doorways coming and going in the hours between dawns looking inward and outward at once before and after seeking a now that can breed futures like bread in our children's mouths so their dreams will not reflect the death of ours: For those of us who were imprinted with fear like a faint line in the center of our foreheads learning to be afraid with our mother's milk for by this weapon this illusion of some safety to be found the heavy-footed hoped to silence us For all of us this instant and this triumph We were never meant to survive. And when the sun rises we are afraid it might not remain when the sun sets we are afraid it might not rise in the morning when our stomachs are full we are afraid of indigestion when our stomachs are empty we are afraid we may never eat again when we are loved we are afraid love will vanish when we are alone we are afraid love will never return and when we speak we are afraid our words will not be heard nor welcomed but when we are silent we are still afraid So it is better to speak remembering we were never meant to survive.

Since when," he asked, "Are the first line and last line of any poem Where the poem begins and ends?

There is nothing we should be quite so grateful for as the last line of the poem that goes, 'When your own heart asks.

Yes, there is a Nirvanah; it is leading your sheep to a green pasture, and in putting your child to sleep, and in writing the last line of your poem

Two girls discover the secret of life in a sudden line of poetry.

In math, the backwards E, ∃, means there exists. ∈ means part of a set. A line through that ∉ means excluded from. Everyone ∃, but not everyone ∈. We all feel that, unless we ∈, we do not ∃.

On Writing: Aphorisms and Ten-Second Essays 1. A beginning ends what an end begins. 2. The despair of the blank page: it is so full. 3. In the head Art’s not democratic. I wait a long time to be a writer good enough even for myself. 4. The best time is stolen time. 5. All work is the avoidance of harder work. 6. When I am trying to write I turn on music so I can hear what is keeping me from hearing. 7. I envy music for being beyond words. But then, every word is beyond music. 8. Why would we write if we’d already heard what we wanted to hear? 9. The poem in the quarterly is sure to fail within two lines: flaccid, rhythmless, hopelessly dutiful. But I read poets from strange languages with freedom and pleasure because I can believe in all that has been lost in translation. Though all works, all acts, all languages are already translation. 10. Writer: how books read each other. 11. Idolaters of the great need to believe that what they love cannot fail them, adorers of camp, kitsch, trash that they cannot fail what they love. 12. If I didn’t spend so much time writing, I’d know a lot more. But I wouldn’t know anything. 13. If you’re Larkin or Bishop, one book a decade is enough. If you’re not? More than enough. 14. Writing is like washing windows in the sun. With every attempt to perfect clarity you make a new smear. 15. There are silences harder to take back than words. 16. Opacity gives way. Transparency is the mystery. 17. I need a much greater vocabulary to talk to you than to talk to myself. 18. Only half of writing is saying what you mean. The other half is preventing people from reading what they expected you to mean. 19. Believe stupid praise, deserve stupid criticism. 20. Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do. 21. Minds go from intuition to articulation to self-defense, which is what they die of. 22. The dead are still writing. Every morning, somewhere, is a line, a passage, a whole book you are sure wasn’t there yesterday. 23. To feel an end is to discover that there had been a beginning. A parenthesis closes that we hadn’t realized was open). 24. There, all along, was what you wanted to say. But this is not what you wanted, is it, to have said it?

I'll tell you something. Once I was very fond of a poem by Emily Dickinson or somebody. I only remember one line of it, but it goes, 'The soul selects her own society.' I used to tell it to everybody. Once I quoted it to a friend of mine, and he said, 'Maybe, but the body gets thrown into bed with the goddamnedest people.

All beauty comes from beautiful blood and a beautiful brain. If the greatnesses are in conjunction in a man or woman it is enough...the fact will prevail through the universe...but the gaggery and gilt of a million years will not prevail. Who troubles himself about his ornaments or fluency is lost. This is what you shall so: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body...

I don't know if this is true to you but for me sometimes it gets so bad that anything else say like looking at a bird on an overhead power line seems as great as a Beethoven symphony. then you forget it and you're back again.

MOTHER IS WATER I wish I could Shower your head with flowers And anoint your feet with my tears, For I know I have caused you So much heartache, frustration and despair – Throughout my youthful years. I wish I could give you The remainder of my life To add to yours, Or simply erase The lines on your face, And mend all that has been torn. For next to God, You are the fire That has given light To the flame in each of my eyes. You are the fountain That nourished my growth, And from your chalice – Gave me life. Without the wetness of your love, The fragrance of your water, Or the trickling sounds of Your voice, I shall always feel thirsty.

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

There's a famous line from a poem about the ocean," Mother had finally said to end the discussion. "'Water water every where, but not a drop to drink.

from the beginning, through the middle years and up to the end: too bad, too bad, too bad.

the last cigarettes are smoked, the loaves are sliced, and lest this be taken for wry sorrow, drown the spider in wine. you are much more than simply dead: I am a dish for your ashes, I am a fist for your vanished air. the most terrible thing about life is finding it gone.

I sit in the sky like a sphinx misunderstood; My heart of snow is wed to the whiteness of swans; I hate the movement that displaces the rigid lines, With lips untaught neither tears nor laughter do I know.

Imagine a poem written with such enormous three-dimensional words that we had to invent a smaller word to reference each of the big ones; that we had to rewrite the whole thing in shorthand, smashing it into two dimensions, just to talk about it. Or don’t imagine it. Look outside. Human language is our attempt at navigating God’s language; it is us running between the lines of His epic, climbing on the vowels and building houses out of the consonants.

You may fancy yourself safe and think yourself strong. But a chance tone of color in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play. I tell you Dorian, that it is on things like these that our lives depend.

Poetry And it was at that age... Poetry arrived in search of me. I don’t know, I don’t know where it came from, from winter or a river. I don’t know how or when, no, they were not voices, they were not words, nor silence, but from a street I was summoned, from the branches of night, abruptly from the others, among violent fires or returning alone, there I was without a face and it touched me. I did not know what to say, my mouth had no way with names my eyes were blind, and something started in my soul, fever or forgotten wings, and I made my own way, deciphering that fire and I wrote the first faint line, faint, without substance, pure nonsense, pure wisdom of someone who knows nothing, and suddenly I saw the heavens unfastened and open, planets, palpitating planations, shadow perforated, riddled with arrows, fire and flowers, the winding night, the universe. And I, infinitesimal being, drunk with the great starry void, likeness, image of mystery, I felt myself a pure part of the abyss, I wheeled with the stars, my heart broke free on the open sky.

