Raven Poem Quotes

Take thy beak from out my heart, and take thy form from off my door!” Quoth the raven, “Nevermore.

Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore,

She walks in beauty, like the night Of cloudless climes and starry skies; And all that’s best of dark and bright Meet in her aspect and her eyes: Thus mellow’d to that tender light Which heaven to gaudy day denies. One shade the more, one ray the less, Had half impaired the nameless grace Which waves in every raven tress, Or softly lightens o’er her face; Where thoughts serenely sweet express How pure, how dear their dwelling-place. And on that cheek, and o’er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow, But tell of days in goodness spent, A mind at peace with all A heart whose love is innocent!

And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon's that is dreaming, And the lamp-light o'er him streaming throws his shadow on the floor: And my soul from out that shadow that lies floating on the floor Shall be lifted — nevermore!

Especially when the October wind With frosty fingers punishes my hair, Caught by the crabbing sun I walk on fire And cast a shadow crab upon the land, By the sea's side, hearing the noise of birds, Hearing the raven cough in winter sticks, My busy heart who shudders as she talks Sheds the syllabic blood and drains her words.

Doubting, dreaming dreams no mortal ever dared to dream before

And the silken sad uncertain rustling of each purple curtain Thrilled me — filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating, Tis some visitor entreating entrance at my chamber door — Some late visitor entreating entrance at my chamber door; — This it is, and nothing more.

e minha alma dessa sombra que no chão há mais e mais, libertar-se-á... Nunca mais.

Sing a song of suspense in which the players die. Four and twenty ravens in an Edgar Allan Pie. When the pie was broken, the ravens couldn't sing. Their throats had been sliced open by Stephen, the new King. The King was in his writing house, stifling a laugh While his queen was in a tizzy of her bloody Lovecraft. When the dead maid got the garden for her rank as royal whore, King's shovel made it double and he married nevermore.

The secret of a poem, no less than a jest's prosperity, lies in the ear of him that hears it.

I saw thee once - only once - years ago: I must not say how many - but not many. It was a July midnight; and from out A full-orbed moon, that, like thine own soul, soaring, Sought a precipitate pathway up through heaven, There fell a silvery-silken veil of light, With quietude, and sultriness, and slumber, Upon the upturn'd faces of a thousand Roses that grew in an enchanted garden, Where no wind dared stir, unless on tiptoe - Fell on the upturn'd faces of these roses That gave out, in return for the love-light, Their odorous souls in an ecstatic death - Fell on the upturn'd faces of these roses That smiled and died in the parterre, enchanted By thee, and by the poetry of thy presence. Clad all in white, upon a violet bank I saw thee half reclining; while the moon Fell upon the upturn'd faces of the roses, And on thine own, upturn'd - alas, in sorrow! Was it not Fate, that, on this July midnight - Was it not Fate, (whose name is also Sorrow,) That bade me pause before that garden-gate, To breathe the incense of those slumbering roses? No footsteps stirred: the hated world all slept, Save only thee and me. (Oh, Heaven! - oh, G**! How my heart beats in coupling those two words!) Save only thee and me. I paused - I looked - And in an instant all things disappeared. (Ah, bear in mind the garden was enchanted!) The pearly lustre of the moon went out: The mossy banks and the meandering paths, The happy flowers and the repining trees, Were seen no more: the very roses' odors Died in the arms of the adoring airs. All - all expired save thee - save less than thou: Save only divine light in thine eyes - Save but the soul in thine uplifted eyes. I saw but them - they were the world to me. I saw but them - saw only them for hours - Saw only them until the moon went down. What wild heart-histories seemed to lie enwritten Upon those crystalline, celestial spheres! How dark a wo! yet how sublime a hope! How silently serene a sea of pride! How daring an ambition! yet how deep - How fathomless a capacity for love! But now, at length, dear Dian sank from sight, Into a western couch of thunder-cloud; And thou, a ghost, amid the entombing trees Didst glide away. Only thine eyes remained. They would not go - they never yet have gone. Lighting my lonely pathway home that night, They have not left me (as my hopes have) since. They follow me - they lead me through the years. They are my ministers - yet I their slave. Their office is to illumine and enkindle - My duty, to be saved by their bright fire, And purified in their electric fire, And sanctified in their elysian fire. They fill my soul with Beauty (which is Hope,) And are far up in Heaven - the stars I kneel to In the sad, silent watches of my night; While even in the meridian glare of day I see them still - two sweetly scintillant Venuses, unextinguished by the sun!

