Poets New Year Quotes

For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfil themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. And every young farmboy knows that the hardest and noblest wood has the narrowest rings, that high on the mountains and in continuing danger the most indestructible, the strongest, the ideal trees grow. Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life. A tree says: A kernel is hidden in me, a spark, a thought, I am life from eternal life. The attempt and the risk that the eternal mother took with me is unique, unique the form and veins of my skin, unique the smallest play of leaves in my branches and the smallest scar on my bark. I was made to form and reveal the eternal in my smallest special detail. A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live. When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still! Look at me! Life is not easy, life is not difficult. Those are childish thoughts. Let God speak within you, and your thoughts will grow silent. You are anxious because your path leads away from mother and home. But every step and every day lead you back again to the mother. Home is neither here nor there. Home is within you, or home is nowhere at all. A longing to wander tears my heart when I hear trees rustling in the wind at evening. If one listens to them silently for a long time, this longing reveals its kernel, its meaning. It is not so much a matter of escaping from one's suffering, though it may seem to be so. It is a longing for home, for a memory of the mother, for new metaphors for life. It leads home. Every path leads homeward, every step is birth, every step is death, every grave is mother. So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.

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 celebrate myself," the poet Walt Whitman wrote. The thought is so delicious it is almost obscene. Imagine the joy that would come with celebrating the self — our achievements, our experiences, our existence. Imagine what it would be like to look into the mirror and say, as God taught us, "That's good.

The peculiar predicament of the present-day self surely came to pass as a consequence of the disappointment of the high expectations of the self as it entered the age of science and technology. Dazzled by the overwhelming credentials of science, the beauty and elegance of the scientific method, the triumph of modern medicine over physical ailments, and the technological transformation of the very world itself, the self finds itself in the end disappointed by the failure of science and technique in those very sectors of life which had been its main source of ordinary satisfaction in past ages. As John Cheever said, the main emotion of the adult Northeastern American who has had all the advantages of wealth, education, and culture is disappointment. Work is disappointing. In spite of all the talk about making work more creative and self-fulfilling, most people hate their jobs, and with good reason. Most work in modern technological societies is intolerably dull and repetitive. Marriage and family life are disappointing. Even among defenders of traditional family values, e.g., Christians and Jews, a certain dreariness must be inferred, if only from the average time of TV viewing. Dreary as TV is, it is evidently not as dreary as Mom talking to Dad or the kids talking to either. School is disappointing. If science is exciting and art is exhilarating, the schools and universities have achieved the not inconsiderable feat of rendering both dull. As every scientist and poet knows, one discovers both vocations in spite of, not because of, school. It takes years to recover from the stupor of being taught Shakespeare in English Lit and Wheatstone's bridge in Physics. Politics is disappointing. Most young people turn their backs on politics, not because of the lack of excitement of politics as it is practiced, but because of the shallowness, venality, and image-making as these are perceived through the media--one of the technology's greatest achievements. The churches are disappointing, even for most believers. If Christ brings us new life, it is all the more remarkable that the church, the bearer of this good news, should be among the most dispirited institutions of the age. The alternatives to the institutional churches are even more grossly disappointing, from TV evangelists with their blown-dry hairdos to California cults led by prosperous gurus ignored in India but embraced in La Jolla. Social life is disappointing. The very franticness of attempts to reestablish community and festival, by partying, by groups, by club, by touristy Mardi Gras, is the best evidence of the loss of true community and festival and of the loneliness of self, stranded as it is as an unspeakable consciousness in a world from which it perceives itself as somehow estranged, stranded even within its own body, with which it sees no clear connection. But there remains the one unquestioned benefit of science: the longer and healthier life made possible by modern medicine, the shorter work-hours made possible by technology, hence what is perceived as the one certain reward of dreary life of home and the marketplace: recreation. Recreation and good physical health appear to be the only ambivalent benefits of the technological revolution.

And Ross again knew himself to be happy-in a new and less ephemeral way than before. He was filled with a queer sense of enlightnment. It seemed to him that all his life had moved to this pinpoint of time down the scattered threads of twenty years; from his old childhood running thoughtless and barefoot in the sun on Hendrawna sands, from Demelza's birth in the squarlor of a mining cottage, from the plains of Virginia and the trampled fairgrounds of Redruth, from the complex impulses which had governed Elizabeth's choice of Francis and from the simple philosophies of Demelza's own faith, all had been animated to a common end-and that end a moment of enlightenment and understanding and completion. Someone--a Latin poet--had defined eternity as no more than this: to hold and possess the whole fullness of life in one moment, here and now, past and present and to come. He thought: if we could only stop here. Not when we get home, not leaving Trenwith, but here, here reaching the top of the hill out of Sawle, dusk wiping out the edges of the land and Demelza walking and humming at my side.

To hear the tales told at night-time hearths you would think we had made a whole new country in Britain, named it Camelot and peopled it with shining heroes, but the truth is that we simply ruled Dumnonia as best we could, we ruled it justly and we never called it Camelot. Camelot exists only in the poets' dreams, while in our Dumnonia, even in those good years, the harvests still failed, the plagues still ravaged us and wars were still fought.

In twenty-four years of proofreading, flocks of words flew into my head through the windows of my soul. Some of them stayed on and built nests in there. Why should I not speak like a poet, with a commonwealth of language at my disposal, constantly invigorated by new arrivals?

poetry readings have to be some of the saddest damned things ever, the gathering of the clansmen and clanladies, week after week, month after month, year after year, getting old together, reading on to tiny gatherings, still hoping their genius will be discovered, making tapes together, discs together, sweating for applause they read basically to and for each other, they can't find a New York publisher or one within miles, but they read on and on in the poetry holes of America, never daunted, never considering the possibility that their talent might be thin, almost invisible, they read on and on before their mothers, their sisters, their husbands, their wives, their friends, the other poets and the handful of idiots who have wandered in from nowhere. I am ashamed for them, I am ashamed that they have to bolster each other, I am ashamed for their lisping egos, their lack of guts. if these are our creators, please, please give me something else: a drunken plumber at a bowling alley, a prelim boy in a four rounder, a jock guiding his horse through along the rail, a bartender on last call, a waitress pouring me a coffee, a drunk sleeping in a deserted doorway, a dog munching a dry bone, an elephant's fart in a circus tent, a 6 p.m. freeway crush, the mailman telling a dirty joke anything anything but these.

A lot of the nonsense was the innocent result of playfulness on the part of the founding fathers of the nation of Dwayne Hoover and Kilgore Trout. The founders were aristocrats, and they wished to show off their useless eduction, which consisted of the study of hocus-pocus from ancient times. They were bum poets as well. But some of the nonsense was evil, since it concealed great crime. For example, teachers of children in the United States of America wrote this date on blackboards again and again, and asked the children to memorize it with pride and joy: 1492 The teachers told the children that this was when their continent was discovered by human beings. Actually, millions of human beings were already living full and imaginative lives on the continent in 1492. That was simply the year in which sea pirates began to cheat and rob and kill them. Here was another piece of nonsense which children were taught: that the sea pirates eventually created a government which became a beacon of freedom of human beings everywhere else. There were pictures and statues of this supposed imaginary beacon for children to see. It was sort of ice-cream cone on fire. It looked like this: [image] Actually, the sea pirates who had the most to do with the creation of the new government owned human slaves. They used human beings for machinery, and, even after slavery was eliminated, because it was so embarrassing, they and their descendants continued to think of ordinary human beings as machines. The sea pirates were white. The people who were already on the continent when the pirates arrived were copper-colored. When slavery was introduced onto the continent, the slaves were black. Color was everything. Here is how the pirates were able to take whatever they wanted from anybody else: they had the best boats in the world, and they were meaner than anybody else, and they had gunpowder, which is a mixture of potassium nitrate, charcoal, and sulphur. They touched the seemingly listless powder with fire, and it turned violently into gas. This gas blew projectiles out of metal tubes at terrific velocities. The projectiles cut through meat and bone very easily; so the pirates could wreck the wiring or the bellows or the plumbing of a stubborn human being, even when he was far, far away. The chief weapon of the sea pirates, however, was their capacity to astonish. Nobody else could believe, until it was much too late, how heartless and greedy they were.

Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point in space, the poet sees everything that happens in one point in time. Lost in thought, he taps his knee with his wandlike pencil, and at the same instant a car (New York license plate) passes along the road, a child bangs the screen door of a neighbouring porch, an old man yawns in a misty Turkestan orchard, a granule of cinder-grey sand is rolled by the wind on Venus, a Docteur Jacques Hirsch in Grenoble puts on his reading glasses, and trillions of other such trifles occur - all forming an instantaneous and transparent organism of events, of which the poet (sitting in a lawn chair in Ithaca, N.Y.) is the nucleus.

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

This year, Mami has filled out the forms, signed me up, and marched me to church before I can tell her that Jesus feels like a friend I’ve had my whole childhood who has suddenly become brand-new; who invites himself over too often, who texts me too much. A friend I just don’t think I need anymore. (I know, I know . . . even writing that is blasphemous.) But I don’t know how to tell Mami that this year, it’s not about feeling unready, it’s about knowing that this doubt has already been confirmed.

Emily: Oh, Mama, look at me one minute as though you really saw me. Mama, fourteen years have gone by. I'm dead. You're a grandmother, Mama! Wally's dead, too. His appendix burst on a camping trip to North Conway. We felt just terrible about it - don't you remember? But, just for a moment now we're all together. Mama, just for a moment we're happy. Let's really look at one another!...I can't. I can't go on.It goes so fast. We don't have time to look at one another. I didn't realize. So all that was going on and we never noticed. Take me back -- up the hill -- to my grave. But first: Wait! One more look. Good-bye , Good-bye world. Good-bye, Grover's Corners....Mama and Papa. Good-bye to clocks ticking....and Mama's sunflowers. And food and coffee. And new ironed dresses and hot baths....and sleeping and waking up. Oh, earth,you are too wonderful for anybody to realize you. Do any human beings ever realize life while they live it--every,every minute? Stage Manager: No. (pause) The saints and poets, maybe they do some. Emily: I'm ready to go back.

grab this world by its clothespins, and shake it out again and again. And hop on top and take it for a spin. And when you hop off, shake it again. For this is yours. Make these words worth it. Make this not just another poem that I write. Not just another poem like just another night, that sits heavy above us all. Walk into it, breath it in. Let it crawl though the halls of your arms, like the millions of years of millions of poets coursing like blood, pumping and pushing, making you live, shaking the dust. So when the world knocks at your door, clutch the knob tightly and open on up. And run forward. Run forward as fast and as far as you must. Run into its widespread greeting arms with your hands outstretched before you, fingertips trembling though they may be.

With regard to any such disquisition, review or introduction, trust yourself and your instincts; even if you go wrong in your judgement, the natural growth of your inner life will gradually, over time, lead you to other insights. Allow your verdicts their own quiet untroubled development which like all progress must come from deep within and cannot be forced or accelerated. Everything must be carried to term before it is born. To let every impression and the germ of every feeling come to completion inside, in the dark, in the unsayable, the unconscious, in what is unattainable to one’s own intellect, and to wait with deep humility and patience for the hour when a “new clarity is delivered: that alone is to live as an artist, in the understanding and in one’s creative work. These things cannot be measured by time, a year has no meaning, and ten years are nothing. To be an artist means: not to calculate and count; to grow and ripen like a tree which does not hurry the flow of its sap and stands at ease in the spring gales without fearing that no summer may follow. It will come. But it comes only to those who are patient, who are simply there in their vast, quiet tranquillity, as if eternity lay before them. It is a lesson I learn every day amid hardships I am thankful for: patience is all!” .

After listening to the great farmer-poet Wendell Berry deliver a lecture on how we each have a duty to love our 'homeplace' more than any other, I asked him if he had any advice for rootless people like me and my friends, who disappear into our screens and always seem to be shopping for the perfect community where we should put down our roots. 'Stop somewhere,' he replied. 'And begin the thousand-year-long process of knowing that place. That's good advice on lots of levels, because in order to win this fight of our lives, we all need a place to stand.

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.

When April with its sweet showers has pierced the drought of March to the root, and bathed every vein of earth with that liquid by whose power the flowers are engendered; when the zephyr, too, with its dulcet breath, has breathed life into the tender new shoots in every copse and on every hearth, and the young sun has run half his course in the sign of the Ram, and the little birds that sleep all night with their eyes open give song (so Nature prompts them in their hearts), then, as the poet Geoffrey Chaucer observed many years ago, folk long to go on pilgrimages. Only, these days, professional people call them conferences. The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement. To be sure, there are certain penitential exercises to be performed - the presentation of a paper, perhaps, and certainly listening to papers of others.