How first you knew me in a book I wrote, How first you loved me for a written line

Reading a poem in translation," wrote Bialek, "is like kissing a woman through a veil"; and reading Greek poems, with a mixture of katharevousa and the demotic, is like kissing two women. Translation is a kind of transubstantiation; one poem becomes another. You choose your philosophy of translation just as you choose how to live: the free adaptation that sacrifices detail to meaning, the strict crib that sacrifices meaning to exactitude. The poet moves from life to language, the translator moves from language to life; both like the immigrant, try to identify the invisible, what's between the lines, the mysterious implications.

tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play— I tell you, Dorian, that it is on things like these that our lives depend.

They say don’t fall in love with writers because their poems are messy and their letters are empty words dressed up to look pretty. But I say fall in love with me because underneath the mess and in between the lines is a heart too full of love that would follow you to any city.

This is my last letter There will be no others. This is the last grey cloud That will rain on you, After this, you will never again Know the rain. This is the last drop of wine in my cup There will be no more drunkenness. This is the last letter of madness, The last letter of childhood. After me you will no longer know The purity of youth The beauty of madness. I have loved you Like a child running from school Hiding birds and poems In his pockets. With you I was a child of Hallucinations, Distractions, Contradictions, I was a child of poetry and nervous writing. As for you, You were a woman of Eastern ways Waiting for her fate to appear In the lines of the coffee cups. How miserable you are, my lady, After today You won't be in the blue notebooks, In the pages of the letters, In the cry of the candles, In the mailman's bag. You won't be Inside the children's sweets In the colored kites. You won't be in the pain of the letters In the pain of the poems. You have exiled yourself From the gardens of my childhood You are no longer poetry.

with poems one accomplishes so little when one writes them early. One should hold off and gather sense and sweetness a whole life long, a long life if possible, and then, right at the end, one could perhaps write ten lines that are good.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

The dividing line forms-fashioned from: Dragon's tears Missed years Overcome fears The fire and ice paradox Seen with True Sight Darkness does not always equate to evil Light does not always bring good

Farewell Sadness Hello Sadness You are inscribed in the lines on the ceiling You are inscribed in the eyes that I love You are not poverty absolutely Since the poorest of lips denounce you Ah with a smile Bonjour Tristesse Love of kind bodies Power of love From which kindness rises Like a bodiless monster Unattached head Sadness beautiful face.

About novel Imperfect Birds by Anne Lamott. Q: What does the title "Imperfect Birds" mean? It's a line from a poem by Rumi. The line is "Each must enter the nest made by the other imperfect birds", and it's really about how these kind of scraggly, raggedy nests that are our lives are the sanctuary for other people to step into, and that if you want to see the divine, you really step into the absolute ordinary. When you're at your absolutely most lost and dejected ... where do you go? You go to the nests left by other imperfect birds, you find other people who've gone through it. You find the few people you can talk to about it. from Writer's Digest May/June 2010

But a chance tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play— I tell you, Dorian, that it is on things like these that our lives depend.

The poet lives and writes at the frontier between deep internal experience and the revelations of the outer world. There is no going back for the poet once this frontier has been reached; a new territory is visible and what has been said cannot be unsaid. The discipline of poetry is in overhearing yourself say difficult truths from which it is impossible to retreat. Poetry is a break for freedom. In a sense all poems are good; all poems are an emblem of courage and the attempt to say the unsayable; but only a few are able to speak to something universal yet personal and distinct at the same time; to create a door through which others can walk into what previously seemed unobtainable realms, in the passage of a few short lines.

If you find the dividing line between fairy tales and reality, let me know. In my mind, the two run together, even though the intersections aren't always obvious. The girl sitting quietly in class or waiting for the bus or roaming the mall doesn't want anyone to know, or doesn't know how to tell anyone, that she is locked in a tower. Maybe she's a prisoner of a story she's heard all her life- that fairest means best, or that bruises prove she is worthy of love.

Days to come stand in front of us like a row of lighted candles— golden, warm, and vivid candles. Days gone by fall behind us, a gloomy line of snuffed-out candles; the nearest are smoking still, cold, melted, and bent. I don’t want to look at them: their shape saddens me, and it saddens me to remember their original light. I look ahead at my lighted candles. I don’t want to turn for fear of seeing, terrified, how quickly that dark line gets longer, how quickly the snuffed-out candles proliferate.

There's a line in The Barretts of Wimpole Street - you know, the play - where Elizabeth Barrett is trying to work out the meaning of one of Robert Browning's poems, and she shows it to him, and he reads it and he tells her when he wrote that poem, only God and Robert Browning knew what it meant, and now only God knows. And that's how I feel about studying English. Who knows what the writer was thinking, and why should it matter? I'd rather just read for enjoyment.

This is not what it is like to be you, I realized as a few of your magnificent clouds flew over the rooftop. It is just me thinking about being you. And before I headed back down the hill, I walked in a circle around your house, making an invisible line which you would have to cross before dark.

Tonight I can write the saddest lines. To think that I do not have her. To feel that I have lost her. To hear the immense night, still more immense without her, And the verse falls to the snow like dew to the pasture.

One thing has led to the next in my life, but like lines of a poem. I suppose I've thrown in my lot with love, and don't know any other way to go on breathing.

the poem doesn’t have stanzas, it has a body, the poem doesn’t have lines,/ it has blood, the poem is not written with letters, it’s written/ with grains of sand and kisses, petals and moments, shouts and/ uncertainties.

Out there people are working and arguing and laughing, living their beautiful, terrible lives, falling in love and having babies and being bored out of their skulls and feeling depressed, then being consoled by some little thing like watching the patterns the light makes through the leaves of trees, casting shadows on the sidewalks. I remember the line from that poem now. Downward to darkness, on extended wings.

don’t be like so many writers, don’t be like so many thousands of people who call themselves writers, don’t be dull and boring and pretentious, don’t be consumed with self- love. the libraries of the world have yawned themselves to sleep over your kind. don’t add to that. don’t do it.

It's possible, in a poem or a short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things-- a chair, a window curtain, a fork, a stone, a woman's earring-- with immense, even startling power. It is possible to write a line of seemingly innocuous dialogue and have it send a chill along the reader's spine-- the source of artistic delight, as Nabokov would have it. That's the kind of writing that most interests me.

[On Chopin's Preludes:] "His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. ... The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.

The two years You were my lover Are the two most important pages In the book of modern love. All the pages before and after Were blank. These pages Are the lines of the equator Passing between your lips and mine They are the measures of time That are used To set the clocks of the world.

I would I were alive again To kiss the fingers of the rain, To drink into my eyes the shine Of every slanting silver line, To catch the freshened, fragrant breeze From drenched and dripping apple-trees. For soon the shower will be done, And then the broad face of the sun Will laugh above the rain-soaked earth Until the world with answering mirth Shakes joyously, and each round drop Rolls twinkling, from its grass-blade top.