The Wolf trots to and fro, The world lies deep in snow, The raven from the birch tree flies, But nowhere a hare, nowhere a roe, The roe -she is so dear, so sweet - If such a thing I might surprise In my embrace, my teeth would meet, What else is there beneath the skies? The lovely creature I would so treasure, And feast myself deep on her tender thigh, I would drink of her red blood full measure, Then howl till the night went by. Even a hare I would not despise; Sweet enough its warm flesh in the night. Is everything to be denied That could make life a little bright? The hair on my brush is getting grey. The sight is failing from my eyes. Years ago my dear mate died. And now I trot and dream of a roe. I trot and dream of a hare. I hear the wind of midnight howl. I cool with the snow my burning jowl, And on to the devil my wretched soul I bear.

Stand still. The trees ahead and bushes beside you Are not lost. Wherever you are is called Here, And you must treat it as a powerful stranger, Must ask permission to know it and be known. The forest breathes. Listen. It answers, I have made this place around you. If you leave it, you may come back again, saying Here. No two trees are the same to Raven. No two branches are the same to Wren. If what a tree or a bush does is lost on you, You are surely lost. Stand still. The forest knows Where you are. You must let it find you.

I will hold what I am inside, and keep my hands tight around all the things I have seen and heard, and felt. The poems composed as I washed and scythed and cooked until my hands were raw. The sagas I know by heart. I am sinking all I have left and going underwater. If I speak, it will be in bubbles of air. They will not be able to keep my words for themselves. They will see the whore, the madwoman, the murderess, the female dripping blood into the grass and laughing with her mouth choked with dirt. They will say ‘Agnes’ and see the spider, the witch caught in the webbing of her own fateful weaving. They might see the lamb circled by ravens, bleating for a lost mother. But they will not see me. I will not be there.

The multiplicity of forms! The hummingbird, the fox, the raven, the sparrow hawk, the otter, the dragonfly, the water lily! And on and on. It must be a great disappointment to God if we are not dazzled at least ten times a day.

The Mania Speaks You clumsy bootlegger. Little daffodil. I watered you with an ocean and you plucked one little vein? Downed a couple bottles of pills and got yourself carted off to the ER? I gifted you the will of gunpowder, a matchstick tongue, and all you managed was a shredded sweater and a police warning? You should be legend by now. Girl in an orange jumpsuit, a headline. I built you from the purest napalm, fed you wine and bourbon. Preened you in the dark, hammered lullabies into your thin skull. I painted over the walls, wrote the poems. I shook your goddamn boots. Now you want out? Think you’ll wrestle me out of you with prescriptions? A good man’s good love and some breathing exercises? You think I can’t tame that? I always come home. Always. Ravenous. Loaded. You know better than anybody: I’m bigger than God.

She sat on the end of Blue’s bed, looking as soft as a poem in the dim light.

Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven,

On Broad Street, ravens lurk on the Divine Lorraine Hotel as if to say Always a corpse flower, never a bride.

Fox-Trot By the stream the fox and she-fox stood Nose to nose beneath the stars Dancing the music of the woods. The deer rapped a beat with their hooves, The ravens sang from raven hearts As by the stream the fox and she-fox stood. The great owl called as a great owl would, The squirrels all shimmied in the dark, Dancing the music of the woods. Then from the north a fierce wind blew And broke the starry dance apart By the stream where the fox and she-fox stood.

It may be that those who care for poetry lost little by his death. Fluent in prose, he never wrote verse for the sake of making a poem. When a refrain of image haunted him, the lyric that resulted was the inspiration, as he himself said, of a passion, not of a purpose.

In the Scriptures and the stories, in the stained-glass windows of the cathedral or the paintings that hung from its stone walls, the angels always looked like Leah: golden-haired and blue-eyed, dressed in fine silks and satins, with full cheeks and skin as pale as river pearls. As for the girls like Immanuelle—the ones from the Outskirts, with dark skin and raven-black curls, cheekbones as keen as cut stone—well, the Scriptures never mentioned them at all. There were no statues or paintings rendered in their likeness, no poems or stories penned in their honor. They went unmentioned, unseen.