In his book The Captive Mind, written in 1951-2 and published in the West in 1953, the Polish poet and essayist Czeslaw Milosz paid Orwell one of the greatest compliments that one writer has ever bestowed upon another. Milosz had seen the Stalinisation of Eastern Europe from the inside, as a cultural official. He wrote, of his fellow-sufferers: A few have become acquainted with Orwell’s 1984; because it is both difficult to obtain and dangerous to possess, it is known only to certain members of the Inner Party. Orwell fascinates them through his insight into details they know well, and through his use of Swiftian satire. Such a form of writing is forbidden by the New Faith because allegory, by nature manifold in meaning, would trespass beyond the prescriptions of socialist realism and the demands of the censor. Even those who know Orwell only by hearsay are amazed that a writer who never lived in Russia should have so keen a perception into its life. Only one or two years after Orwell’s death, in other words, his book about a secret book circulated only within the Inner Party was itself a secret book circulated only within the Inner Party.

Even with my Amazon frame, I feel too small for all that’s inside me. I want to break myself open like an egg smacked hard against an edge. Teachers always say that each school year is a new start: but even before this day I think I’ve been beginning.

And I know I am solid and sound, To me the converging objects of the universe perpetually flow, All are written to me, and I must get what the writing means. And I know I am deathless, I know this orbit of mine cannot be swept by a carpenter’s compass, I know I shall not pass like a child’s carlacueg cut with a burnt stick at night. I know I am august, I do not trouble my spirit to vindicate itself or be understood, I see that the elementary laws never apologize, I reckon I behave no prouder than the level I plant my house by after all. I exist as I am, that is enough, If no other in the world be aware I sit content, And if each and all be aware I sit content. One world is aware, and by far the largest to me, and that is myself, And whether I come to my own today or in ten thousand or ten million years, I can cheerfully take it now, or with equal cheerfulness I can wait. My foothold is tenoned and mortised in granite, I laugh at what you call dissolution, And I know the amplitude of time. I am the poet of the body, And I am the poet of the soul. The pleasures of heaven are with me, and the pains of hell are with me, The first I graft and increase upon myself.... the latter I translate into a new tongue.

Fifty years ago noted animal researcher Harry Harlow, in an address to the American Psychological Association, observed, “As far as love or affection is concerned, psychologists have failed in their mission…The little we write about it has been better written by poets and novelists.

You know, all poetry may be a cry of generalised love, for this, or that, or the universe - which must be loved in its particularity, not its generality, but for its universal life in every minute particular. I have always supposed it to be a cry of ;unsatisfied love; - and so it may be indeed - for satisfaction may surfeit it and so it may die. I know many poets who write only when in an exalted state of mind which they compare to ;being in love;,when they do not simply state, that they are in love, that they seek love - for this fresh damsel - or that lively young woman - in order to find a fresh metaphor, or a new bright vision of things in themselves. And to tell you the truth, I have always believed I could diagnose this state of ;being in love; which they regard as ;most particular;, as inspired by item, one pair of black eyes or indifferent blue, ;item;, one graceful attitude of body or mind, ;item;, one female history of some twenty-two years from, shall we say 1821-1844 – I have always believed this ;in love; to be of something of the most abstract masking itself under the particular forms of both lover and beloved. And Poet who assumes and informs both.

The following year the house was substantially remodeled, and the conservatory removed. As the walls of the now crumbling wall were being torn down, one of the workmen chanced upon a small leatherbound book that had apparently been concealed behind a loose brick or in a crevice in the wall. By this time Emily Dickinson was a household name in Amherst. It happened that this carpenter was a lover of poetry- and hers in particular- and when he opened the little book and realized that that he had found her diary, he was “seized with a violent trembling,” as he later told his grandson. Both electrified and terrified by the discovery, he hid the book in his lunch bucket until the workday ended and then took it home. He told himself that after he had read and savored every page, he would turn the diary over to someone who would know how to best share it with the public. But as he read, he fell more and more deeply under the poet’s spell and began to imagine that he was her confidant. He convinced himself that in his new role he was no longer obliged to give up the diary. Finally, having brushed away the light taps of conscience, he hid the book at the back of an oak chest in his bedroom, from which he would draw it out periodically over the course of the next sixty-four years until he had virtually memorized its contents. Even his family never knew of its existence. Shortly before his death in 1980 at the age of eighty-nine, the old man finally showed his most prized possession to his grandson (his only son having preceded him in death), confessing that his delight in it had always been tempered by a nagging guilt and asking that the young man now attempt to atone for his grandfather’s sin. The grandson, however, having inherited both the old man’s passion for poetry and his tendency towards paralysis of conscience, and he readily succumbed to the temptation to hold onto the diary indefinitely while trying to decide what ought to be done with it.

Much of what is written on the craft is biased in one way or another, so weed out what is useful to you and ignore the rest. I see the next few years as being crucial in the transformation of our culture away from the patriarchal death cults and toward the love of life, of nature, of the female principle. The craft is only one path among the many opening up for women, and many of us will blaze new trails as we explore the uncharted country of our own interiors. The heritage, the culture, the knowledge of the ancient priestesses, healers, poets, singers, and seers were nearly lost, but a seed survived the flames that will blossom in a new age into thousands of flowers. The long sleep of Mother Goddess is ended. May She awaken in each of our hearts ~~ Merry meet, merry part, and blessed be.

NOTHING should more deeply shame the modern student than the recency and inadequacy of his acquaintance with India. Here is a vast peninsula of nearly two million square miles; two-thirds as large as the United States, and twenty times the size of its master, Great Britain; 320,000,000 souls, more than in all North and South America combined, or one-fifth of the population of the earth; an impressive continuity of development and civilization from Mohenjo-daro, 2900 B.C. or earlier, to Gandhi, Raman and Tagore; faiths compassing every stage from barbarous idolatry to the most subtle and spiritual pantheism; philosophers playing a thousand variations on one monistic theme from the Upanishads eight centuries before Christ to Shankara eight centuries after him; scientists developing astronomy three thousand years ago, and winning Nobel prizes in our own time; a democratic constitution of untraceable antiquity in the villages, and wise and beneficent rulers like Ashoka and Akbar in the capitals; minstrels singing great epics almost as old as Homer, and poets holding world audiences today; artists raising gigantic temples for Hindu gods from Tibet to Ceylon and from Cambodia to Java, or carving perfect palaces by the score for Mogul kings and queens—this is the India that patient scholarship is now opening up, like a new intellectual continent, to that Western mind which only yesterday thought civilization an exclusively European thing.I

I first met Winston Churchill in the early summer of 1906 at a dinner party to which I went as a very young girl. Our hostess was Lady Wemyss and I remember that Arthur Balfour, George Wyndman, Hilaire Belloc and Charles Whibley were among the guests… I found myself sitting next to this young man who seemed to me quite different from any other young man I had ever met. For a long time he seemed sunk in abstraction. Then he appeared to become suddenly aware of my existence. He turned on me a lowering gaze and asked me abruptly how old I was. I replied that I was nineteen. “And I,” he said despairingly, “am thirty-two already. Younger than anyone else who counts, though, “he added, as if to comfort himself. Then savagely: “Curse ruthless time! Curse our mortality. How cruelly short is this allotted span for all we must cram into it!” And he burst forth into an eloquent diatribe on the shortness of human life, the immensity of possible human accomplishment—a theme so well exploited by the poets, prophets, and philosophers of all ages that it might seem difficult to invest it with new and startling significance. Yet for me he did so, in a torrent of magnificent language which appeared to be both effortless and inexhaustible and ended up with the words I shall always remember: “We are all worms. But I do believe that I am a glow worm.” By this time I was convinced of it—and my conviction remained unshaken throughout the years that followed. Later he asked me whether I thought that words had a magic and music quite independent of their meaning. I said I certainly thought so, and I quoted as a classic though familiar instance the first lines that came into my head. Charm’d magic casements, opening on the foam Of perilous seas, in faery lands forlorn. His eyes blazed with excitement. “Say that again,” he said, “say it again—it is marvelous!” “But I objected, “You know these lines. You know the ‘Ode to a Nightengale.’ ” He had apparently never read or heard of it before (I must, however, add that next time I met him he had not learned not merely this but all of the odes to Keats by heart—and he recited them quite mercilessly from start to finish, not sparing me a syllable). Finding that he liked poetry, I quoted to him from one of my own favorite poets, Blake. He listened avidly, repeating some lines to himself with varying emphases and stresses, then added meditatively: “I never knew that old Admiral had found so much time to write such good poetry.” I was astounded that he, with his acute susceptibility to words and power of using them, should have left such tracts of English literature entirely unexplored. But however it happened he had lost nothing by it, when he approached books it was “with a hungry, empty mind and with fairly srong jaws, and what I got I *bit*.” And his ear for the beauty of language needed no tuning fork. Until the end of dinner I listened to him spellbound. I can remember thinking: This is what people mean when they talk of seeing stars. That is what I am doing now. I do not to this day know who was on my other side. Good manners, social obligation, duty—all had gone with the wind. I was transfixed, transported into a new element. I knew only that I had seen a great light. I recognized it as the light of genius… I cannot attempt to analyze, still less transmit, the light of genius. But I will try to set down, as I remember them, some of the differences which struck me between him and all the others, young and old, whom I have known. First and foremost he was incalculable. He ran true to no form. There lurked in his every thought and world the ambush of the unexpected. I felt also that the impact of life, ideas and even words upon his mind, was not only vivid and immediate, but direct. Between him and them there was no shock absorber of vicarious thought or precedent gleaned either from books or other minds. His relationship wit

For fifteen years I have been intently studying earthly life. It is true I have not seen the earth nor men, but in your books I have drunk fragrant wine, I have sung songs, I have hunted stags and wild boars in the forests, have loved women ... Beauties as ethereal as clouds, created by the magic of your poets and geniuses, have visited me at night, and have whispered in my ears wonderful tales that have set my brain in a whirl. In your books I have climbed to the peaks of Elburz and Mont Blanc, and from there I have seen the sun rise and have watched it at evening flood the sky, the ocean, and the mountain-tops with gold and crimson. I have watched from there the lightning flashing over my head and cleaving the storm-clouds. I have seen green forests, fields, rivers, lakes, towns. I have heard the singing of the sirens, and the strains of the shepherds' pipes; I have touched the wings of comely devils who flew down to converse with me of God ... In your books I have flung myself into the bottomless pit, performed miracles, slain, burned towns, preached new religions, conquered whole kingdoms ...

Although I've written a few (a very few) poems over the years, I am not a natural poet...and I remain in awe of people who are. The ability to evoke deep emotion, reveal a new facet of the world, or condense an entire story into the limited space and form of a poem (or likewise, of a good song lyric, or the text for a children's picture book) seems like pure magic to me.

The City" You said, “I will go to another land, I will go to another sea. Another city will be found, a better one than this. Every effort of mine is a condemnation of fate; and my heart is — like a corpse — buried. How long will my mind remain in this wasteland. Wherever I turn my eyes, wherever I may look I see black ruins of my life here, where I spent so many years destroying and wasting.” You will find no new lands, you will find no other seas. The city will follow you. You will roam the same streets. And you will age in the same neighborhoods; and you will grow gray in these same houses. Always you will arrive in this city. Do not hope for any other — There is no ship for you, there is no road. As you have destroyed your life here in this little corner, you have ruined it in the entire world.