Tell me not, sweet, I am unkind,” he said, “That from the nunnery, Of they chaste breast and quiet mind.” I looked up at him, and said the next line, “To war and arms I fly.” “True, a new mistress now I chase,” he said. “The first foe in the field,” I said, and let him draw me closer. “And with a stronger faith embrace,” he said. “A sword, a horse, a shield.” And the last word was whispered against his chest, still looking up into those eyes, searching his face. “Yet this inconstancy is such, As thou too shalt adore,” he whispered against my hair. I finished the poem with my face pressed against his chest, listening to the beat of his heart, that truly beat with my blood. “I could not love thee, dear, so much, Loved I not honor more.

The essence of what trauma does to a person is it makes them feel like they don’t deserve love,” the voice in my headphones said. I was on the train, on my way to yet another doctor’s appointment, but this statement rang so true that I dug furiously through my bag and pulled out a notebook to write it down. I was about to put away my pen when I heard another especially good line, so I kept it out, writing furiously on my lap. My friend Jen, who often sends me little poems and links throughout the day, sent me this podcast—Road to Resilience,

. . . Practice any art, music, singing, dancing, acting, drawing, painting, sculpting, poetry, fiction, essays, reportage, no matter how well or badly, not to get money and fame, but to experience becoming, to find out what's inside you, to make your soul grow. Seriously! I mean starting right now, do art and do it for the rest of your lives. Draw a funny or nice picture of Ms. Lockwood, and give it to her. Dance home after school, and sing in the shower and on and on. Make a face in your mashed potatoes. Pretend you're Count Dracula. Here's an assignment for tonight, and I hope Ms. Lockwood will flunk you if you don't do it: Write a six line poem, about anything, but rhymed. No fair tennis without a net. Make it as good as you possibly can. But don't tell anybody what you're doing. Don't show it or recite it to anybody, not even your girlfriend or parents or whatever, or Ms. Lockwood. OK? Tear it up into teeny-weeny pieces, and discard them into widely separated trash recepticals [sic]. You will find that you have already been gloriously rewarded for your poem. You have experienced becoming, learned a lot more about what's inside you, and you have made your soul grow.

ONCE WHEN I WAS ninth grade i had to write a paper on a poem. One of the lines was"If your eyes weren't open you wouldn't know the difference between dreaming and waking' It hadn't meant meant much to me at the time. After all there'd been a guy in the class that i liked so how could i be expected to pay attention to literary analysis? Now three year later i understand the poem perfectly.

I am highly suspicious of attempts to brightside human suffering, especially suffering that—as in the case of almost all infectious diseases—is unjustly distributed. I’m not here to criticize other people’s hope, but personally, whenever I hear someone waxing poetic about the silver linings to all these clouds, I think about a wonderful poem by Clint Smith called “When people say, ‘we have made it through worse before.’” The poem begins, “all I hear is the wind slapping against the gravestones / of those who did not make it.” As in Ibn Battuta’s Damascus, the only path forward is true solidarity—not only in hope, but also in lamentation.

His brow is seamed with line and scar; His cheek is red and dark as wine; The fires as of a Northern star Beneath his cap of sable shine. His right hand, bared of leathern glove, Hangs open like an iron gin, You stoop to see his pulses move, To hear the blood sweep out and in. He looks some king, so solitary In earnest thought he seems to stand, As if across a lonely sea He gazed impatient of the land. Out of the noisy centuries The foolish and the fearful fade; Yet burn unquenched these warrior eyes, Time hath not dimmed, nor death dismayed.

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

And it all came to pass, all that she had hoped, but it did not fill her with rapture nor carry her away with the power or the fervor she had expected. She had imagined it all different, and had imagined herself different, too. In dreams and poems everything had been, as it were, beyond the sea; the haze of distance had mysteriously veiled all the restless mass of details and had thrown out the large lines in bold relief, while the silence of distance had lent its spirit of enchantment. It had been easy then to feel the beauty; but now that she was in the midst of it all, when every little feature stood out and spoke boldly with the manifold voices of reality, and beauty was shattered as light in a prism, she could not gather the rays together again, could not put the picture back beyond the sea. Despondently she was obliged to admit to herself that she felt poor, surrounded by riches that she could not make her own.

Tonight I Can Write Tonight I can write the saddest lines. Write, for example, 'The night is starry and the stars are blue and shiver in the distance.' The night wind revolves in the sky and sings. Tonight I can write the saddest lines. I loved her, and sometimes she loved me too. Through nights like this one I held her in my arms. I kissed her again and again under the endless sky. She loved me, sometimes I loved her too. How could one not have loved her great still eyes. Tonight I can write the saddest lines. To think that I do not have her. To feel that I have lost her. To hear the immense night, still more immense without her. And the verse falls to the soul like dew to the pasture. What does it matter that my love could not keep her. The night is starry and she is not with me. This is all. In the distance someone is singing. In the distance. My soul is not satisfied that it has lost her. My sight tries to find her as though to bring her closer. My heart looks for her, and she is not with me. The same night whitening the same trees. We, of that time, are no longer the same. I no longer love her, that's certain, but how I loved her. My voice tried to find the wind to touch her hearing. Another's. She will be another's. As she was before my kisses. Her voice, her bright body. Her infinite eyes. I no longer love her, that's certain, but maybe I love her. Love is so short, forgetting is so long. Because through nights like this one I held her in my arms my soul is not satisfied that it has lost her. Though this be the last pain that she makes me suffer and these the last verses that I write for her.

Lines for Winter" Tell yourself as it gets cold and gray falls from the air that you will go on walking, hearing the same tune no matter where you find yourself— inside the dome of dark or under the cracking white of the moon's gaze in a valley of snow. Tonight as it gets cold tell yourself what you know which is nothing but the tune your bones play as you keep going. And you will be able for once to lie down under the small fire of winter stars. And if it happens that you cannot go on or turn back and you find yourself where you will be at the end, tell yourself in that final flowing of cold through your limbs that you love what you are.

little sun little moon little dog and a little to eat and a little to love and a little to live for in a little room filled with little mice who gnaw and dance and run while I sleep waiting for a little death in the middle of a little morning in a little city in a little state my little mother dead my little father dead in a little cemetery somewhere. I have only a little time to tell you this: watch out for little death when he comes running but like all the billions of little deaths it will finally mean nothing and everything: all your little tears burning like the dove, wasted.