For many hours the immediate vicinity of the low framework upon which I lay had been literally swarming with rats. They were wild, bold, ravenous — their red eyes glaring upon me as if they waited but for motionless on my part to make me their prey. "To what food," I thought, "have they been accustomed in the well?

Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore. “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven, “Nevermore.

don't pe in te urry—don't. Will you pe take de odder pottle, or ave you pe got zober yet and come to your zenzes?

Birds of a feather burn together, though as a rule ravens are singular.

Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven, “Nevermore.” And

No one writes poetry comparing their lovers to chickweed (or if they do, the poems are rarely well received).

Ah! what is not a dream by day To him whose eyes are cast On things around him with a ray Turned back upon the past?

It seems to me that I have lived alone— Alone, as one that liveth in a dream: As light on coldest marble, or the gleam Of moons eternal on a land of stone, The dawns have been to me. I have but known The silence of a frozen land extreme— A sole attending silence, all supreme As is the sea’s enormous monotone. Upon the icy desert of my days, No bright mirages are, but iron rays Of dawn relentless, and the bitter light Of all-revealing noon.**** Alone, I crave The friendly clasp of finite arms, to save My spirit from the ravening Infinite.

It is a telling commentary on how authors control what they write, but not what is read. Poe regarded his tales of ratiocination as something of a distraction; his great loves were poetry and his “prose poem,” Eureka. “The Raven” was indeed Poe’s most famous work during his lifetime, and time has not lessened its charms—but as art it is distinctly backward-looking.

Now the pillow’s Hot on both sides. A second candle Dies, the ravens cry Endlessly. No sleep all night, Too late to think of sleep… How unbearably white The blind’s white deep. Hello, Morning!

When an animal dies, another of the same species may cling to the body, eat the body, or look bored. Bees expel dead bodies from the hive or, if that is impossible, embalm them in honey. Elephants "say" a ritualistic good-bye, and touch their dead before slowly walking away. Corvids often accept the death of a companion without much fuss, but they at times have “funerals,” where scores of birds lament over the corpse of a deceased crow. But it is a bit odd that people should investigate whether animals “comprehend death,” as if human beings understood what it means to die. Is death a prelude to reincarnation? A portal to Heaven or Hell? Complete extinction? Union with all life? Or something else? All of these views can at times be comforting, yet people usually fear death, quite regardless of what they claim to believe. In the natural world, killing seems a casual affair. Human beings, of course, kill on a massive scale, but most of us can only kill, if at all, by softening the impact of the deed through rituals such as drink or prayer. The strike of a spider, a heron, or a cat is swift and, seemingly, without inhibition or remorse. They pounce with a confidence that could indicate ignorance, indifference, or else profound knowledge. Could this be, perhaps, because animals cannot conceive of killing, since they are not aware of death? Could it be because they understand death well, far better than do human beings? If animals envision the world not in terms of abstract concepts but sensuous images, the soul might appear as a unique scent, a rhythmic motion, or a tone of voice. Death would be the absence of these, though without that absolute finality that we find so severe. Perhaps the heron that snaps a fish thinks his meal lives on, as he one day will, in the form of currents in the pond.

Big Brown Moose I'm a big brown moose, I'm a rascally moose, I'm a moose with a tough, shaggy hide; and I kick and I prance in a long-legged dance with my moose-mama close by my side. I shrug off the cold and I sneeze at the wind and I swivel my ears in the snow; and I tramp and I tromp over forest and swamp, 'cause there's nowhere a moose cannot go. I'm a big brown moose, I'm a ravenous moose as I hunt for the willow and yew; with a snort and a crunch, I rip off each bunch, and I chew and I chew and I chew. When together we slump in a comfortable clump -- my mountainous mama and I -- I give her a nuzzle of velvety muzzle. Our frosty breath drifts to the sky. I'm a big brown moose, I'm a slumberous moose, I'm a moose with a warm, snuggly hide; and I bask in the moon as the coyotes croon, with my moose-mama close by my side.

Bronze and copper to course through your veins Hair of coal, black as raven Liquid fossils flowing longer than the Nile Rubbies and sapphires inside your chambers And diamonds for pupils in almond set eyes Because I love you

Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven “Nevermore.