You sometimes hear people say, with a certain pride in their clerical resistance to the myth, that the nineteenth century really ended not in 1900 but in 1914. But there are different ways of measuring an epoch. 1914 has obvious qualifications; but if you wanted to defend the neater, more mythical date, you could do very well. In 1900 Nietzsche died; Freud published The Interpretation of Dreams; 1900 was the date of Husserl Logic, and of Russell's Critical Exposition of the Philosophy of Leibniz. With an exquisite sense of timing Planck published his quantum hypothesis in the very last days of the century, December 1900. Thus, within a few months, were published works which transformed or transvalued spirituality, the relation of language to knowing, and the very locus of human uncertainty, henceforth to be thought of not as an imperfection of the human apparatus but part of the nature of things, a condition of what we may know. 1900, like 1400 and 1600 and 1000, has the look of a year that ends a saeculum. The mood of fin de siècle is confronted by a harsh historical finis saeculi. There is something satisfying about it, some confirmation of the rightness of the patterns we impose. But as Focillon observed, the anxiety reflected by the fin de siècle is perpetual, and people don't wait for centuries to end before they express it. Any date can be justified on some calculation or other. And of course we have it now, the sense of an ending. It has not diminished, and is as endemic to what we call modernism as apocalyptic utopianism is to political revolution. When we live in the mood of end-dominated crisis, certain now-familiar patterns of assumption become evident. Yeats will help me to illustrate them. For Yeats, an age would end in 1927; the year passed without apocalypse, as end-years do; but this is hardly material. 'When I was writing A Vision,' he said, 'I had constantly the word "terror" impressed upon me, and once the old Stoic prophecy of earthquake, fire and flood at the end of an age, but this I did not take literally.' Yeats is certainly an apocalyptic poet, but he does not take it literally, and this, I think, is characteristic of the attitude not only of modern poets but of the modern literary public to the apocalyptic elements. All the same, like us, he believed them in some fashion, and associated apocalypse with war. At the turning point of time he filled his poems with images of decadence, and praised war because he saw in it, ignorantly we may think, the means of renewal. 'The danger is that there will be no war.... Love war because of its horror, that belief may be changed, civilization renewed.' He saw his time as a time of transition, the last moment before a new annunciation, a new gyre. There was horror to come: 'thunder of feet, tumult of images.' But out of a desolate reality would come renewal. In short, we can find in Yeats all the elements of the apocalyptic paradigm that concern us.

I treasure ruefully some memories of W.H. Auden that go back to the middle 1960s, when he arrived in New Haven to give a reading of his poems at Ezra Stiles College. We had met several times before, in New York City and at Yale, but were only acquaintances. The earlier Auden retains my interest, but much of the frequently devotional poetry does not find me. Since our mutual friend John Hollander was abroad, Auden phoned to ask if he might stay with my wife and me, remarking of his dislike of college guest suites. The poet arrived in a frayed, buttonless overcoat, which my wife insisted on mending. His luggage was an attache case containing a large bottle of gin, a small one of vermouth, a plastic drinking cup, and a sheaf of poems. After being supplied with ice, he requested that I remind him of the amount of his reading fee. A thousand dollars had been the agreed sum, a respectable honorarium more than forty years ago. He shook his head and said that as a prima donna he could not perform, despite the prior arrangement. Charmed by this, I phoned the college master - a good friend - who cursed heartily but doubled the sum when I assured him that the poet was as obdurate as Lady Bracknell in 'The Importance of Being Earnest'. Informed of this yielding, Auden smiled sweetly and was benign and brilliant at dinner, then at the reading, and as he went to bed after we got home.

Poets claim that we recapture for a moment the self that we were long ago when we enter some house or garden in which we used to live in our youth. But these are most hazardous pilgrimages, which end as often in disappointment as in success. It is in ourselves that we should rather seek to find those fixed places, contemporaneous with different years. And great fatigue followed by a good night's rest can to a certain extent help us to do so. For in order to make us descend into the most subterranean galleries of sleep, where no reflexion from overnight, no gleam of memory comes to light up the interior monologue—if the latter does not itself cease—fatigue followed by rest will so thoroughly turn over the soil and penetrate the bedrock of our bodies that we discover down there, where our muscles plunge and twist in their ramifications and breathe in new life, the garden where we played in our childhood. There is no need to travel in order to see it again; we must dig down inwardly to discover it. What once covered the earth is no longer above but beneath it; a mere excursion does not suffice for a visit to the dead city: excavation is necessary also. But we shall see how certain fugitive and fortuitous impressions carry us back even more effectively to the past, with a more delicate precision, with a more light-winged, more immaterial, more headlong, more unerring, more immortal flight, than these organic dislocations.

It looked as though the leaves of the autumn forest had taken flight, and were pouring down the valley like a waterfall, like a tidal wave, all the leaves of the hardwoods from here to Hudson’s Bay. It was as if the season’s colors were draining away like lifeblood, as if the year were molting and shedding. The year was rolling down, and a vital curve had been reached, the tilt that gives way to headlong rush. And when the monarch butterflies had passed and were gone, the skies were vacant, the air poised. The dark night into which the year was plunging was not a sleep but an awakening, a new and necessary austerity, the sparer climate for which I longed. The shed trees were brittle and still, the creek light and cold, and my spirit holding its breath.

…For many years now, that way of living has been scorned, and over the last 40 or 50 years it has nearly disappeared. Even so, there was nothing wrong with it. It was an economy directly founded on the land, on the power of the sun, on thrift and skill and on the people’s competence to take care of themselves. They had become dependent to some extent on manufactured goods, but as long as they stayed on their farms and made use of the great knowledge that they possessed, they could have survived foreseeable calamities that their less resourceful descendants could not survive. Now that we have come to the end of the era of cheap petroleum which fostered so great a forgetfulness, I see that we could have continued that thrifty old life fairly comfortably – could even have improved it. Now, we will have to return to it, or to a life necessarily as careful, and we will do so only uncomfortably and with much distress. Increasingly over the last maybe forty years, the thought has come to me that the old world, in which our people lived by the work of their hands, close to weather and earth, plants and animals, was the true world. And that the new world of cheap energy and ever cheaper money, honored greed and dreams of liberation from every restraint, is mostly theater. This new world seems a jumble of scenery and props never quite believable. An economy of fantasies and moods, in which it is hard to remember either the timely world of nature, or the eternal world of the prophets and poets. And I fear, I believe I know, that the doom of the older world I knew as a boy will finally afflict the new one that replaced it. The world I knew as a boy was flawed surely, but it was substantial and authentic. The households of my grandparents seemed to breathe forth a sense of the real cost and worth of things. Whatever came, came by somebody’s work.

Nearly every writer writes a book with a great amount of attention and intention and hopes and dreams. And it's important to take that effort seriously and to recognize that a book may have taken ten years of a writer's life, that the writer has put heart and soul into it. And it behooves us, as book-review-editors, to treat those books with the care and attention they deserve, and to give the writer that respect." Pamela Paul, New York Times Book Review editor, in a Poets & Writer's interview (something for all reviewers to think about)

For me the poem and the poetry open mic isn’t about competition and it never will be. Honestly? It's wrong. The open mic is about 1 poet, one fellow human being up on a stage or behind a podium sharing their work regardless of what form or style they bring to it. In other words? The guy with the low slam score is more than likely a far better poet-writer than the guy who actually won. But who are you? I ? Or really anyone else to judge them? The Poetry Slam has become an overgrown, over used monopoly on American literature and poetry and is now over utilized by the academic & public school establishments. And over the years has sadly become the "McDonalds Of Poetry". We can only hope that the same old stale atmosphere of it all eventually becomes or evolves into something new that translates to and from the written page and that gives new poets with different styles & authentic voices a chance to share their work too.

CREATED by an eighteen-year-old girl during the freakishly cold, rainy summer of 1816 while on holiday in Switzerland with her married lover, Percy Bysshe Shelley, and two other writers, the poet Lord Byron and John Polidori, Mary Shelley’s Frankenstein would become the foundational work for two important new genres of literature—horror and science fiction.

You go to class and discuss famous poems. The poems are full of swans, gorse, blackberries, leopards, elderflowers, mountains, orchards, moonlight, wolves, nightingales, cherry blossoms, bog oak, lily-pads, honeybees. Even the brand-new ones are jam-packed with nature. It’s like the poets are not living in the same world as you. You put up your hand and say isn’t it weird that poets just keep going around noticing nature and not ever noticing that nature is shrinking? To read these poems you would think the world was as full of nature as it ever was even though in the last forty years so many animals and habitats have been wiped out. How come they don’t notice that? How come they don’t notice everything that’s been annihilated? If they’re so into noticing things? I look around and all I see is the world being ruined. If poems were true they’d just be about walking through a giant graveyard or a garbage dump. The only place you find nature is in poems, it’s total bullshit. Even the sensitive people are fucking liars, you say. No, you don’t, you sit there in silence like always.

All three of the English types I have mentioned can, I think, be accounted for as the results of the presence of different cultures, existing side by side in the country, and who were the creation of the folk in ages distantly removed one from another. In a word, they represent specific " strata" of folk-imagination. The most diminutive of all are very probably to be associated with a New Stone Age conception of spirits which haunted burial-mounds and rude stone monuments. We find such tiny spirits haunting the great stone circles of Brittany. The "Small People," or diminutive fairies of Cornwall, says Hunt, are believed to be "the spirits of people who inhabited Cornwall many thousands of years ago. "The spriggans, of the same area, are a minute and hirsute family of fairies" found only about the cairns, cromlechs, barrows, or detached stones, with which it is unlucky to meddle." Of these, the tiny fairies of Shakespeare, Drayton, and the Elizabethans appear to me to be the later representatives. The latter are certainly not the creation of seventeenth-century poets, as has been stated, but of the aboriginal folk of Britain.

A Palestinian village whose feudal owner sold it for a kiss through a pane of glass..." Nothing remained of Sireen after the auction apart from you, little prayer rug, because a mother slyly stole you and wrapped up her son who'd been sentenced to cold and weaning - and later to sorrow and longing. It's said there was a village, a very small village, on the border between sun's gate and earth. It's said that the village was twice sold - once for a measure of oil and once for a kiss through a pane of glass. The buyers and sellers rejoiced at its sale, the year the submarine was sunk, in our twentieth century. And in Sireen - the buyers went over the contract - were white-washed houses, lovers, and trees, folk poets, peasants, and children. (But there was no school - and neither tanks nor prisons.) The threshing floors, the colour of golden wine, and the graveyard were a vault meant for life and death, and the vault was sold! People say that there was a village, but Sireen became an earthquake, imprisoned by an amulet as it turned into a banquet - in which the virgins' infants were cooked in their mothers' milk so soldiers and ministers might eat along with civilisation! "And the axe is laid at the root of the tree..." And once again at the root of the tree, as one dear brother denies another and existence. Officer of the orbits... attend, O knight of death, but don't give in - death is behind us and also before us. Knight of death, attend, there is no time to retreat - darkness crowds us and now has turned into a rancid butter, and the forest too is full, the serpents of blood have slithered away and the beaker of our ablution has been sold to a tourist from California! There is no time now for ablution. People say there was a village, but Sireen became an earthquake, imprisoned by an amulet as it turned into a banquet - in which the virgins' infants were cooked in their mothers' milk so soldiers and ministers might eat, along with civilisation!

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him

Have not the last three years been an utterly unprecedented, overwhelming and transforming experience for mankind? Will not the new world after the war be a new world indeed, on the one hand filled, nay, gorged, with recollections of doing and undergoing, of endurance and adventure, of daring and suffering and horror, of hellishness and heroism, beside which all the dreams of bygone romance must forever seem tame and vapid; and on the other hand straining with a hungry forecast towards a future of peace and justice such as mankind has not known before, which it will be its tremendous task to try and establish? Will not this world of so prodigiously intensified experiences and enlarged hopes and besetting anxieties require and produce new poets and a new poetry of its own that shall deal with the realities it has gone through and those it is striving for, and put away and cease to care for the old dreams and thrills and glamours of romance?

But then, in a sense, all poetry is positional: to try to express one’s position in regard to the universe embraced by consciousness, is an immemorial urge. The arms of consciousness reach out and grope, and the longer they are the better. Tentacles, not wings, are Apollo’s natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time. Lost in thought, he taps his knee with his wandlike pencil, and at the same instant a car (New York license plate) passes along the road, a child bangs the screen door of a neighbouring porch, an old man yawns in a misty Turkestan orchard, a granule of cinder-gray sand is rolled by the wind on Venus, a Docteur Jacques Hirsch in Grenoble puts on his reading glasses, and trillions of other such trifles occur – all forming an instantaneous and transparent organism of events, of which the poet (sitting in a lawn chair, at Ithaca, N.Y.) is the nucleus.