Have it compose a poem- a poem about a haircut! But lofty, tragic, timeless, full of love, treachery, retribution, quiet heroism in the face of certain doom! Six lines, cleverly rhymed, and every word beginning with the letter S!!” [sic]…. Seduced, shaggy Samson snored. She scissored short. Sorely shorn, Soon shackled slave, Samson sighed, Silently scheming Sightlessly seeking Some savage, spectacular suicide." ("The First Sally (A) or The Electronic Bard" THE CYBERIAD)

The Voyager We are all lonely voyagers sailing on life's ebb tide, To a far off place were all stripling warriors have died, Sometime at eve when the tide is low, The voices call us back to the rippling water's flow, Even though our boat sailed with love in our hearts, Neither our dreams or plans would keep heaven far apart, We drift through the hush of God's twilight pale, With no response to our friendly hail, We raise our sails and search for majestic light, While finding company on this journey to the brighten our night, Then suddenly he pulls us through the reef's cutting sea, Back to the place that he asked us to be, Friendly barges that were anchored so sweetly near, In silent sorrow they drop their salted tears, Shall our soul be a feast of kelp and brine, The wasted tales of wishful time, Are we a fish on a line lured with bait, Is life the grind, a heartless fate, Suddenly, "HUSH", said the wind from afar, Have you not looked to the heavens and seen the new star, It danced on the abyss of the evening sky, The sparkle of heaven shining on high, Its whisper echoed on the ocean's spray, From the bow to the mast they heard him say, "Hope is above, not found in the deep, I am alive in your memories and dreams when you sleep, I will greet you at sunset and with the moon's evening smile, I will light your path home.. every last lonely mile, My friends, have no fear, my work was done well, In this life I broke the waves and rode the swell, I found faith in those that I called my crew, My love will be the compass that will see you through, So don't look for me on the ocean's floor to find, I've never left the weathered docks of your loving mind, For I am in the moon, the wind and the whale's evening song, I am the sailor of eternity whose voyage is not gone.

Do not be afraid to color outside the lines. Take risks and do not be afraid to fail. Know that when the world knocks you down, the best revenge is to get up and continue forging ahead.Do not be afraid to be different or to stand up for what's right. Never quiet your voice to make someone else feel comfortable. No one remembers the person that fits in. It's the one who stands out that people will not be able to forget.

THE FIGURE A POEM MAKES No one can really hold that ecstasy should be static and stand still in one place. It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life- Not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion.

Possibilities I prefer movies. I prefer cats. I prefer the oaks along the Warta. I prefer Dickens to Dostoyevsky. I prefer myself liking people to myself loving mankind. I prefer keeping a needle and thread on hand, just in case. I prefer the color green. I prefer not to maintain that reason is to blame for everything. I prefer exceptions. I prefer to leave early. I prefer talking to doctors about something else. I prefer the old fine-lined illustrations. I prefer the absurdity of writing poems to the absurdity of not writing poems. I prefer, where love's concerned, nonspecific anniversaries that can be celebrated every day. I prefer moralists who promise me nothing. I prefer cunning kindness to the over-trustful kind. I prefer the earth in civvies. I prefer conquered to conquering countries. I prefer having some reservations. I prefer the hell of chaos to the hell of order. I prefer Grimms' fairy tales to the newspapers' front pages. I prefer leaves without flowers to flowers without leaves. I prefer dogs with uncropped tails. I prefer light eyes, since mine are dark. I prefer desk drawers. I prefer many things that I haven't mentioned here to many things I've also left unsaid. I prefer zeroes on the loose to those lined up behind a cipher. I prefer the time of insects to the time of stars. I prefer to knock on wood. I prefer not to ask how much longer and when. I prefer keeping in mind even the possibility that existence has its own reason for being.

How do you ruin a people? Is it with fire? Is it with bullets? You can drag a man through the street tied to the back of a horse. You can incinerate a village. Can line families up in rows against a brick wall and fell them, one by one, like a forest. But all it takes is one survivor, and the story lives on. One survivor to carry the poems and the songs, the prayers, the sorrows. It isn’t just taking a life that destroys a people. It’s taking their history.

What would you have me do? Seek for the patronage of some great man, And like a creeping vine on a tall tree Crawl upward, where I cannot stand alone? No thank you! Dedicate, as others do, Poems to pawnbrokers? Be a buffoon In the vile hope of teasing out a smile On some cold face? No thank you! Eat a toad For breakfast every morning? Make my knees Callous, and cultivate a supple spine,- Wear out my belly grovelling in the dust? No thank you! Scratch the back of any swine That roots up gold for me? Tickle the horns Of Mammon with my left hand, while my right Too proud to know his partner's business, Takes in the fee? No thank you! Use the fire God gave me to burn incense all day long Under the nose of wood and stone? No thank you! Shall I go leaping into ladies' laps And licking fingers?-or-to change the form- Navigating with madrigals for oars, My sails full of the sighs of dowagers? No thank you! Publish verses at my own Expense? No thank you! Be the patron saint Of a small group of literary souls Who dine together every Tuesday? No I thank you! Shall I labor night and day To build a reputation on one song, And never write another? Shall I find True genius only among Geniuses, Palpitate over little paragraphs, And struggle to insinuate my name In the columns of the Mercury? No thank you! Calculate, scheme, be afraid, Love more to make a visit than a poem, Seek introductions, favors, influences?- No thank you! No, I thank you! And again I thank you!-But... To sing, to laugh, to dream To walk in my own way and be alone, Free, with a voice that means manhood-to cock my hat Where I choose-At a word, a Yes, a No, To fight-or write.To travel any road Under the sun, under the stars, nor doubt If fame or fortune lie beyond the bourne- Never to make a line I have not heard In my own heart; yet, with all modesty To say:"My soul, be satisfied with flowers, With fruit, with weeds even; but gather them In the one garden you may call your own." So, when I win some triumph, by some chance, Render no share to Caesar-in a word, I am too proud to be a parasite, And if my nature wants the germ that grows Towering to heaven like the mountain pine, Or like the oak, sheltering multitudes- I stand, not high it may be-but alone!