Radu had practiced the poem so often he could recite it in his sleep. He had stolen shiny bits from famous Arabic poems, gathering them like a raven to line his own nest. The language was dense and flowery, hyperbolic in the extreme. Murad listened, enraptured, as his reign was likened to the ocean and his posterity a mighty river.

Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven “Nevermore.

Elegy for Smoking" It’s not the drug I miss but all those minutes we used to steal outside the library, under restaurant awnings, out on porches, by the quiet fields. And how kind it used to make us when we’d laugh and throw our heads back and watch the dragon’s breath float from our mouths, all ravenous and doomed. Which is why I quit, of course, like almost everyone, and stay inside these days staring at my phone, chewing toothpicks and figuring the bill, while out the window, the smokers gather in their same old constellations, like memories of ourselves. Or like the remnants of some decimated tribe, come down out of the hills to tell their stories in the lightly-falling rain— to be, for a moment, simply there and nowhere else, their faces glowing each time someone lifts, like a gift, the little flame.

I never made my homes out of places. Not physical places, anyway. I made my homes out of paper places. Nothing ever felt safer or more real than the worlds inside my head. I grew up on books. Hungry and never satiated. I grew up ravenous for words, which of course is why I started writing them down. Tried making homes out of people for a while but it didn’t work out. Now I make poems out of them instead and still don’t have anyplace I feel like I belong.

One day the thought hit me—could the whole story of the Jews in Egypt have simply been a poem? More or less like Homer describing magical cattle, and ravenous women and so on? Ancient peoples saw no difference between a vivid description of marvels and what we call reality—for them the description itself was the reality. In short, the Jews may never have been literally enslaved in Egypt; or perhaps some had been, but the story as we know it may have been largely fictional, an overwhelmingly powerful act of imagination.

Sometimes in the evening when love tunes its harp and the crickets celebrate life, I am like a troubadour in search of friends, loved ones, anyone who will share with me a bit of conversation. My loneliness arrives ghost like and pretentious, it seeks my soul, it is ravenous and hurting. I admire my father who always has advice in these matters, but a game of chess won't do, or the frivolity of religion. I want to find a solution, so I write letters, poems, and sometimes I touch solitude on the shoulder and surrender to a great tranquility. I understand I need courage and sometimes, mysteriously, I feel whole.

A VALEDICTION: OF THE BOOK I'll tell thee now (dear love) what thou shalt do To anger destiny, as she doth us; How I shall stay, though she eloign me thus, And how posterity shall know it too; How thine may out-endure Sibyl's glory, and obscure Her who from Pindar could allure, And her, through whose help Lucan is not lame, And her, whose book (they say) Homer did find, and name. Study our manuscripts, those myriads Of letters, which have past 'twixt thee and me; Thence write our annals, and in them will be To all whom love's subliming fire invades, Rule and example found; There the faith of any ground No schismatic will dare to wound, That sees, how Love this grace to us affords, To make, to keep, to use, to be these his records. This book, as long-lived as the elements, Or as the world's form, this all-graved tome In cypher writ, or new made idiom; We for Love's clergy only are instruments; When this book is made thus, Should again the ravenous Vandals and Goths invade us, Learning were safe; in this our universe, Schools might learn sciences, spheres music, angels verse. Here Love's divines—since all divinity Is love or wonder—may find all they seek, Whether abstract spiritual love they like, Their souls exhaled with what they do not see; Or, loth so to amuse Faith's infirmity, they choose Something which they may see and use; For, though mind be the heaven, where love doth sit, Beauty a convenient type may be to figure it. Here more than in their books may lawyers find, Both by what titles mistresses are ours, And how prerogative these states devours, Transferred from Love himself, to womankind; Who, though from heart and eyes, They exact great subsidies, Forsake him who on them relies; And for the cause, honour, or conscience give; Chimeras vain as they or their prerogative. Here statesmen, (or of them, they which can read) May of their occupation find the grounds; Love, and their art, alike it deadly wounds, If to consider what 'tis, one proceed. In both they do excel Who the present govern well, Whose weakness none doth, or dares tell; In this thy book, such will there something see, As in the Bible some can find out alchemy. Thus vent thy thoughts; abroad I'll study thee, As he removes far off, that great heights takes; How great love is, presence best trial makes, But absence tries how long this love will be; To take a latitude Sun, or stars, are fitliest viewed At their brightest, but to conclude Of longitudes, what other way have we, But to mark when and where the dark eclipses be?