Eliot's understanding of poetic epistemology is a version of Bradley's theory, outlined in our second chapter, that knowing involves immediate, relational, and transcendent stages or levels. The poetic mind, like the ordinary mind, has at least two types of experience: The first consists largely of feeling (falling in love, smelling the cooking, hearing the noise of the typewriter), the second largely of thought (reading Spinoza). The first type of experience is sensuous, and it is also to a great extent monistic or immediate, for it does not require mediation through the mind; it exists before intellectual analysis, before the falling apart of experience into experiencer and experienced. The second type of experience, in contrast, is intellectual (to be known at all, it must be mediated through the mind) and sharply dualistic, in that it involves a breaking down of experience into subject and object. In the mind of the ordinary person, these two types of experience are and remain disparate. In the mind of the poet, these disparate experiences are somehow transcended and amalgamated into a new whole, a whole beyond and yet including subject and object, mind and matter. Eliot illustrates his explanation of poetic epistemology by saying that John Donne did not simply feel his feelings and think his thoughts; he felt his thoughts and thought his feelings. He was able to "feel his thought as immediately as the odour of a rose." Immediately" in this famous simile is a technical term in philosophy, used with precision; it means unmediated through mind, unshattered into subject and object. Falling in love and reading Spinoza typify Eliot's own experiences in the years in which he was writing The Waste Land. These were the exciting and exhausting years in which he met Vivien Haigh-Wood and consummated a disastrous marriage, the years in which he was deeply involved in reading F. H. Bradley, the years in which he was torn between the professions of philosophy and poetry and in which he was in close and frequent contact with such brilliant and stimulating figures as Bertrand Russell and Ezra Pound, the years of the break from his family and homeland, the years in which in every area of his life he seemed to be between broken worlds. The experiences of these years constitute the material of The Waste Land. The relevant biographical details need not be reviewed here, for they are presented in the introduction to The Waste Land Facsimile. For our purposes, it is only necessary to acknowledge what Eliot himself acknowledged: the material of art is always actual life. At the same time, it should also be noted that material in itself is not art. As Eliot argued in his review of Ulysses, "in creation you are responsible for what you can do with material which you must simply accept." For Eliot, the given material included relations with and observations of women, in particular, of his bright but seemingly incurably ill wife Vivien(ne).

was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Ten years ago a book appeared in France called D'Une foi l'autre, les conversions a l'Islam en Occident. The authors, both career journalists, carried out extensive interviews with new Muslims in Europe and America. Their conclusions are clear. Almost all educated converts to Islam come in through the door of Islamic spirituality. In the middle ages, the Sufi tariqas were the only effective engine of Islamisation in Muslim minority areas like Central Asia, India, black Africa and Java; and that pattern is maintained today. Why should this be the case? Well, any new Muslim can tell you the answer. Westerners are in the first instance seeking not a moral path, or a political ideology, or a sense of special identity - these being the three commodities on offer among the established Islamic movements. They lack one thing, and they know it - the spiritual life. Thus, handing the average educated Westerner a book by Sayyid Qutb, for instance, or Mawdudi, is likely to have no effect, and may even provoke a revulsion. But hand him or her a collection of Islamic spiritual poetry, and the reaction will be immediately more positive. It is an extraordinary fact that the best-selling religious poet in modern America is our very own Jalal al-Din Rumi. Despite the immeasurably different time and place of his origin, he outsells every Christian religious poet. Islam and the New Millennium

Poetry is the perpetual endeavor to express the spirit of the thing, to pass the brute body and search the life and reason which causes it to exist;—to see that the object is always flowing away, whilst the spirit or necessity which causes it subsists. Its essential mark is that it betrays in every word instant activity of mind, shown in new uses of every fact and image, in preternatural quickness or perception of relations. All its words are poems. It is a presence of mind that gives a miraculous command of all means of uttering the thought and feeling of the moment. The poet squanders on the hour an amount of life that would more than furnish the seventy years of the man that stands next him.

But no literature grows in isolation, and looking at the history of Indian writing in English is like looking at a silent movie made up of static postcards of Delhi, or Mumbai, or any other thronged Indian city: the life, the colour, the hubbub of hundreds of eager new writers and high-minded editors, peacocking poets and fiery-eyed pamphleteers, all of that has been bled out of collective memory. In the same year that Dean Mahomet wrote his Travels, the Madras Hircarrah (1794) started up, joining Hicky’s Bengal Gazette (1780) and the India Gazette (1781); the first in a flood of periodicals and journals that would breathlessly, urgently take the news of India running along from one province to another. The

At different spots in the room stood the six resident geniuses to whose presence in the home Mr. Pett had such strong objections, and in addition to these she had collected so many more of a like breed from the environs of Washington Square that the air was clamorous with the hoarse cries of futurist painters, esoteric Buddhists, vers libre poets, interior decorators, and stage reformers, sifted in among the more conventional members of society who had come to listen to them. Men with new religions drank tea with women with new hats. Apostles of Free Love expounded their doctrines to persons who had been practising them for years without realising it. All over the room throats were being strained and minds broadened.

Writing was a forbidden game, Bei Dao (the Chinese dissident poet) said, that could cost one’s life. The poetry they published amounted to a new language, since “for thirty years the Chinese language there had no personal voice at all.” The official line on Bei Dao’s poetry was that it was politically subversive because it expressed intimate thoughts, asserting the rights of the individual by his or her own private experience. And the more obscure Bei Dao’s poems became, the more subversive the authorities considered him. He said, 'on the one hand, poetry is useless. It can’t change the world materially. On the other hand it is a basic part of human existence. It came into the world when humans did. It’s what make human beings human.

And under the cicadas, deeper down that the longest taproot, between and beneath the rounded black rocks and slanting slabs of sandstone in the earth, ground water is creeping. Ground water seeps and slides, across and down, across and down, leaking from here to there, minutely at a rate of a mile a year. What a tug of waters goes on! There are flings and pulls in every direction at every moment. The world is a wild wrestle under the grass; earth shall be moved. What else is going on right this minute while ground water creeps under my feet? The galaxy is careening in a slow, muffled widening. If a million solar systems are born every hour, then surely hundreds burst into being as I shift my weight to the other elbow. The sun’s surface is now exploding; other stars implode and vanish, heavy and black, out of sight. Meteorites are arcing to earth invisibly all day long. On the planet, the winds are blowing: the polar easterlies, the westerlies, the northeast and southeast trades. Somewhere, someone under full sail is becalmed, in the horse latitudes, in the doldrums; in the northland, a trapper is maddened, crazed, by the eerie scent of the chinook, the sweater, a wind that can melt two feet of snow in a day. The pampero blows, and the tramontane, and the Boro, sirocco, levanter, mistral. Lick a finger; feel the now. Spring is seeping north, towards me and away from me, at sixteen miles a day. Along estuary banks of tidal rivers all over the world, snails in black clusters like currants are gliding up and down the stems of reed and sedge, migrating every moment with the dip and swing of tides. Behind me, Tinker Mountain is eroding one thousandth of an inch a year. The sharks I saw are roving up and down the coast. If the sharks cease roving, if they still their twist and rest for a moment, they die. They need new water pushed into their gills; they need dance. Somewhere east of me, on another continent, it is sunset, and starlings in breathtaking bands are winding high in the sky to their evening roost. The mantis egg cases are tied to the mock-orange hedge; within each case, within each egg, cells elongate, narrow, and split; cells bubble and curve inward, align, harden or hollow or stretch. And where are you now?

Of the Poet’s Youth" When the man behind the counter said, “You pay by the orifice,” what could we do but purchase them all? Ah, Sandy, vou were clearly the deluxe doll, modish and pert in your plastic nurse whites, official hostess to our halcyon days, where you bobbed in the doorway of our dishabille apartment, a block downwind from the stockyards. Holding court on the corroded balcony, K. and I passed hash brownies, collecting change for the building’s monthly pool to predict which balcony would fall off next. That’s when K. was fucking M. and M. was fucking J., and even B. and I threw down once on the glass-speckled lawn, adrift in the headlights of his El Camino. Those were immortal times, Sandy! Coke wasn’t addictive yet, condoms prevented herpes and men were only a form of practice for the Russian novel we foolishly hoped our lives would become. Now it’s a Friday night, sixteen years from there. Don’t the best characters know better than to live too long? My estranged husband house-sits for a spoiled cockatoo while saving to buy his own place. My lover’s gone back to his gin and the farm-team fiancée he keeps in New York. What else to do but read Frank O’Hara to my tired three-year-old? When I put him to bed, he mutters “more sorry” as he turns into sleep. Tonight, I find you in a box I once marked “The Past.” Well, therapy’s good for some things, Sandy, but who’d want to forgive a girl like that? Frank says Destroy yourself if you don’t know! Deflated, you’re simply the smile that surrounds a hole. I don’t know anything.

Your Eve was wise, John. She knew that Paradise would make her mad, if she were to live forever with Adam and know no other thing but strawberries and tigers and rivers of milk. She knew they would tire of these things, and each other. They would grow to hate every fruit, every stone, every creature they touched. Yet where could they go to find any new thing? It takes strength to live in Paradise and not collapse under the weight of it. It is every day a trial. And so Eve gave her lover the gift of time, time to the timeless, so that they could grasp at happiness. ... And this is what Queen Abir gave to us, her apple in the garden, her wisdom--without which we might all have leapt into the Rimal in a century. The rite bears her name still. For she knew the alchemy of demarcation far better than any clock, and decreed that every third century husbands and wives should separate, customs should shift and parchmenters become architects, architects farmers of geese and monkeys, Kings should become fishermen, and fishermen become players of scenes. Mothers and fathers should leave their children and go forth to get other sons and daughters, or to get none if that was their wish. On the roads of Pentexore folk might meet who were once famous lovers, or a mother and child of uncommon devotion--and they would laugh, and remember, but call each other by new names, and begin again as friends, or sisters, or lovers, or enemies. And some time hence all things would be tossed up into the air once more and land in some other pattern. If not for this, how fastened, how frozen we would be, bound to one self, forever a mother, forever a child. We anticipate this refurbishing of the world like children at a holiday. We never know what we will be, who we will love in our new, brave life, how deeply we will wish and yearn and hope for who knows what impossible thing! Well, we anticipate it. There is fear too, and grief. There is shaking, and a worry deep in the bone. Only the Oinokha remains herself for all time--that is her sacrifice for us. There is sadness in all this, of course--and poets with long elegant noses have sung ballads full of tears that break at one blow the hearts of a flock of passing crows! But even the most ardent lover or doting father has only two hundred years to wait until he may try again at the wheel of the world, and perhaps the wheel will return his wife or his son to him. Perhaps not. Wheels, and worlds, are cruel. Time to the timeless, apples to those who live without hunger. There is nothing so sweet and so bitter, nothing so fine and so sharp.

But the most important finding of all is that happiness does not really depend on objective conditions of either wealth, health or even community. Rather, it depends on the correlation between objective conditions and subjective expectations. If you want a bullock-cart and get a bullock-cart, you are content. If you want a brand-new Ferrari and get only a second-hand Fiat you feel deprived. This is why winning the lottery has, over time, the same impact on people’s happiness as a debilitating car accident. When things improve, expectations balloon, and consequently even dramatic improvements in objective conditions can leave us dissatisfied. When things deteriorate, expectations shrink, and consequently even a severe illness might leave you pretty much as happy as you were before. You might say that we didn’t need a bunch of psychologists and their questionnaires to discover this. Prophets, poets and philosophers realised thousands of years ago that being satisfied with what you already have is far more important than getting more of what you want. Still, it’s nice when modern research – bolstered by lots of numbers and charts – reaches the same conclusions the ancients did.

Why did you come? Oh, I know what you are going to say. You felt that, cost what it might, you had to see me again, just once. You could not resist the urge to take away with you one last memory, which you could cherish down the lonely years. Oh, Bertie, you remind me of Rudel.” The name was new to me. “Rudel?” “The Seigneur Geoffrey Rudel, Prince of Blay-en-Saintonge.” I shook my head. “Never met him, I’m afraid. Pal of yours?” “He lived in the Middle ages. He was a great poet. And he fell in love with the wife of the Lord of Tripoli.” I stirred uneasily. I hoped she was going to keep it clean. “For years he loved her, and at last could resist no longer. He took ship to Tripoli, and his servants carried him ashore.” “Not feeling so good?” I said, groping. “Rough crossing?” “He was dying. Of love.” “Oh, ah.” “They bore him into the Lady Melisande’s presence on a litter, and he had just strength enough to reach out and touch her hand. Then he died.” She paused, and heaved a sigh that seemed to come straight up from the cami-knickers. A silence ensued. “Terrific”, I said, feeling that I had to say something, though personally I didn’t think the story a patch on the one about the travelling salesman and the farmer’s daughter. Different, of course, if one had known the chap.