Live or die, but don't poison everything... Well, death's been here for a long time -- it has a hell of a lot to do with hell and suspicion of the eye and the religious objects and how I mourned them when they were made obscene by my dwarf-heart's doodle. The chief ingredient is mutilation. And mud, day after day, mud like a ritual, and the baby on the platter, cooked but still human, cooked also with little maggots, sewn onto it maybe by somebody's mother, the damn bitch! Even so, I kept right on going on, a sort of human statement, lugging myself as if I were a sawed-off body in the trunk, the steamer trunk. This became perjury of the soul. It became an outright lie and even though I dressed the body it was still naked, still killed. It was caught in the first place at birth, like a fish. But I play it, dressed it up, dressed it up like somebody's doll. Is life something you play? And all the time wanting to get rid of it? And further, everyone yelling at you to shut up. And no wonder! People don't like to be told that you're sick and then be forced to watch you come down with the hammer. Today life opened inside me like an egg and there inside after considerable digging I found the answer. What a bargain! There was the sun, her yolk moving feverishly, tumbling her prize -- and you realize she does this daily! I'd known she was a purifier but I hadn't thought she was solid, hadn't known she was an answer. God! It's a dream, lovers sprouting in the yard like celery stalks and better, a husband straight as a redwood, two daughters, two sea urchings, picking roses off my hackles. If I'm on fire they dance around it and cook marshmallows. And if I'm ice they simply skate on me in little ballet costumes. Here, all along, thinking I was a killer, anointing myself daily with my little poisons. But no. I'm an empress. I wear an apron. My typewriter writes. It didn't break the way it warned. Even crazy, I'm as nice as a chocolate bar. Even with the witches' gymnastics they trust my incalculable city, my corruptible bed. O dearest three, I make a soft reply. The witch comes on and you paint her pink. I come with kisses in my hood and the sun, the smart one, rolling in my arms. So I say Live and turn my shadow three times round to feed our puppies as they come, the eight Dalmatians we didn't drown, despite the warnings: The abort! The destroy! Despite the pails of water that waited, to drown them, to pull them down like stones, they came, each one headfirst, blowing bubbles the color of cataract-blue and fumbling for the tiny tits. Just last week, eight Dalmatians, 3/4 of a lb., lined up like cord wood each like a birch tree. I promise to love more if they come, because in spite of cruelty and the stuffed railroad cars for the ovens, I am not what I expected. Not an Eichmann. The poison just didn't take. So I won't hang around in my hospital shift, repeating The Black Mass and all of it. I say Live, Live because of the sun, the dream, the excitable gift.

I tended to find lines of poetry beautiful only when I encountered them quoted in prose, in the essays my professors had assigned in college, where the line breaks were replaced with slashes, so that what was communicated was less a particular poem than the echo of poetic possibility. Insofar as I was interested in the arts, I was interested in the disconnect between my experience of actual artworks and the claims made on their behalf; the closest I'd come to having a profound experience of art was probably the experience of this distance, a profound experience of the absence of profundity.

I still carry you on the insides of me: cave paintings on rib-caging. If I were a peach, you would be the pit that holds me all together. When I met you, I was something small and whole; I do not know how to get back there. You have the warmest heart I have ever set up camp in. I still carry you on the insides of me: the contents of my suitcase heart. I will lug you around until it breaks my back and then some. I feel sometimes like I have scattered my pieces everywhere, but you are the piece I do not know how to leave at the foot of a stranger’s bed or between the lines of a free-verse poem. I want you to know that loving you is freeing; that loving you is like holding my head under water and coming up new again and again. I still carry you on the insides of me. This will not always make sense to you

And all at once the heavy night Fell from my eyes and I could see, -- A drenched and dripping apple-tree, A last long line of silver rain, A sky grown clear and blue again. And as I looked a quickening gust Of wind blew up to me and thrust Into my face a miracle Of orchard-breath, and with the smell, -- I know not how such things can be! -- I breathed my soul back into me. Ah! Up then from the ground sprang I And hailed the earth with such a cry As is not heard save from a man Who has been dead, and lives again. About the trees my arms I wound; Like one gone mad I hugged the ground; I raised my quivering arms on high; I laughed and laughed into the sky

Life, of course, never gets anyone's entire attention. Death always remains interesting, pulls us, draws us. As sleep is necessary to our physiology, so depression seems necessary to our psychic economy. In some secret way, Thanatos nourishes Eros as well as opposes it. The two principles work in covert concert; though in most of us Eros dominates, in none of us is Thanatos completely subdued. However-and this is the paradox of suicide-to take one's life is to behave in a more active, assertive, "erotic" way than to helplessly watch as one's life is taken away from one by inevitable mortality. Suicide thus engages with both the death-hating and the death-loving parts of us: on some level, perhaps, we may envy the suicide even as we pity him. It has frequently been asked whether the poetry of Plath would have so aroused the attention of the world if Plath had not killed herself. I would agree with those who say no. The death-ridden poems move us and electrify us because of our knowledge of what happened. Alvarez has observed that the late poems read as if they were written posthumously, but they do so only because a death actually took place. "When I am talking about the weather / I know what I am talking about," Kurt Schwitters writes in a Dada poem (which I have quoted in its entirety). When Plath is talking about the death wish, she knows what she is talking about. In 1966, Anne Sexton, who committed suicide eleven years after Plath, wrote a poem entitled "Wanting to Die," in which these startlingly informative lines appear: But suicides have a special language. Like carpenters they want to know which tools. They never ask why build. When, in the opening of "Lady Lazarus," Plath triumphantly exclaims, "I have done it again," and, later in the poem, writes, Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I've a call, we can only share her elation. We know we are in the presence of a master builder.

A poem was a box for your soul. That was the point. It was the place where you could save bits of yourself, and shake out your darkest feelings, without worrying that people would think you were strange. While I was writing, I would forget myself and everyone else; poetry made me feel part of something noble and beautiful and bigger than me. [...] I slid them under the carpet as soon as they were done, all the images and rhymes wrestled into place. By the time I had copied them out, I found I had memorized every line. Then they would surprise me by surging through me, like songs I knew by heart.

The people I love the best jump into work head first without dallying in the shallows and swim off with sure strokes almost out of sight. They seem to become natives of that element, the black sleek heads of seals bouncing like half submerged balls. I love people who harness themselves, an ox to a heavy cart, who pull like water buffalo, with massive patience, who strain in the mud and the muck to move things forward, who do what has to be done, again and again. I want to be with people who submerge in the task, who go into the fields to harvest and work in a row and pass the bags along, who stand in the line and haul in their places, who are not parlor generals and field deserters but move in a common rhythm when the food must come in or the fire be put out. The work of the world is common as mud. Botched, it smears the hands, crumbles to dust. But the thing worth doing well done has a shape that satisfies, clean and evident. Greek amphoras for wine or oil, Hopi vases that held corn, are put in museums but you know they were made to be used. The pitcher cries for water to carry and a person for work that is real.

life can be organized like a business plan. First you take an inventory of your gifts and passions. Then you set goals and come up with some metrics to organize your progress toward those goals. Then you map out a strategy to achieve your purpose, which will help you distinguish those things that move you toward your goals from those things that seem urgent but are really just distractions. If you define a realistic purpose early on and execute your strategy flexibly, you will wind up leading a purposeful life. You will have achieved self-determination, of the sort captured in the oft-quoted lines from William Ernest Henley’s poem “Invictus”: “I am the master of my fate / I am the captain of my soul.