IX. Drunk With Pines" Drunk with pines and long kisses, like summer I steer the fast sail of the roses, bent towards the death of the thin day, stuck into my solid marine madness. Pale and lashed to my ravenous water, I cruise in the sour smell of the naked climate, still dressed in grey and bitter sounds and a sad crest of abandoned spray. Hardened by passions, I go mounted on my one wave, lunar, solar, burning and cold, all at once, becalmed in the throat of the fortunate isles that are white and sweet as cool hips. In the moist night my garment of kisses trembles charged to insanity with electric currents, heroically divided into dreams and intoxicating roses practicing on me. Upstream, in the midst of the outer waves, your parallel body yields to my arms like a fish infinitely fastened to my soul, quick and slow, in the energy under the sky.

XIII. I Have Gone Marking" I have gone marking the atlas of your body with crosses of fire. My mouth went across: a spider, trying to hide. In you, behind you, timid, driven by thirst. Stories to tell you on the shore of evening, sad and gentle doll, so that you should not be sad. A swan, a tree, something far away and happy. The season of grapes, the ripe and fruitful season. I who lived in a harbour from which I loved you. The solitude crossed with dream and with silence. Penned up between the sea and sadness. Soundless, delirious, between two motionless gondoliers. Between the lips and the voice something goes dying. Something with the wings of a bird, something of anguish and oblivion. The way nets cannot hold water. My toy doll, only a few drops are left trembling. Even so, something sings, something climbs to my ravenous mouth. Oh to be able to celebrate you with all the words of joy. Sing, burn, flee, like a belfry at the hands of a madman. My sad tenderness, what comes over you all at once? When I have reached the most awesome and the coldest summit my heart closes like a nocturnal flower.

To-morrow the rediscovery of romantic love, The photographing of ravens; all the fun under Liberty's masterful shadow; To-morrow the hour of the pageant-master and the musician, The beautiful roar of the chorus under the dome; To-morrow the exchanging of tips on the breeding of terriers, The eager election of chairmen By the sudden forest of hands. But to-day the struggle, To-morrow for the young poets exploding like bombs, The walks by the lake, the weeks of perfect communion; To-morrow the bicycle races Through the suburbs on summer evenings. But to-day the struggle. To-day the deliberate increase in the chances of death, The conscious acceptance of guilt in the necessary murder; To-day the expending of powers On the flat ephemeral pamphlet and the boring meeting, Today the makeshift consolations: the shared cigarette, The cards in the candlelit barn, and the scraping concert, The masculine jokes; to-day the Fumbled and unsatisfactory embrace before hurting. The stars are dead. The animals will not look. We are left alone with our day, and the time is short, and History to the defeated May say alas but cannot help or pardon.

And thus when by poetyr or wehn by music the most entrancing of the poetic moods we find ourselves melted into tears, we weep then not as the abbate gravina supposes through excess of pleasure but through a certain petulatn impatient sorrow at our inability to grasp no wholly here on earth at once and forever these divein and rapturous joys of which through the poem or through the music we attain to but brief and indeterminate glimpses. The struggle to apprehend the supernal loveliness this struggle on the part of souls fittingly constituted has given to the world all that which it (the world) has ever been enabled at once to understand and to feel as peotic whose distant footsteps echo down the corridors of time The impression left is one of pleasurable sadness. This certain taint of sadness is insperably connected with al the higher manifestations of true beauty . It is nevertheless. Beauty is the sole legitimate province of the poem. Melancholy is thus the most legitimate of all the poetical tones. The next desideratum was a pretext for the continous use of the one word nevermore.in observing the difficutly which i at once found in inventing a suffiecienly plausible reason for its continuous repetition i did not fail to preceive thta this difficutly arose solely form the pre assumption that the world was to be so continuously or monotonously spoke by a human being i did not fail to perceive in shor t that the difficulty lay in the reconciliation of this monotony with the exercise of reason on the part of the creature repeating the word here then immediately arose the idea of a non-reasoning creature capable of speech and very naturally a parrot in the first instance suggested itself but was superseded forthwith by a raven as equally capable of speech and infinitely more in keeping with the intended tone.“I had now gone so far as the conception of a Raven, the bird of ill-omen, monotonously repeating the one word "Nevermore" at the conclusion of each stanza in a poem of melancholy tone, and in length about one hundred lines. Now, never losing sight of the object _supremeness_ or perfection at all points, I asked myself--"Of all melancholy topics what, according to the _universal_ understanding of mankind, is the _most_ melancholy?" Death, was the obvious reply. "And when," I said, "is this most melancholy of topics most poetical?" From what I have already explained at some length, the answer here also is obvious--"When it most closely allies itself to _Beauty_; the death, then, of a beautiful woman is unquestionably the most poetical topic in the world, and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover.