In 1799, the poet Samuel Taylor Coleridge goes to Germany on a winter walking trip and writes home to his wife about the opposite sense: of winter as a mysterious magnetic season that the wanderer is expelled into for his own good, for the purification and improvement of his soul. “What sublime scenery I have beheld!” Coleridge’s’ words are one of those rare passages of prose that truly mark the arrival of an epoch. It would be impossible to find anything like it in European literature only twenty-five years before… This kind of love of the winter scene is not of the force outside pressing in on the window, bringing family together. Instead it is for the ice-spirit pulling us out. This winter window is wrenched open by the level of the sublime. The new idea (of winter’s beauty) is associated with Edmund Burke’s great essay on the sublime and beautiful from the middle of the eighteenth century. Burke’s was one of the three or four most powerful ideas in the history of thought, because he wrenched aesthetics away from the insipid idea of beauty (physical, manicured) towards recognition of the full span of human sympathy. Oceans and thunderstorms, precipices and abysses, towering volcanoes and, above all, snow-capped mountains- they rival and outdo the heritage of classical beauty exactly because they frighten us; they fill us with fear, with awe, with a sense of the inestimable mystery of the world.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

The American Anti-Slavery Society, on the other hand, said the war was “waged solely for the detestable and horrible purpose of extending and perpetuating American slavery throughout the vast territory of Mexico.” A twenty-seven-year-old Boston poet and abolitionist, James Russell Lowell, began writing satirical poems in the Boston Courier (they were later collected as the Biglow Papers). In them, a New England farmer, Hosea Biglow, spoke, in his own dialect, on the war: Ez fer war, I call it murder,—     There you hev it plain an’ flat; I don’t want to go no furder     Than my Testyment fer that. . . . They may talk o’ Freedom’s airy     Tell they’er pupple in the face,— It’s a grand gret cemetary     Fer the barthrights of our race; They jest want this Californy     So’s to lug new slave-states in To abuse ye, an’ to scorn ye,     An’ to plunder ye like sin. The war had barely begun, the summer of 1846, when a writer, Henry David Thoreau, who lived in Concord, Massachusetts, refused to pay his Massachusetts poll tax, denouncing the Mexican war. He was put in jail and spent one night there. His friends, without his consent, paid his tax, and he was released. Two years later, he gave a lecture, “Resistance to Civil Government,” which was then printed as an essay, “Civil Disobedience”: It is not desirable to cultivate a respect for the law, so much as for the right. . . . Law never made men a whit more just; and, by means of their respect for it, even the well-disposed are daily made the agents of injustice. A common and natural result of an undue respect for law is, that you may see a file of soldiers . . . marching in admirable order over hill and dale to the wars, against their wills, ay, against their common sense and consciences, which makes it very steep marching indeed, and produces a palpitation of the heart.

Although the founders were often good classicists, they took as a model for the American republic the pre-Julius Caesar Roman Republic. For the record, our word democracy comes from the Greek demokratia, which means, literally, “people-power.” History’s only democracy was instituted at Athens in 508 B.C. by Cleisthenes. Every male citizen over eighteen years of age was a citizen, able to gather with his fellows on a hillside, where, after listening to various demagogues, he could vote with the other citizens on matters of war and peace and anything else that happened to be introduced that day. In 322 B.C. Alexander of Macedon conquered Athens and eliminated their democracy, which was never again to be tried by a proper state (as opposed to an occasional New England town meeting). Current publicists for the American Empire have convinced themselves that if other nations, living as they do in utter darkness, would only hold numerous elections at enormous cost to their polity’s plutocracy (or to the benign empire back of these exercises), perfect government would henceforward obtain as The People had Been Heard: one million votes for Saddam Hussein, let us say, to five against. Although the Athenian system might now be revived through technology, voting through some sort of “safe” cybersystem, no one would wish an uneducated, misinformed majority to launch a war, much less do something meaningful like balance the budget of Orange County, California. One interesting aspect of the Athenian system was the rotation of offices. When Pericles told Sophocles, the poet-dramatist, that it was his turn to be postmaster general or some such dull office, Sophocles said he was busy with a play and that, besides, politics was not his business. To which the great Pericles responded, the man who says politics is no business of his has no business.

There are some people who throw down a book after having read it, as one leaves a bottle after having drank the wine from it. There are others who read books with a pencil in their hands, and they mark the most striking passages. Afterward, in the hours of rest, in the moments when one needs a stimulant from within and one searches for harmony, sympathy of a thing apparently so dead and strange as a book is, they come back to the marked passages, to their own thoughts, more comprehensible since an author expressed them; to their own sentiments, stronger and more natural since they found them in somebody else's words. Because ofttimes it seems to us—the common readers—that there is no difference between our interior world and the horizon of great authors, and we flatter ourselves by believing that we are 'only less daring, less brave than are thinkers and poets, that some interior lack of courage stopped us from having formulated our impressions. And in this sentiment there is a great deal of truth. But while this expression of our thoughts seems to us to be a daring, to the others it is a need; they even do not suspect how much they are daring and new. They must, according to the words of a poet, "Spin out the love, as the silkworm spins its web." That is their capital distinction from common mortals; we recognize them by it at once; and that is the reason we put them above the common level. On the pages of their books we find not the traces of the accidental, deeper penetrating into the life or more refined feelings, but the whole harvest of thoughts, impressions, dispositions, written skilfully, because studied deeply. We also leave something on these pages. Some people dry flowers on them, the others preserve reminiscences. In every one of Sienkiewicz's volumes people will deposit a great many personal impressions, part of their souls; in every one they will find them again after many years.

Turning and climbing, the double helix evolved to an operation which had always existed as a possibility for mankind, the eating of light. The appetite for light was ancient. Light had been eaten metaphorically in ritual transubstantiations. Poets had declared that to be is to be a variable of light, that this peach, and even this persimmon, is light. But the peach which mediated between light and the appetite for light interfered with the taste of light, and obscured the appetite it aroused. The appetite for actual light was at first appeased by symbols. But the simple instruction, promulgated during the Primordification, to taste the source of the food in the food, led to the ability to eat light. Out of the attempt to taste sources came the ability to detect unpleasant chemicals. These had to be omitted. Eaters learned to taste the animal in the meat, and the animal's food and drink, and to taste the waters and sugars in the melon. The discriminations grew finer - children learned to eat the qualities of the pear as they ate its flesh, and to taste its slow ripening in autumn sunlight. In the ripeness of the orange they recapitulated the history of the orange. Two results occurred. First, the children were quick to surpass the adults, and with their unspoiled tastes, and their desire for light, they learned the flavor of the soil in which the blueberry grew, and the salty sweetness of the plankton in the sea trout, but they also became attentive to the taste of sunlight. Soon there were attempts to keep fruit of certain vintages: the pears of a superbly comfortable autumn in Anjou, or the oranges of Seville from a year so seasonless that their modulations of bouquet were unsurpassed for decades. Fruit was eaten as a retrospective of light. Second, children of each new generation grew more clearly, until children were shaped as correctly as crystals. The laws governing the operations of growth shone through their perfect exemplification. Life became intellectually transparent. ("Desire")

Sleepless City (Brooklyn Bridge Nocturne)" Out in the sky, no one sleeps. No one, no one. No one sleeps. Lunar creatures sniff and circle the dwellings. Live iguanas will come to bite the men who don’t dream, and the brokenhearted fugitive will meet on street corners an incredible crocodile resting beneath the tender protest of the stars. Out in the world, no one sleeps. No one, no one. No one sleeps. There is a corpse in the farthest graveyard complaining for three years because of an arid landscape in his knee; and a boy who was buried this morning cried so much they had to call the dogs to quiet him. Life is no dream. Watch out! Watch out! Watch out! We fall down stairs and eat the humid earth, or we climb to the snow’s edge with the choir of dead dahlias. But there is no oblivion, no dream: raw flesh. Kisses tie mouths in a tangle of new veins and those in pain will bear it with no respite and those who are frightened by death will carry it on their shoulders. One day horses will live in the taverns and furious ants will attack the yellow skies that take refuge in the eyes of cattle. Another day we’ll witness the resurrection of dead butterflies, and still walking in a landscape of gray sponges and silent ships, we’ll see our ring shine and rose spill from our tongues. Watch out! Watch out! Watch out! Those still marked by claws and cloudburst, that boy who cries because he doesn’t know bridges exist, or that corpse that has nothing more than its head and one shoe— they all must be led to the wall where iguanas and serpents wait, where the bear’s teeth wait, where the mummified hand of a child waits and the camel’s fur bristles with a violent blue chill. Out in the sky, no one sleeps. No one, no one. No one sleeps. But if someone closes his eyes, whip him, my children, whip him! Let there be a panorama of open eyes and bitter inflamed wounds. Out in the world, no one sleeps. No one. No one. I’ve said it before. No one sleeps. But at night, if someone has too much moss on his temples, open the trap doors so he can see in moonlight the fake goblets, the venom, and the skull of the theaters.

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him such a fire as burns only once in a lifetime, without heat, flickering a red gold flame infinitely ethereal and insubstantial over Miss Pole; Antony and Cleopatra; and the Waterloo Road. He thought her beautiful, believed her impeccably wise; dreamed of her, wrote poems to her, which, ignoring the subject, she corrected in red ink; he saw her, one summer evening, walking in a green dress in a square. “It has flowered,” the gardener might have said, had he opened the door; had he come in, that is to say, any night about this time, and found him writing; found him tearing up his writing; found him finishing a masterpiece at three o’clock in the morning and running out to pace the streets, and visiting churches, and fasting one day, drinking another, devouring Shakespeare, Darwin, The History of Civilisation, and Bernard Shaw.

At that time Eugene had quite reached the conclusion that there was no hereafter—there was nothing save blind, dark force moving aimlessly—where formerly he had believed vaguely in a heaven and had speculated as to a possible hell. His reading had led him through some main roads and some odd by-paths of logic and philosophy. He was an omnivorous reader now and a fairly logical thinker. He had already tackler Spencer's 'First Principles,' which had literally torn him up by the roots and set him adrift and from that had gone back to Marcus Aurelius, Epictetus, Spinoza and Schopenhauer—men who ripped out all his private theories and wonder what life really was. He had walked the streets for a long time after reading some of these things, speculating on the play of forces, the decay of matter, the fact that thought-forms had no more stability than cloud-forms. Philosophies came and went, governments came and went, races arose and disappeared. He walked into the great natural history museum of New York once to discover enormous skeletons of prehistoric animals—things said to have lived two, three, five millions of years before his day and he marvelled at the forces which produced them, the indifference, apparently, with which they had been allowed to die. Nature seemed lavish of its types and utterly indifferent to the persistence of anything. He came to the conclusion that he was nothing, a mere shell, a sound, a leaf which had no great significance, and for the time being it almost broke his heart. It tended to smash his egotism, to tear away his intellectual pride. He wandered about dazed, hurt, moody, like a lost child. But he was thinking persistently. ¶ Then came Darwin, Huxley, Tyndall, Lubbock—a whole string of British thinkers who fortified the original conclusions of the others, but showed him a beauty, a formality, a lavishness of form and idea in nature's methods which fairly transfixed him. He was still reading—poets, naturalists, essayists, but he was still gloomy. Life was nothing save dark forces moving aimlessly. ¶ The manner in which he applied this thinking to his life was characteristic and individual. To think that beauty should blossom for a little while and disappear for ever seemed sad. To think that his life should endure but for seventy years and then be no more was terrible. He and Angela were chance acquaintances—chemical affinities—never to meet again in all time. He and Christina, he and Ruby—he and anyone—a few bright hours were all they could have together, and then would come the great silence, dissolution, and he would never be anymore. It hurt him to think of this, but it made him all the more eager to live, to be loved while he was here. If he could only have a lovely girl's arms to shut him in safely always!