Fat Charlie blew his nose. "I never knew I had a brother," he said. "I did," said Spider. "I always meant to look you up, but I got distracted. You know how it is." "Not really." "Things came up." "What kind of things?" "Things. They came up. That's what things do. They come up. I can't be expected to keep track of them all." "Well, give me a f'rinstance." Spider drank more wine. "Okay. The last time I decided that you and I should meet, I, well, I spent days planning it. Wanted it to go perfectly. I had to choose my wardrobe. Then I had to decide what I'd say to you when we met. I knew that the meeting of two brothers, well, it's the subject of epics, isn't it? I decided that the only way to treat it with the appropriate gravity would be to do it in verse. But what kind of verse? Am I going to rap it? Declaim it? I mean, I'm not going to greet you with a limerick. So. It had to be something dark, something powerful, rhythmic, epic. And then I had it. The perfect line: Blood calls to blood like sirens in the night. It says so much. I knew I'd be able to get everything in there - people dying in alleys, sweat and nightmares, the power of free spirits uncrushable. Everything was going to be there. And then I had to come up with a second line, and the whole thing completely fell apart. The best I could come up with was Tum-tumpty-tumpty-tumpty got a fright." Fat Charlie blinked. "Who exactly is Tum-tumpty-tumpty-tumpty?" "It's not anybody. It's just there to show you where the words ought to be. But I never really got any futher on it than that, and I couldn't turn up with just a first line, some tumpties and three words of an epic poem, could I? That would have been disrespecting you." "Well...." "Exactly. So I went to Hawaii for the week instead. Like I said, something came up.

Homer, in the second book of the Iliad says with fine enthusiasm, "Give me masturbation or give me death." Caesar, in his Commentaries, says, "To the lonely it is company; to the forsaken it is a friend; to the aged and to the impotent it is a benefactor. They that are penniless are yet rich, in that they still have this majestic diversion." In another place this experienced observer has said, "There are times when I prefer it to sodomy." Robinson Crusoe says, "I cannot describe what I owe to this gentle art." Queen Elizabeth said, "It is the bulwark of virginity." Cetewayo, the Zulu hero, remarked, "A jerk in the hand is worth two in the bush." The immortal Franklin has said, "Masturbation is the best policy." Michelangelo and all of the other old masters--"old masters," I will remark, is an abbreviation, a contraction--have used similar language. Michelangelo said to Pope Julius II, "Self-negation is noble, self-culture beneficent, self-possession is manly, but to the truly great and inspiring soul they are poor and tame compared with self-abuse." Mr. Brown, here, in one of his latest and most graceful poems, refers to it in an eloquent line which is destined to live to the end of time--"None knows it but to love it; none name it but to praise.

Did you wish upon a star and take the time to try to make your wish come true? Did you try to paint the sunrise and find the gift of life within? Did you write a song just for the joy of it? Or write a poem just to feel the pain? Did you find a reason to ignore the petty injustices, the spoken barbs, or the envies, jealousies and greed that crossed your path? Did you wake up this morning and whisper inside, “Today, I’ll find every reason to smile, and ignore the excuses to frown.” Today will be the day I’ll whisper nothing snide, I’ll say nothing cruel. I’ll be kind to my enemy, I’ll embrace my friends, and for this one day, I’ll forget the slights of the past. Today will be the day I’ll live for the joy of it, laugh for the fun of it, and today, I’ll love whether it’s returned, forsaken, or simply ignored. And if you did, then your heart has joined the others who have as well, uniting, strengthening, and in a single heartbeat you’ve created a world of hope.

The suburb of Saffron Park lay on the sunset side of London, as red and ragged as a cloud of sunset. It was built of a bright brick throughout; its sky-line was fantastic, and even its ground plan was wild. It had been the outburst of a speculative builder, faintly tinged with art, who called its architecture sometimes Elizabethan and sometimes Queen Anne, apparently under the impression that the two sovereigns were identical. It was described with some justice as an artistic colony, though it never in any definable way produced any art. But although its pretensions to be an intellectual centre were a little vague, its pretensions to be a pleasant place were quite indisputable. The stranger who looked for the first time at the quaint red houses could only think how very oddly shaped the people must be who could fit in to them. Nor when he met the people was he disappointed in this respect. The place was not only pleasant, but perfect, if once he could regard it not as a deception but rather as a dream. Even if the people were not "artists," the whole was nevertheless artistic. That young man with the long, auburn hair and the impudent face -- that young man was not really a poet; but surely he was a poem. That old gentleman with the wild, white beard and the wild, white hat -- that venerable humbug was not really a philosopher; but at least he was the cause of philosophy in others. That scientific gentleman with the bald, egg-like head and the bare, bird-like neck had no real right to the airs of science that he assumed. He had not discovered anything new in biology; but what biological creature could he have discovered more singular than himself? Thus, and thus only, the whole place had properly to be regarded; it had to be considered not so much as a workshop for artists, but as a frail but finished work of art. A man who stepped into its social atmosphere felt as if he had stepped into a written comedy.

I breathe in... The sights and smells Of this city I’ve come to know... So well I gaze... Across the turquoise ocean Where the waves Liberate my spirit... From its shell I breathe in... The brilliant sky line Where the birds Emerge shyly From the dappled sunshine I breathe in... The gently... Blowing winds That soothe me Like a mother, around her child I breathe in... The sounds of laughter Pure and pretty Like the golden-green butterfly I’m always after I breathe in... The closeness, I have always shared With people, Who almost knew me, Almost cared I breathe in... The comfort Of my home, The safe walls, The scents of childhood On the pillows I breathe in...the silence Of my own heart Aching with tenderness... With memories.. Of home I breathe... in... The fragrance Of love, and moist sand The one... His roses left... On both my hands And I just keep on breathing Every moment As much as I can Preserving it, in my body For the day It can’t So I breathe in.. Once again.. Feeling life's energy Fizzing through my cells Never knowing What awaits me Or what's going to happen to me.. Next I breathe in This moment... Knowing it's either life Or it's death I close my eyes, And breathe in Just believing in myself.