PARABLE Worries come to a man and a woman. Small ones, light in the hand. The man decides to swallow his worries, hiding them deep within himself. The woman throws hers as far as she can from their porch. They touch each other, relieved. They make coffee, and make plans for the seaside in May. All the while, the worries of the man take his insides as their oyster, coating themselves in juice—first gastric, then nacreous—growing layer upon layer. And in the fields beyond the wash-line, the worries of the woman take root, stretching tendrils through the rich soil. The parable tells us Consider the ravens, but the ravens caw useless from the gutters of this house. The parable tells us Consider the lilies, but they shiver in the side-yard, silent. What the parable does not tell you is that this woman collects porcelain cats. Some big, some small, some gilded, some plain. One stops doors. One cups cream and another, sugar. This man knows they are tacky. Still, when the one that had belonged to her great-aunt fell and broke, he held her as she wept, held her even after her breath had lengthened to sleep. The parable does not care about such things. Worry has come to the house of a man and a woman. Their garden yields greens gone bitter, corn cowering in its husk. He asks himself, What will we eat? They sit at the table and open the mail: a bill, a bill, a bill, an invitation. She turns a saltshaker cat between her palms and asks, What will we wear? He rubs her wrist with his thumb. He wonders how to offer the string of pearls writhing in his belly.

The Funeral of Sarpedon Zeus is heavy with grief. Sarpedon is dead at Patroclus’ hands and, right now, the son of Menoetius and his Achaeans are setting out to steal the corpse and desecrate it. But Zeus will not allow it. He had left his beloved child alone and now he’s lost – for such the Law demanded. But at least he will honour him in death. Behold: he sends Phoebus down to the field with orders to care for the body. Phoebus lifts the hero’s corpse with reverence and pity, and bears him to the river. He washes away the blood and dust and closes the wounds, careful not to leave a scar; he pours balm of ambrosia over the body and clothes him in resplendent Olympian robes. He blanches the skin and with a comb of pearl straightens the raven-black hair. He lays him out, arranging the lovely limbs. The youth seems a king, a charioteer, twenty-five or twenty-six years old – relishing his moment of victory, with the swiftest stallions, upon a golden chariot in a grand competition. Phoebus, completing his assignment, calls on his two siblings, Sleep and Death, commanding them to carry the body to Lycia, land of riches. So the two brothers, Sleep and Death, set out on foot to transport the body to Lycia, land of riches. And at the door of the king’s palace they hand over the glorious body and return to their affairs. As they receive him into the palace they begin laments and tributes, processions and libations flowing from sacred vessels and everything that befits such a sad funeral; then skilled craftsmen from the city and artists well known for their work in marble arrive to fashion the tomb and the stele.

The Hatter To understand what they did to the Hatter, I must first tell you about people who know how to play with your brokenness like it is a fidget spinner without so much as touching your skin—a form of abuse known as gaslighting.   You say it happened, they say it did not.   You say it had to, they say it cannot.   They pull at a thread of pain left by someone in your mind, and sew an entire ghost out of you.   Build you a dark wonderland and ask you to call it home. Tell you, ‘Why can’t you just be happy?’ And you cannot because happiness in this story is a queen you do not trust being built from your own delusions.   When this happens, you are like the Hatter. Trapped here in this fairytale world, half mad because someone you love keeps lying to you. Is this rain, dear? No it isn’t, it’s a raven.   Is this a door? No, it is a writing desk.   Is this my mind? No, it is now my rabbit hole, and I’m going to make you fall so far down there is no way out.   This is why the raven becomes like a writing desk, nonsensical riddles and memories become valid, nothing makes sense anymore anyway.   You start wondering if anything you ever thought happened to you actually happened to you and this is their violence. This is their abuse. It has left bruises and gashes along your brain that no one else knows are there.   Doubting yourself is now a reflex. Trusting yourself is no longer muscle memory but a long, strenuous process.   They called the Hatter completely mad. Because he is cursed to both remember and to forget. They call me mad too because my curse is to heal through remembering everything you tried to make me forget.