We tend to be unaware that stars rise and set at all. This is not entirely due to our living in cities ablaze with electric lights which reflect back at us from our fumes, smoke, and artificial haze. When I discussed the stars with a well-known naturalist, I was surprised to learn that even a man such as he, who has spent his entire lifetime observing wildlife and nature, was totally unaware of the movements of the stars. And he is no prisoner of smog-bound cities. He had no inkling, for instance, that the Little Bear could serve as a reliable night clock as it revolves in tight circles around the Pole Star (and acts as a celestial hour-hand at half speed - that is, it takes 24 hours rather than 12 for a single revolution). I wondered what could be wrong. Our modern civilization does not ignore the stars only because most of us can no longer see them. There are definitely deeper reasons. For even if we leave the sulphurous vapours of our Gomorrahs to venture into a natural landscape, the stars do not enter into any of our back-to-nature schemes. They simply have no place in our outlook any more. We look at them, our heads flung back in awe and wonder that they can exist in such profusion. But that is as far as it goes, except for the poets. This is simply a 'gee whiz' reaction. The rise in interest in astrology today does not result in much actual star-gazing. And as for the space programme's impact on our view of the sky, many people will attentively follow the motions of a visible satellite against a backdrop of stars whose positions are absolutely meaningless to them. The ancient mythological figures sketched in the sky were taught us as children to be quaint 'shepherds' fantasies' unworthy of the attention of adult minds. We are interested in the satellite because we made it, but the stars are alien and untouched by human hands - therefore vapid. To such a level has our technological mania, like a bacterial solution in which we have been stewed from birth, reduced us. It is only the integral part of the landscape which can relate to the stars. Man has ceased to be that. He inhabits a world which is more and more his own fantasy. Farmers relate to the skies, as well as sailors, camel caravans, and aerial navigators. For theirs are all integral functions involving the fundamental principle - now all but forgotten - of orientation. But in an almost totally secular and artificial world, orientation is thought to be un- necessary. And the numbers of people in insane asylums or living at home doped on tranquilizers testifies to our aimless, drifting metaphysic. And to our having forgotten orientation either to seasons (except to turn on the air- conditioning if we sweat or the heating system if we shiver) or to direction (our one token acceptance of cosmic direction being the wearing of sun-glasses because the sun is 'over there'). We have debased what was once the integral nature of life channelled by cosmic orientations - a wholeness - to the ennervated tepidity of skin sensations and retinal discomfort. Our interior body clocks, known as circadian rhythms, continue to operate inside us, but find no contact with the outside world. They therefore become ingrown and frustrated cycles which never interlock with our environment. We are causing ourselves to become meaningless body machines programmed to what looks, in its isolation, to be an arbitrary set of cycles. But by tearing ourselves from our context, like the still-beating heart ripped out of the body of an Aztec victim, we inevitably do violence to our psyches. I would call the new disease, with its side effect of 'alienation of the young', dementia temporalis.

And so it’s hard for a certain kind of naïve mind at a restless, awakening time of year not to wonder, for example, what a seasonless world might mean for poets, for poems. Shall I compare thee to a weirdly hot, dry purgatorial spell of days broken by torrential spates of relentless rain whose climactic aberrations may be caused by ozone depletion? Or to the aftermath of Cyclone Yasi wreaking havoc in Western Australia? To devastating eruptions of the earth in New Zealand? Well, maybe yes. Because poetry is about nothing if it’s not about transformation.

As a self-confessed Pre-Raphaelite - a term that by the 1880s was interchangeable with ‘Aesthete’ - Constance was carrying a torch whose flame had ben lit in the 1850s by a group of women associated with the founding Pre-Raphaelite Brotherhood painters. Women such as Elizabeth Siddal and Jane Morris, the wives respectively of the painter Dante Gabriel Rossetti and the poet, designer and socialist William Morris, had modelled for the Pre-Raphaelite artists, wearing loose, flowing gowns. But it was not just their depiction on canvas that sparked a new fashion among an intellectual elite. Off canvas these women also establised new liberties for women that some twenty years later were still only just being taken up by a wider female population. They pioneered new kinds of dresses, with sleeves either sewn on at the shoulder, rather than below it, or puffed and loose. While the rest of the female Victorian populace had to go about with their arms pinned to their bodies in tight, unmoving sheaths, the Pre-Raphaelite women could move their arms freely, to paint or pose or simply be comfortable. The Pre-Raphaelite girls also did away with the huge, bell-shaped crinoline skirts, held out by hoops and cages strapped on to the female undercarriage. They dispensed with tight corsets that pinched waists into hourglasses, as well as the bonnets and intricate hairstyles that added layer upon layer to a lady’s daily toilette. Their ‘Aesthetic’ dress, as it became known, was more than just a fashion; it was a statement. In seeking comfort for women it also spoke of a desire for liberation that went beyond physical ease. It was also a statement about female creative expression, which in itself was aligned to broader feminist issues. The original Pre-Raphaelite sisterhood lived unconventionally with artists, worked at their own artistic projects and became famous in the process. Those women who were Aesthetic dress in their wake tended to believe that women should have the right to a career and ultimately be enfranchised with the vote. […] And so Constance, with ‘her ugly dresses’, her schooling and her college friends, was already in some small degree a young woman going her own way. Moving away from the middle-class conventions of the past, where women were schooled by governesses at home, would dress in a particular manner and be chaperoned, Constance was already modern.

Alice James Books is a nonprofit cooperative poetry press, founded in 1973 by five women and two men: Patricia Cumming, Marjorie Fletcher, Jean Pedrick, Lee Rudolph, Ron Schreiber, Betsy Sholl and Cornelia Veenendaal. Their objectives were to give women access to publishing and to involve authors in the publishing process. The press remains true to that mission and to publishing a diversity of poets including both beginning and established poets, and a diversity of poetic styles. The press is named for Alice James—the sister of novelist Henry James and philosopher William James—whose fine journal and gift for writing were unrecognized during her lifetime. Since 1994, the press has been affiliated with the University of Maine at Farmington. The press educates up to 14 interns per year through individual writing apprenticeships. Alice James Books also serves to train and advise the on-campus, bi-annual literary journal, The Sandy River Review. Alice James Books is one of the original and few presses in the country that is run collectively. Our cooperative selects manuscripts for publication through both regional and national annual competitions. The cooperative offers two book competitions a year: the Kinereth Gensler Award and the Beatrice Hawley Award. The winners of the Kinereth Gensler Award competition become active members of Alice James Books and act as the editorial board after their manuscripts are selected for publication. The winner of the Beatrice Hawley Award is exempt from the cooperative work commitment. Alice James Books recently established two new book series: the AJB Translation Series and The Kundiman Poetry Prize. The press partners with Kundiman, a nonprofit organization devoted to the promotion and preservation on Asian American poetry, to present The Kundiman Poetry Prize, a book-length manuscript competition open to all Asian American poets with any number of published books. The inaugural competition took place in 2010.

That same year the same Yakovlev explained on television that the decree rehabilitating all those who had been persecuted since 1917 was not at all a measure of clemency, as people in the Party were saying, but of repentance: “We are not pardoning them, we are asking their pardon. The goal of this decree is to rehabilitate us, who by remaining silent and looking away were accomplices to these crimes.” In short, there was a sudden consensus that for the last seventy years the country had been in the hands of a gang of criminals.

It hurt enough at the time, because I never forgot it after almost four decades. I felt deeply disappointed then because I had hoped that the U.S., a democratic country, instilled revulsion at the inhumanity with which we had been treated. When a simple Joe hated Jews, I thought that he was just ignorant; when a sophisticated young poet, son of intellectuals from New England felt that way - that hurt worse. I thought that the only real solution would be a life in Israel. That thought ripened as the years 1948, 49 progressed and finally, I considered it my solution by going to Israel, as soon as my studies were accomplished.

Our idea was to provide a platform for aspiring poets who can go on to say that they have been published alongside so and so. Often first-time writers are told that they need to experience life and write more. Putting the works side-by-side was to give young talent an edge. For instance, an 18-year-old’s works went alongside Gulzar’s, she (Fouqia) points out. - The New Indian Express

Everything means something to you; dying flowers, The different times of year. The new clothes you wear at the end of Ramadan. A prince’s trust. The way that water flows, Too impetuous to pause, breaking over Stones, rushing towards distant objects, Places you can’t see but which you also flow Outward to. Today you slept long. When you woke your old blood stirred. This too meant something. The girl who woke you Touched your brow. She called you Lord. You smiled, Put up a trembling hand. But she had gone, As seasons go, as a night-flower closes in the day, As a hawk flies into the sun or as the cheetah runs; as The deer pauses, sun-dappled in long grass, But does not stay. Fleeting moments: these are held a long time in the eye, The blind eye of the ageing poet, So that even you, Gaffur, can imagine In this darkening landscape The bowman lovingly choosing his arrow, The hawk outpacing the cheetah, (The fountain splashing lazily in the courtyard), The girl running with the deer.

Before me a scholarly man, of European culture, head of a literary department in one of the great universities of the West. He speaks of it with bitterness, as do almost all his colleagues. Culture is not what it was and he has not the slightest regard for mass culture. He comes from New York and, deep down, he despises California, his colleagues and the decline of standards. He gets 60-80,000 dollars a year and does not have many students or friends. He has lots of ideas, is sincere, proud and awkward. His secret is his python. I see him plunge his gloved hand into its glass case and stroke the reptile's head, which shoots out a voracious tongue and uncoils itself, still famished though it has just devoured a rat. We discuss the diet of snakes. A tortoise slumbers by the fireside in the glow of an artificial wood fire. It is Sunday in Santa Monica. Towards four, the sun drives away the mists of the Pacific. But the snake knows neither night nor day; he is immortal and poisonous and, in the words of the poet, he dreams on the hills of the sky. Which is something his master does not do, he whose reptilian brain identifies with the snake's, and who stares long and hard into his face, even though ordinarily he is incapable of looking people straight in the eye. A perverse couple, the somnambulism of the intellectual mingling with the inner night of the reptile.

Gardening is like poetry in that it is gratuitous, and also that it cannot be done on will alone. What will can do, and the only thing it can do, is make time in which to do it. Young poets, enraged because they don’t get published right away, confuse what will can do and what it can’t. It can’t make a tree peony grow to twelve feet in a year or two, and it can’t force the attention of editors and publishers. What it can do is create the space necessary for achievement, little by little. I thought of this when reading yesterday the review of Leslie Farber’s new book by Anatole Broyard in the Times. A. B.’s first two paragraphs are as follows: “ ‘The attempt of the will to do the work of the imagination:’ W. B. Yeats applied this phrase to an incorrect approach to life. Ours, he says, is the age of the disordered will. It is our conceit that no human possibility is beyond our conscious will. T.S. Eliot had something similar in mind when he said that the bad poet is conscious when he should be unconscious and unconscious when he should be conscious. “Trying to will what cannot be willed, according to Mr. Farber, brings on anxiety, and this anxiety, in turn, cripples our other faculties so that we are left with nothing but anxiety about anxiety, a double unease. Among the things we try to will are happiness, creativity, love, sex, and immortality.

Dante is the first Christian poet, the first one whose whole system of thought is colored by a pure Christian theology. But the poem comes nearer to us than this. It is there real history of a brother man, of a tempted, purified, and at last triumphant human soul; it teaches the benign ministry of sorrow. His is the first keel that ever ventured into the silent sea of human consciousness to find a new world of poetry. He held heartbreak at bay for twenty years, and would not let himself die until he had done his task. Neither shall Longfellow. Neither shall I." Lowell turned and started to descend.

Hemingway studied, as models, the novels of Knut Hamsun and Ivan Turgenev. Isaac Bashevis Singer, as it happened, also chose Hamsun and Turgenev as models. Ralph Ellison studied Hemingway and Gertrude Stein. Thoreau loved Homer; Eudora Welty loved Chekhov. Faulkner described his debt to Sherwood Anderson and Joyce; E. M. Forster, his debt to Jane Austen and Proust. By contrast, if you ask a twenty-one-year-old poet whose poetry he likes, he might say, unblushing, “Nobody’s.” In his youth, he has not yet understood that poets like poetry, and novelists like novels; he himself likes only the role, the thought of himself in a hat. Rembrandt and Shakespeare, Tolstoy and Gauguin, possessed, I believe, powerful hearts, not powerful wills. They loved the range of material they used, the work’s possibilities excited them; the field’s complexities fired their imaginations. The caring suggested the tasks; the tasks suggested the schedules. They learned their fields and then loved them. They worked, respectfully, out of their love and knowledge, and they produced complex bodies of work that endure. Then, and only then, the world maybe flapped at them some sort of hat, which, if they were still living, they ignored as well as they could, to keep at their tasks.