Don’t write with a pen. Ink tends to give the impression the words shouldn’t be changed. Write with what gives you the most sensual satisfaction. Write in a hard-covered notebook with green lined pages. Green is easy on the eyes. Blank white pages seems to challenge you to create the world before you start writing. It may be true that you, the modern poet, must make the world as you go, but why be reminded of it before you even have one word on the page? Don’t erase. Cross out rapidly and violently, never with slow consideration if you can help it. Start, as some smarty once said, in the middle of things. Play with syntax. Never want to say anything so strongly that you have to give up the option of finding something better – if you have to say it, you will. Read your poem aloud many times. If you don’t enjoy it every time, something may be wrong. If you ask a question, don’t answer it, or answer a question not asked, or defer. (If you can answer the question, to ask it is to waste time). Maximum sentence length: seventeen words. Minimum: One. Don’t be afraid to take emotional possession of words. If you don’t love a few words enough to own them, you will have to be very clever to write a good poem.

You shall no longer take things at second or third hand.... nor look through the eyes of the dead.... nor feed on the spectres in books. I tramp a perpetual journey All goes onward and outward.... and nothing collapses, And to die is different from what any one supposed, and luckier. If no other in the world be aware I sit content, And if each and all be aware I sit content. The final three stanzas of 'Song of Myself" were also highlighted. I bequeath myself to the dirt to grow from the grass I love, If you want me again look for me under your bootsoles. You will hardly know who I am or what I mean, But I shall be good health to your nevertheless, And filter and fibre your blood. Failing to fetch me at first keep encouraged, Missing me one places search another, I stop some where waiting for you It became a weekend of reading, of trying to see her in the fragments of the poem she'd left for me. I could never get anywhere with the lines, but I kepr thinking about them anyway, becase I didn't want to disappoint her. She wanted me to play out with the string, to find the place where she had stopped and was waiting for me, to follow the bread crumb trail until it dead-ended into her.

Once on yellow sheet of paper with green lines, he wrote a poem and he called it “Spot” because that was the name of his dog and that’s what it was all about and his teacher gave him an “A” and a big gold star and his mother hung it on the kitchen cupboard and showed it to his aunt and that was the year his sister was born-and his parents kissed all the time and the little girl around the corner sent him a postcard with a row of X’s on it and his father tucked him into bed at night and was always there. Then on a white sheet of paper with blue lines, he wrote another poem and he called it “Autumn” because that was the time of year and that’s what it was all about and his teacher gave him an “A” and told him to write more clearly and his mother told him not to hang it on the kitchen cupboard because it left marks and that was the year his sister got glasses and his parents never kissed anymore and the little girl around the corner laughed when he fell down with his bike and his father didn’t tuck him in at night. So, on another piece of paper torn from a notebook he wrote another poem and he called it “Absolutely Nothing” Because that’s what it was all about and his teach gave him an “A” and a hard searching look and he didn’t show it to his mother and that was the year he caught his sister necking on the back porch and the little girl around the corner wore too much make-up so that he laughed when he kissed her but he kissed her anyway and he tucked himself in bed at three AM with his father snoring loudly in the next room Finally, on the inside of a matchbook he wrote another poem and he called it “?” because that’s what it was all about And he gave himself an “A” and a slash on each wrist and hung it on the bathroom mirror Because he couldn’t make it to the kitchen.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

What rhymes with insensitive?” I tap my pen on the kitchen table, beyond frustrated with my current task. Who knew rhyming was so fucking difficult? Garrett, who’s dicing onions at the counter, glances over. “Sensitive,” he says helpfully. “Yes, G, I’ll be sure to rhyme insensitive with sensitive. Gold star for you.” On the other side of the kitchen, Tucker finishes loading the dishwasher and turns to frown at me. “What the hell are you doing over there, anyway? You’ve been scribbling on that notepad for the past hour.” “I’m writing a love poem,” I answer without thinking. Then I slam my lips together, realizing what I’ve done. Dead silence crashes over the kitchen. Garrett and Tucker exchange a look. An extremely long look. Then, perfectly synchronized, their heads shift in my direction, and they stare at me as if I’ve just escaped from a mental institution. I may as well have. There’s no other reason for why I’m voluntarily writing poetry right now. And that’s not even the craziest item on Grace’s list. That’s right. I said it. List. The little brat texted me not one, not two, but six tasks to complete before she agrees to a date. Or maybe gestures is a better way to phrase it... “I just have one question,” Garrett starts. “Really?” Tuck says. “Because I have many.” Sighing, I put my pen down. “Go ahead. Get it out of your systems.” Garrett crosses his arms. “This is for a chick, right? Because if you’re doing it for funsies, then that’s just plain weird.” “It’s for Grace,” I reply through clenched teeth. My best friend nods solemnly. Then he keels over. Asshole. I scowl as he clutches his side, his broad back shuddering with each bellowing laugh. And even while racked with laughter, he manages to pull his phone from his pocket and start typing. “What are you doing?” I demand. “Texting Wellsy. She needs to know this.” “I hate you.” I’m so busy glaring at Garrett that I don’t notice what Tucker’s up to until it’s too late. He snatches the notepad from the table, studies it, and hoots loudly. “Holy shit. G, he rhymed jackass with Cutlass.” “Cutlass?” Garrett wheezes. “Like the sword?” “The car,” I mutter. “I was comparing her lips to this cherry-red Cutlass I fixed up when I was a kid. Drawing on my own experience, that kind of thing.” Tucker shakes his head in exasperation. “You should have compared them to cherries, dumbass.” He’s right. I should have. I’m a terrible poet and I do know it. “Hey,” I say as inspiration strikes. “What if I steal the words to “Amazing Grace”? I can change it to…um…Terrific Grace.” “Yup,” Garrett cracks. “Pure gold right there. Terrific Grace.” I ponder the next line. “How sweet…” “Your ass,” Tucker supplies. Garrett snorts. “Brilliant minds at work. Terrific Grace, how sweet your ass.” He types on his phone again. “Jesus Christ, will you quit dictating this conversation to Hannah?” I grumble. “Bros before hos, dude.” “Call my girlfriend a ho one more time and you won’t have a bro.” Tucker chuckles. “Seriously, why are you writing poetry for this chick?” “Because I’m trying to win her back. This is one of her requirements.” That gets Garrett’s attention. He perks up, phone poised in hand as he asks, “What are the other ones?” “None of your fucking business.” “Golly gee, if you do half as good a job on those as you’re doing with this epic poem, then you’ll get her back in no time!” I give him the finger. “Sarcasm not appreciated.” Then I swipe the notepad from Tuck’s hand and head for the doorway. “PS? Next time either of you need to score points with your ladies? Don’t ask me for help. Jackasses.” Their wild laughter follows me all the way upstairs. I duck into my room and kick the door shut, then spend the next hour typing up the sorriest excuse for poetry on my laptop. Jesus. I’m putting more effort into this damn poem than for my actual classes.