Quote from "The Dish Keepers of Honest House" ....TO TWIST THE COLD is easy when its only water you want. Tapping of the toothbrush echoes into Ella's mind like footsteps clacking a cobbled street on a bitter, dry, cold morning. Her mind pushes through sleep her body craves. It catches her head falling into a warm, soft pillow. "Go back to bed," she tells herself. "You're still asleep," Ella mumbles, pushes the blanket off, and sits up. The urgency to move persuades her to keep routines. Water from the faucet runs through paste foam like a miniature waterfall. Ella rubs sleep-deprieved eyes, then the bridge of her nose and glances into the sink. Ella's eyes astutely fixate for one, brief millisecond. Water becomes the burgundy of soldiers exiting the drain. Her mouth drops in shock. The flow turns green. It is like the bubbling fungus of flockless, fishless, stagnating ponds. Within the iridescent glimmer of her thinking -- like a brain losing blood flow, Ella's focus is the flickering flashing of gray, white dust, coal-black shadows and crows lifting from the ground. A half minute or two trails off before her mind returns to reality. Ella grasps a toothbrush between thumb and index finger. She rests the outer palm against the sink's edge, breathes in and then exhales. Tension in the brow subsides, and her chest and shoulders drop; she sighs. Ella stares at pasty foam. It exits the drain as if in a race to clear the sink of negativity -- of all germs, slimy spit, the burgundy of imagined soldiers and oppressive plaque. GRASPING THE SILKY STRAND between her fingers, Ella tucks, pulls and slides the floss gently through her teeth. Her breath is an inch or so of the mirror. Inspections leave her demeanor more alert. Clouding steam of the image tugs her conscience. She gazes into silver glass. Bits of hair loosen from the bun piled at her head's posterior. What transforms is what she imagines. The mirror becomes a window. The window possesses her Soul and Spirit. These two become concerned -- much like they did when dishonest housekeepers disrupted Ella's world in another story. Before her is a glorious bird -- shining-dark-as-coal, shimmering in hues of purple-black and black-greens. It is likened unto The Raven in Edgar Allan Poe's most famous poem of 1845. Instead of interrupting a cold December night with tapping on a chamber door, it rests its claws in the decorative, carved handle of a backrest on a stiff dining chair. It projects an air of humor and concern. It moves its head to and fro while seeking a clearer understanding. Ella studies the bird. It is surrounded in lofty bends and stretches of leafless, acorn-less, nearly lifeless, oak trees. Like fingers and arms these branches reach below. [Perhaps they are reaching for us? Rest assured; if they had designs on us, I would be someplace else, writing about something more pleasant and less frightening. Of course, you would be asleep.] Balanced in the branches is a chair. It is from Ella's childhood home. The chair sways. Ella imagines modern-day pilgrims of a distant shore. Each step is as if Mother Nature will position them upright like dolls, blown from the stability of their plastic, flat, toe-less feet. These pilgrims take fate by the hand. LIFTING A TOWEL and patting her mouth and hands, Ella pulls the towel through the rack. She walks to the bedroom, sits and picks up the newspaper. Thumbing through pages that leave fingertips black, she reads headlines: "Former Dentist Guilty of Health Care Fraud." She flips the page, pinches the tip of her nose and brushes the edge of her chin -- smearing both with ink. In the middle fold directly affront her eyes is another headline: "Dentist Punished for Misconduct." She turns the page. There is yet another: "Dentist guilty of urinating in surgery sink and using contaminated dental instruments on patients." This world contains those who are simply insane! Every profession has those who stray from goals....