How to scale and enter the risen path was largely unknown. It all might begin in darkness, but it cast a shadow that, when viewed from the ground, was too bleak. Demolition was once a question not of “whether, but when,” until one photographer spent a year on the trail documenting what was there. 4 The scenes were “hallucinatory”—wildflowers, Queen Anne’s lace, irises, and grasses wafted next to hardwood ailanthus trees that bolted up from the soil on railroad tracks, on which rust had accumulated over the decades. 5 Steel played willing host to an exuberant, spontaneous garden that showed fealty to its unusual roots. Tulips shared the soilbed with a single pine tree outfitted with lights for the winter holidays, planted outside of a building window that opened onto the iron-bottomed greenway with views of the Hudson River and the Statue of Liberty to the left and traffic, buildings, and Tenth Avenue to the right. 6 Wading through waist-high Queen Anne’s lace was like seeing “another world right in the middle of Manhattan.” 7 The scene was a kind of wildering, the German idea of ortsbewüstung, an ongoing sense of nature reclaiming its ground. 8 “You think of hidden things as small. That is how they stay hidden. But this hidden thing was huge. A huge space in New York City that had somehow escaped everybody’s notice,” said Joshua David, who cofounded a nonprofit organization with Robert Hammonds to save the railroad. 9 They called it the High Line. “It was beautiful refuse, which is kind of a scary thing because you find yourself looking forward and looking backwards at the same time,” architect Liz Diller told me in our conversation about the conversion of the tracks into a public space, done in a partnership with her architectural firm, Diller Scofidio + Renfro, and James Corner, Principal of Field Operations, and Dutch planting designer Piet Oudolf. Other architectural plans proposed turning the High Line into a “Street in the Air” with biking, art galleries, and restaurants, but their team “saw that the ruinous state was really alive.” Joel Sternfeld, the “poet-keeper” of the walkway, put the High Line’s resonance best: “It’s more of a path than a park. And more of a Path than a path.” 10

Slant Slant or half rhyme appears to be a phenomenon of the last hundred years or so. In fact it is a new definition for strategies poets have always used to build up musical patterns within and across lines. In Welsh poetry, for instance, where Wilfred Owen and Dylan Thomas encountered it, it’s called proest. It widens the focus from full rhyme to consider the range of assonantal or consonantal shapes our ear can recognise as more or less distant relations of the original rhyme sound. In so doing it broadens the range of English, allowing it to equal the rhyming resources of Italian or Russian by drawing on its native reserves of alliteration and vowel-patterning. It also reinforces the element of discovery which is an integral part of rhyme: the surprise of a good slant rhyme will invigorate the listener’s ear just as much as a too-easily anticipated full rhyme tires it.

It is not impossible, however uncongenial the thought may be to the Citadel, that many "unscientific" reality-tunnels, explored by, say, painters, or poets, or musicians, or novelists, or "mystics," may be not non-existent but merely not-tuned-in by those who have not practiced for many years in tuning-in painterly or poetic or musical or novelistic or "mystical" brain circuits.

Sometimes I wonder whether my whole life has been a singular quest for beauty. Beauty in mathematics, and beauty in literature and in music. I feel that creating mathematics and writing fiction are closely related. While authors are poets in the universe of language, mathematicians seek the poetry in the language of the universe. The German mathematician Karl Weierstrass once wrote that any great mathematician must also be a poet. When I was young, several people told me that I’d be a poet when I grew up. So in a way, it feels as if I’ve tried to investigate whether the reverse implication is true: whether every poet must also be a great mathematician. I still don’t know the answer, but I doubt that this is the case. Over the past few years, I’ve started to dream of writing a novel. I’ve marveled at how the enjoyment of hearing a piece of music often gets stronger the better you know the piece, while a novel rarely has the same impact on third reading. Is it because music relies on recognition, while literature relies on the unexpected? Or has it more to do with the structure of the music, how the themes reflect each other so that the listener discovers ever new connections? The way the interplay of colors in a painting can fluctuate in different light, so that the painting continually changes? If so, it must be possible to write a novel in the same way. A novel that gets richer every time you read it, because you discover new connections that were previously invisible. A novel that carries something of the eternal beauty of music and mathematics within it. One of the most alluring things about mathematics is perhaps the feeling of being able to uncover unshakeable truths. And that terms such as truth and beauty obtain a kind of objectivity, because mathematicians have a shared understanding of what constitutes a valid proof and what is aesthetically beautiful. The disadvantage is that the truths of mathematics don’t say anything about what is true in the world beyond mathematics itself.

An early reviewer of Cantos XXXI–XLI in the New York Nation amused himself with the conceit of Mr Pound taking correspondence courses in such subjects as ‘History of the U.S. Treasury from the Revolution to the Civil War (from the Original Documents)’ and making notes diligently on small pieces of paper which a gust of wind scattered over the hills about Rapallo, and which he then picked up and sent to the printer as he found them.

HIC | JACET | FISCI LIBERATOR’, ‘here lies the Treasury’s Liberator’. However, in Senator Thomas Hart Benton’s fully documented account of the Bank war, in his Thirty Years’ View, or A History of the Working of the American Government (1854), the hero is unquestionably President Jackson, and Van Buren is not seen to play a leading role, in part because while Vice-President he chaired the Senate Debates and could have no voice in them. (That difference raises the question of historical accuracy to which I will return.) The first third of canto 37 weaves together thirty or more items, most of them things said by Van Buren or taken up by him over the many years from 1813 when he was a New York state senator to 1840 when he was President. The passage is a prime instance of Pound’s method of adding one detail to another without providing the conventional syntactical and logical connections, in order to allow a more complex web of relations to develop. Banks fraudulently failing, wealthy landowners and factory owners, high judges and the Chief Justice himself, senators, financial speculators, all are implicated in defrauding immigrants of the value of their banknotes, in driving settlers off the land they would cultivate, in denying workers the vote, in preventing local government of local affairs, and in ‘“decrying government credit. |…in order to feed on the spoils”’.

Perhaps the first unmistakable clear statement of an entirely new and modern attitude towards winter-neither the sporadic excitement of the little ice age nor the depression of the neoclassical attitude- is a poem written towards the end of the eighteenth century by the forgotten British poet William Cowper: O winter, ruler of the inverted year… Thy forehead wrapp’d in clouds, A leafless branch thy sceptre, and thy throne A sliding care, indebted to no wheels But urged by storms along its slippery way, I love thee, all unlovely as thou seem’st, And dreaded as thou art!... I crown thee king of intimate delights, Fireside enjoyments, homeborn happiness, Of long interrupted evening, know. It is a change that we tend to coalesce around a philosophical ideal that historians like to call “the picturesque”- turning to nature not as a thing to be feared or even as a thing to seek religious comfort from, but as a thing simply to enjoy, to take pleasure in…. This poem is the first unambiguous declaration of the winter picturesque. With Cowper we’re not simply experiencing an emotion that has never been registered before; in a sense we ae experiencing an emotion that has never been felt before.

The poet Charles Reznikoff walked about twenty miles a day through the streets of Manhattan. One Thomas J. Kean, age sixty-five, walked every street, avenue, alley, square, and court on Manhattan Island. It took him four years, during which he traversed 502 miles, comprising 3,022 city blocks. He walked the streets first, then the avenues, lastly Broadway.

It is even open to question whether this reference was due to Butler’s having read the book. The passage referred to is in the second part of Hudibras, which was not published until 1664, twenty-seven years after the publication of the New Canaan. It is perfectly possible that Butler may have known Morton; for in 1637 the future author of Hudibras was already twenty-five years old, and Morton lingered about London for six or seven years after that. There are indications that he knew Ben Jonson;[185] and, indeed, it is scarcely possible that with his sense of humor and convivial tastes Morton should not often have met the poets and playwrights of the day at the Mermaid.

When the star of Islam rises, the Jews rise with it to a golden age of intellectual creativity. When feudalism settles over Europe, they open shop as its bankers and scholars. And when the Modern Age struts in, we find them sitting on the architectural staff shaping it. If we now shift our sights from a general view of the history of civilizations to focus on that of the Jews only, we see an equally incredible succession of events. We see Jewish history begin with one man, Abraham, who introduces a new concept to the world—monotheism—which he hands to his descendants. Now Jewish history hits the roads of the world. After a nomadic existence in Canaan, enslavement in Egypt, and settlement of Palestine; after defeat by the Assyrians, captivity by the Babylonians, and freedom under the Persians; after an intellectual clash with the Greeks, strife under the Maccabeans, and dispersion by the Romans; after flourishing as mathematicians, poets, and scientists under Moslem rule; after surviving as scholars, businessmen, and ghetto tenants under feudal lords; after surviving as statesmen, avant-garde intellectuals, and concentration camp victims in the Modern Age, a small segment of these descendants of Abraham return—after a 2,000-year absence—to reestablish Israel, while the rest choose to remain in the world at large in a self-imposed exile. Such a succession of events would be improbable were it not historic fact. What can we make of these events? Are they mere accidents of history? Are they but blind, stumbling, meaningless facts, a series of causes and effects without a definite design? Or is this improbable succession of events part of what philosophers call “teleologic history”—that is, a succession of events having a predetermined purpose. If so, who drafted such a blueprint? God? Or the Jews themselves? Why would God choose the Jews as His messengers for a divine mission? Or, to use William Norman Ewer’s trenchant phrase, “How odd of God to choose the Jews.” The equally trenchant rejoinder by Leon Roth is, “It’s not so odd. The Jews chose God.” If God had a need for messengers to carry out a mission, He would have

A thousand years ago, the great Kyrgyz poet Yusuf Khass Hajib (also known as Yusuf Balasaguni), wrote: “As long as you live, any wish can be realized. As long as you have wisdom, any goal can be attained.

Distant American colonies were presented as a cure. The poor could be purged. In 1622, the famous poet and clergyman John Donne wrote of Virginia in this fashion, describing the new colony as the nation’s spleen and liver, draining the “ill humours of the body . . . to breed good bloud.

Poet Ayoade, the first African immigrant to serve as a nuclear missile operator in the United States Air Force, debuts with an inspirational memoir chronicling his childhood in Nigeria and journey to become a doctor and American citizen. Ayoade, who at the age of seven promised his mother “One day, I will take you far away from here,” details his upbringing with an abusive father and the many family tragedies he endured—along with his dedication to creating a different life: “Underground is my unusual journey from childhood poverty to where I am today. How the impossible became a reality.” Readers will be swept into Ayoade’s vivid recollections of his early years, including his strict education, brushes with death, and a strained relationship with his father. He recounts the family’s passion for American movies that made “America seem like the perfect place,” sparking his desire for a better future, and details his decision to become a veterinarian and eventually pursue a career in the U.S. military to ensure the best life for his family (and future generations). Ayoade’s story is moving, particularly his reconciliation with his father and hard-earned American citizenship, and his message that it’s never too late to chase your dreams resonates. That message will evoke strong emotions for readers as Ayoade highlights the importance of hard work and the benefit of a committed support system, alongside his constant “wishing, praying, and fighting to be free from all the sadness and injustice around me”—a theme that echoes through much of the book, including in his acknowledgement that the fear he experienced as a nuclear missile operator was a “cost of this freedom.” Ayoade’s poetry and personal photographs are sprinkled throughout, illuminating his deep love for family and his ultimate belief in liberty as “The reason for it all./ A foundation for a new generation,/ The best gift to any child.” Takeaway: This stirring memoir documents an immigrant’s fight for the American dream. Great for fans of: Ashley C. Ford’s Somebody's Daughter, Maria Hinojosa’s Once I Was You. Production grades Cover: A- Design and typography: A Illustrations: A Editing: A Marketing copy: A

Life is a common good, it inheres in man and beast and passes from one to another, from body to body, this is how souls travel. In nature, everything is constantly changing, nothing is lost. The soul, that is, what constitutes life, is like wax: it retains its identity but only changes shape and constantly appears as new individuals. This is the nature of being: nothing in the world remains in one state, everything flows, every phenomenon is in progress, time itself moves steadily, like a river. Night turns into day, day into night, the moon has different phases, the year has different seasons. Nor will our bodies remain tomorrow what they are today or what they were yesterday. How many changes does a person undergo in the course of life, from fetus through infancy, crawling, maturity, aging, and unto death! And the whole universe. According to theory of the four elements, everything that exists arises from these very basic elements, and everything then turns into building material. “To be born”means “to begin to be something else.”“To die”means “to stop being what you used to be.”The ingredients are interchangeable, but matter remains the same. What does geology prove? Eternal transformations of the earth. There were seas, and now there are no seas; there were mountains and they have vanished; rivers flowed and dried up; volcanoes erupted and cooled. And that’s just the inanimate nature for you! The law of change in the animal world is even clearer. Caterpillars turn into butterflies, tadpoles into frogs, larvae into bees. Human societies and states are governed by the same principle. Troy has fallen, Pythagoras said to Numa Pompilius, and it is from that fall, thanks to Aeneas, the progenitor of the Julian house, that the Roman Empire will be reborn. It will be very powerful. Pythagoras did not say what would happen to Rome next. After all, everything changes? Yes, everything changes, the golden age has passed, the iron age has come. Therefore, I tell you, do not eat meat, concluded Pythagoras. And Numa Pompilius, having heard his teachings, came to Rome, instituted civilization there, and instructed a nation of warriors in the ways of peaceful coexistence.