You go out into your world, and try and find the things that will be useful to you. Your weapons. Your tools. Your charms. You find a record, or a poem, or a picture of a girl that you pin to the wall and go, "Her. I'll try and be her. I'll try and be her - but here." You observe the way others walk, and talk, and you steal little bits of them - you collage yourself out of whatever you can get your hands on. You are like the robot Johnny 5 in Short Circuit, crying, "More input! More input for Johnny 5! as you rifle through books and watch films and sit in front of the television, trying to guess which of these things that you are watching - Alexis Carrington Colby walking down a marble staircase; Anne of Green Gables holding her shoddy suitcase; Cathy wailing on the moors; Courtney Love wailing in her petticoat; Dorothy Parker gunning people down; Grace Jones singing "Slave to the Rhythm" - you will need when you get out there. What will be useful. What will be, eventually, you? And you will be quite on your own when you do all this. There is no academy where you can learn to be yourself; there is no line manager slowly urging you toward the correct answer. You are midwife to yourself, and will give birth to yourself, over and over, in dark rooms, alone. And some versions of you will end in dismal failure - many prototypes won't even get out the front door, as you suddenly realize that no, you can't style-out an all-in-one gold bodysuit and a massive attitude problem in Wolverhampton. Others will achieve temporary success - hitting new land-speed records, and amazing all around you, and then suddenly, unexpectedly exploding, like the Bluebird on Coniston Water. But one day you'll find a version of you that will get you kissed, or befriended, or inspired, and you will make your notes accordingly, staying up all night to hone and improvise upon a tiny snatch of melody that worked. Until - slowly, slowly - you make a viable version of you, one you can hum every day. You'll find the tiny, right piece of grit you can pearl around, until nature kicks in, and your shell will just quietly fill with magic, even while you're busy doing other things. What your nature began, nature will take over, and start completing, until you stop having to think about who you'll be entirely - as you're too busy doing, now. And ten years will pass without you even noticing. And later, over a glass of wine - because you drink wine now, because you are grown - you will marvel over what you did. Marvel that, at the time, you kept so many secrets. Tried to keep the secret of yourself. Tried to metamorphose in the dark. The loud, drunken, fucking, eyeliner-smeared, laughing, cutting, panicking, unbearably present secret of yourself. When really you were about as secret as the moon. And as luminous, under all those clothes.

Birthdays are a time when one stock takes, which means, I suppose, a good spineless mope: I scan my horizon and can discern no sail of hope along my own particular ambition. I tell you what it is: I'm quite in accord with the people who enquire 'What is the matter with the man?' because I don't seem to be producing anything as the years pass but rank self indulgence. You know that my sole ambition, officially at any rate, was to write poems & novels, an activity I never found any difficulty fulfilling between the (dangerous) ages of 17-24: I can't very well ignore the fact that this seems to have died a natural death. On the other hand I feel regretful that what talents I have in this direction are not being used. Then again, if I am not going to produce anything in the literary line, the justification for my selfish life is removed - but since I go on living it, the suspicion arises that the writing existed to produce the life, & not vice versa. And as a life it has very little to recommend it: I spend my days footling in a job I care nothing about, a curate among lady-clerks; I evade all responsibility, familial, professional, emotional, social, not even saving much money or helping my mother. I look around me & I see people getting on, or doing things, or bringing up children - and here I am in a kind of vacuum. If I were writing, I would even risk the fearful old age of the Henry-James hero: not fearful in circumstance but in realisation: because to me to catch, render, preserve, pickle, distil or otherwise secure life-as-it-seemed for the future seems to me infinitely worth doing; but as I'm not the entire morality of it collapses. And when I ask why I'm not, well, I'm not because I don't want to: every novel I attempt stops at a point where I awake from the impulse as one might awake from a particularly-sickening nightmare - I don't want to 'create character', I don't want to be vivid or memorable or precise, I neither wish to bathe each scene in the lambency of the 'love that accepts' or be excoriatingly cruel, smart, vicious, 'penetrating' (ugh), or any of the other recoil qualities. In fact, like the man in St Mawr, I want nothing. Nothing, I want. And so it becomes quite impossible for me to carry on. This failure of impulse seems to me suspiciously like a failure of sexual impulse: people conceive novels and dash away at them & finish them in the same way as they fall in love & will not be satisfied till they're married - another point on which I seem to be out of step. There's something cold & heavy sitting on me somewhere, & until something budges it I am no good.

Or should I have said that I wanted to die, not in the sense of wanting to throw myself off of that train bridge over there, but more like wanting to be asleep forever because there isn’t any making up for killing women or even watching women get killed, or for that matter killing men and shooting them in the back and shooting them more times than necessary to actually kill them and it was like just trying to kill everything you saw sometimes because it felt like there was acid seeping down into your soul and then your soul is gone and knowing from being taught your whole life that there is no making up for what you are doing, you’re taught that your whole life, but then even your mother is so happy and proud because you lined up your sign posts and made people crumple and they were not getting up ever and yeah they might have been trying to kill you too, so you say, What are you goona do?, but really it doesn’t matter because by the end you failed at the one good thing you could have done, and the one person you promised would live is dead, and you have seen all things die in more manners than you’d like to recall and for a while the whole thing fucking ravaged your spirit like some deep-down shit, man, that you didn’t even realize you had until only the animals made you sad, the husks of dogs filled with explosives and old arty shells and the fucking guts of everything stinking like metal and burning garbage and you walk around and the smell is deep down into you now and you say, How can metal be so on fire? and Where is all this fucking trash coming from? and even back home you’re getting whiffs of it and then that thing you started to notice slipping away is gone and now it’s becoming inverted, like you have bottomed out in your spirit but yet a deeper hole is being dug because everybody is so fucking happy to see you, the murderer, the fucking accomplice, that at-bare-minimum bearer of some fucking responsibility, and everyone wants to slap you on the back and you start to want to burn the whole goddamn country down, you want to burn every yellow ribbon in sight, and you can’t explain it but it’s just, like, Fuck you, but then you signed up to go so it’s your fault, really, because you went on purpose, so you are in the end doubly fucked, so why not just find a spot and curl up and die and let’s make it as painless as possible because you are a coward and, really, cowardice got you into this mess because you wanted to be a man and people made fun of you and pushed you around in the cafeteria and the hallways in high school because you liked to read books and poems sometimes and they’d call you a fag and really deep down you know you went because you wanted to be a man and that’s never gonna happen now and you’re too much of a coward to be a man and get it over with so why not find a clean, dry place and wait it out with it hurting as little as possible and just wait to go to sleep and not wake up and fuck ‘em all.