The Son of a vacuum Among the tall trees he sat lost, broken, alone again, among a number of illegal immigrants, he raised his head to him without fear, as nothing in this world is worth attention. -He said: I am not a hero; I am nothing but a child looking for Eid. The Turkmen of Iraq, are the descendants of Turkish immigrants to Mesopotamia through successive eras of history. Before and after the establishment of the Ottoman Empire, countries crossed from here, and empires that were born and disappeared, and still, preserve their Turkish identity. Although, after the collapse of the Ottoman Empire and the division of the Arab world, they now live in one of its countries. Kirkuk, one of the heavens of God on earth, is one of the northern governorates of Iraq in which they live. The Kurdish race is shared with them, a race out of many in Iraq. Two children of two different ethnicities, playing in a village square in Kirkuk province when the news came from Baghdad, of a new military coup. Without delay, Saddam Hussein took over the reins of power, and faster than that, Iraq was plunged into successive wars that began in 1980 with its neighbor Iran, a war that lasted eight years. Iraq barely rested for two years, and in the third, a new war in Kuwait, which did not end in the best condition as the leader had hoped, as he was expelled from it after the establishment of an international coalition to liberate it, led by the United States of America. Iraq entered a new phase of suffering, a siege that lasted more than ten years, and ended up with the removal of Saddam Hussein from his power followed by the US occupation of it in 2003. As the father goes, he returns from this road, there is no way back but from it. As the date approaches, the son stands on the back of that hill waiting for him to return. From far away he waved a longing, with a bag of dreams in his hands, a bag of candy in his pocket, and a poem of longing by a Turkmen poet who absorb Arabic, whose words danced on his lips, in his heart. -When will you come back, dad? -On the Eid, wait for me on the hill, you will see me coming from the road, waving, carrying your gifts. The father bid his son farewell to the Arab Shiite city of Basra, on the border with Iran, after the outbreak of the Iran-Iraq war, as the homeland is calling its men, or perhaps the leader is calling his subjects. In Iraq, as in many countries of the Arab world, the homeland is the leader, and the leader is the homeland. Months passed, the child eagerly anticipating the coming of the feast, but the father hurried to return without an appointment, loaded on the shoulders, the passion reached its extent in the martyr’s chest, with a sheet of paper in his pocket on which he wrote: Every morning takes me nostalgic for you, to the jasmine flower, oh, melody in the heart, oh balm I sip every while, To you, I extend a hand and a fire that ignites in the soul a buried love, night shakes me with tears in my eyes, my longing for you has shaped me into dreams, stretching footsteps to the left and to the right, gleam, calling out for me, you scream, waking me up to the glimpse of the light of life in your face, a thousand sparkles, in your eyes, a meaning of survival, a smile, and a glace, Eid comes to you as a companion, without, life yet has no trace, for roses, necklaces of love, so that you amaze. -Where is Ruslan? On the morning of the feast day, at the door of his house, the kids asked his mother, -with tears in her eyes: He went to meet his father. A moment of silence fell over the children, -Raman, with a little gut: Aunt, do you mean he went to the cemetery? -Mother: He went to meet him at those hills.

The Spinning Year by Stewart Stafford Warm days, leaves of green, Winter's looming touch between, Harvesting in chill of night, Spiders crawl in roused delight. Rearranging the hibernacle, My living quarter tabernacle, To see out the darkened months, Until come Spring's timed shunts. Emerge into a world of change, Earth's mother hand will rearrange, Another tree ring sagely earned, See around a new corner turned. © Stewart Stafford, 2023. All rights reserved.

Rodolphe Salis was a tall, red-headed bohemian with a coppery beard and boundless charisma. He had tried and failed to make a success of several different careers, including painting decorations for a building in Calcutta. But by 1881 he was listless and creatively frustrated, uncertain where his niche might lie. More pressingly, he was desperate to secure a steady income. But then he had the ingenious idea to turn the studio which he rented, a disused post office on the resolutely working-class Boulevard de Rochechouart, into a cabaret with a quirky, artistic bent. He was not the first to attempt such a venture: La Grande Pinte on the Avenue Trudaine had been uniting artists and writers to discuss and give spontaneous performances for several years. But Salis was determined that his initiative would be different – and better. A fortuitous meeting ensured that it was. Poet Émile Goudeau was the founder of the alternative literary group the Hydropathes (‘water-haters’ – meaning that they preferred wine or beer). After meeting Goudeau in the Latin Quarter and attending a few of the group’s gatherings, Salis became convinced that a more deliberate form of entertainment than had been offered at La Grande Pinte would create a venue that was truly innovative – and profitable. The Hydropathe members needed a new meeting place, and so Salis persuaded Goudeau to rally his comrades and convince them to relocate from the Latin Quarter to his new cabaret artistique. They would be able to drink, smoke, talk and showcase their talents and their wit. Targeting an established group like the Hydropathes was a stroke of genius on Salis’s part. Baptising his cabaret Le Chat Noir after the eponymous feline of Edgar Allan Poe’s story, he made certain that his ready-made clientele were not disappointed. Everything about the ambience and the decor reflected Salis’s unconventional, anti-establishment approach, an ethos which the Hydropathes shared. A seemingly elongated room with low ceilings was divided in two by a curtain. The front section was larger and housed a bar for standard customers. But the back part of the room (referred to as ‘L’Institut’) was reserved exclusively for artists. Fiercely proud of his locality, Salis was adamant that he could make Montmartre glorious. ‘What is Montmartre?’ Salis famously asked. ‘Nothing. What should it be? Everything!’ Accordingly, Salis invited artists from the area to decorate the venue. Adolphe Léon Willette painted stained-glass panels for the windows, while Théophile-Alexandre Steinlen created posters. And all around, a disorientating mishmash of antiques and bric-a-brac gave the place a higgledy-piggledy feel. There was Louis XIII furniture, tapestries and armour alongside rusty swords; there were stags’ heads and wooden statues nestled beside coats of arms. It was weird, it was wonderful and it was utterly bizarre – the customers loved it.

Every savage can dance,' declared Jane Austen's Mr. Darcy in Pride and Prejudice. His antagonist's riposte now seems odd—'I doubt not that you are an adept in the science yourself, Mr Darcy.' 'Science' is among the most slippery words in the English language, because although it has been in use for hundreds of years, its meanings constantly shift and are impossible to pin down. That plural (meanings) was deliberate. In the early nineteenth century, when Austen casually mentioned the science of dancing, other writers were still using 'science' for the mediaeval subjects of grammar, logic, and rhetoric. Long afterwards, 'science' could still mean any scholarly discipline, because the modern distinction between the Arts and Sciences had not yet solidified. The Victorian art critic John Ruskin listed five subjects he thought worthwhile studying at university—the Sciences of Morals, History, Grammar, Music, and Painting—none of which feature on modern scientific syllabuses. All of them, Ruskin declared, were more intellectually demanding than chemistry, electricity, or geology. However skilfully Mr Darcy performed his science of dancing, Austen could never have called him a scientist. That word, now so common, was not even invented until twenty years later, in 1833, when the British Association for the Advancement of Science (BAAS) was holding its third annual meeting. As the conference delegates joked about needing an umbrella term to cover their diverse interests, the poet Samuel Taylor Coleridge rejected 'philosopher', and William Whewell—one of Babbage's allies, a Cambridge mathematical astronomer—suggested 'scientist' instead. The new word was very slow to catch on. Many Victorians insisted on keeping older expressions, such as 'man of science', or 'naturalist', or 'experimental philosopher'. Even men now seen as the nineteenth century's most eminent scientists—Darwin, Faraday, Lord Kelvin—refused to use the new term for describing themselves. Why, they demanded, should anyone bother to invent such an ugly word when perfectly adequate expressions already existed? Mistakenly, critics accused 'scientist' of being an American import, a trans-Atlantic neologism—one eminent geologist declared it was better to die 'than bestialize our tongue by such barbarisms'. The debate was still raging sixty years after Whewell first introduced the idea, and it was only in the early twentieth century that 'scientist' was fully accepted.

In this watercolor Gavarni portrays an individual whose father was an industrialist and whose older brother was a distinguished professor. From the looks of him, Hippolyte Beauvisage Thomire had a keen eye for fashion in casual clothing, however. He represents the new generation of bourgeois consumers that emerged during the July Monarchy. He is the modern young man off the newly invented fashion plates and out of the cast of Balzac’s Human Comedy. Charles Baudelaire, the great cultural critic of Louis Philippe’s reign in latter years, called the artist Gavarni “the poet of official dandysme." Dandysme, Baudelaire said (in his famous essay “De l’heroisme de la vie moderne” [The heroism of modern life], which appeared in his review of the Salon of 1846), was “a modern thing.” By this he meant that it was a way for bourgeois men to use their clothing as a costume in order to stand out from the respectable, black-coated crowd in an age when aristocratic codes were crumbling and democratic values had not yet fully replaced them. The dandy was not Baudelaire’s “modern hero,” however. “The black suit and the frock coat not only have their political beauty as an expression of general equality,” he wrote, “but also their poetic beauty as an expression of the public mentality.” That is why Baudelaire worshiped ambitious rebels, men who disguised themselves by dressing like everyone else. “For the heroes of the Iliad cannot hold a candle to you, Vautrin, Rastignac, Birotteau [all three were major characters in Balzac’s novels] . . . who did not dare to confess to the public what you went through under the macabre dress coat that all of us wear, or to you Honore de Balzac, the strangest, most romantic, and most poetic among all the characters created by your imagination,” Baudelaire declared.

As another year went by And a new year came to greet us I got up in the morning to take my class And in the afternoon, while sauntering down the road I saw a hairdresser's place inviting me in And so I met the hairdresser A fine young lad, and I told him to get my hair and beard trimmed if he may please But for some reason I decided to keep the moustache without any trims Life makes us poets, with a love for poetry.

Lesser is back in New York. He’d been in Paris for two months working as a gofer for the film director Maurice Barraque. To Lesser and his fellow Francophile cineastes, every one of Barraque’s films is a revelation. Beginning in the late sixties Barraque had directed and starred in his own films, all made for nothing, in circumstances that were as haphazard as they were abject. His best works were bolts of genius quickly written, hastily shot and never revised. He was a beautiful drug addict, a poet and painter of light and sound. Onscreen, he was as luminous a presence as the great beauties of European cinema who played opposite him. They worked for nothing, they expected nothing - half of his films were never finished. It was a career famous for disappointment and disaster: Cinema is haunted. We do not watch it, it watches us. But suddenly, late in life he’d had an improbable, unexpected renaissance and began churning out, year after year, small-scale diary-like films. He became almost respectable. All he required was a 16-mm camera, a handful of actors, a few rooms for them to move about in. And, of course, the streets of Paris.

As another year went by And a new year came to greet us I got up in the morning to take my class And in the afternoon, while sauntering down the road I saw a hairdresser's saloon inviting me in And so I met the hairdresser A fine young lad, and I told him to get my hair and beard trimmed if he may please But for some reason I decided to keep the moustache without any trims Life makes us poets, with a love for poetry.

Where on earth did it come from? You can ask that question of any poem, and one inevitable answer is a simple one: work. No made thing springs up unbidden, even those that seem to. The poem that announced itself to the intoxicated Coleridge, before a knock at the door banished most of it from his memory, or the composition that sprung full blown into the head of Mozart, as he stepped down from a carriage after a satisfying dinner, seemed to pour from the artist's hand, so long schooled those hands had become. But years of labor inform those spontaneous productions. Though a poem over which one struggles may seem labored, it often prepares the way for new writing in which what's been learned emerges with an effortless grace.