semiquaver skinned the feelings of the manifold.” Certainly the division of words into grammatical categories such as nouns, adjectives, and verbs is not our sole guide concerning the use of words in producing English text. What does influence the choice among words when the words used in constructing grammatical sentences are chosen, not at random by a machine, but rather by a live human being who, through long training, speaks or writes English according to the rules of the grammar? This question is not to be answered by a vague appeal to the word meaning. Our criteria in producing English sentences can be very complicated indeed. Philosophers and psychologists have speculated about and studied the use of words and language for generations, and it is as hard to say anything entirely new about this as it is to say anything entirely true. In particular, what Bishop Berkeley wrote in the eighteenth century concerning the use of language is so sensible that one can scarcely make a reasonable comment without owing him credit. Let us suppose that a poet of the scanning, rhyming school sets out to write a grammatical poem. Much of his choice will be exercised in selecting words which fit into the chosen rhythmic pattern, which rhyme, and which have alliteration and certain consistent or agreeable sound values. This is particularly notable in Poe’s “The Bells,” “Ulalume,” and “The Raven.

Aaron lifted me up onto his hips and I knew we weren’t staying. “We just got here,” I murmured against his cheek. “Don’t you think Judd and Coop will take their women home to celebrate?” Glancing around, I noticed Tawny high fiving Judd who looked pretty proud about his revenge on Mac. Nearby, Farah was squeezing Cooper’s flexed muscles. None of them were planning to stay at the bar. “Are you okay, Bailey?” I asked as Aaron started for the door. “Sure, I’ll just hang out and pretend Vaughn is charming. It’ll be good practice for the next loser I date.” A grinning Vaughn patted the spot next to him in a booth. As the blonds got comfy, Aaron carried me to the Harley and sat me on the seat. “You saved me from mean words,” I teased as he felt me up in the spot Mac thought I needed help. “No one messes with my girl.” “Mighty sperm and powerful fists. Plus, you can cook and paint and write poems and a million other qualities. I’ve hit pay dirt.” “I need to get you home,” he said and I sensed the ride would be uncomfortable for him. As I wrapped my arms around his waist, he started the Harley. “Raven bought headphones, so we can fuck really loud and she won’t be bothered.” “The best houseguest ever,” Aaron said over his shoulder. As we sped away, I noticed Judd chasing a laughing Tawny to the parking lot. Cooper strutted out with Farah clinging to him. Everyone was happy except for a naked Mac tied to a tree in what I assumed was the club’s version of a time out.

No one knows how the woman survived in her light clothes, what she ate and drank, or what she thought when she looked up into the unkindness of ravens, their loops, their green and purple iridescence flashing—

Consider Edgar Allen Poe’s famous poem, “The Raven.” Here we have a first-person narrator whose wife or lover, Lenore, has recently died. He is in his library searching through his books to find a way to make her death meaningful—or even understandable. When a raven enters the library, the narrator takes it as a sign and asks a series of increasingly desperate questions. The raven, of course, has long been a symbol for death, and the questions that the narrator asks the raven are all really questions about death. Is there a heaven? Does death come from God or the Devil? Will he ever get over her death? Will he see her again? These are likely the same things he was trying to find out from his books. But while the books may have tried to give answers, the raven—death itself—says only one word: “Nevermore.” So this is a poem that makes claims—or, more specifically, it is a poem that rejects claims. It rejects the notion that anyone can know anything about death, or what happens after death, except that a person who has died no longer exists. All that death “says” to us is “Nevermore.” If we try to go beyond this, we will eventually suffer the narrator’s fate and become insane. Many people would disagree vigorously with this premise. Some people believe that the spirits of the dead become ghosts that we can still communicate with. Others believe in heaven, hell, reincarnation, Nirvana, or some knowable final destination for the soul. I can imagine a number of different ways that one might go about rebutting Poe’s metaphysical truth claims. But it makes no difference whether or not ravens can talk. Nothing about Poe’s poem can be supported, or refuted, by scientific knowledge about the vocalization mechanisms of the Corvus corax. Nor does it matter whether or not Edgar Allen Poe ever knew anybody named Lenore, or owned a “bust of Pallas,” or did or said any of the things described in the poem. “The Raven” makes metaphysical truth claims that we can isolate and evaluate. But these claims do not depend on either the history or the science of the poem turning out to be true.

Maura let herself in. "Your light was on," she observed, and with a sigh, she sat on the end of Blue's bed, looking as soft as a poem in the dim light.

tunes its harp and the crickets celebrate life, I am like a troubadour in search of friends, loved ones, anyone who will share with me a bit of conversation. My loneliness arrives ghostlike and pretentious, it seeks my soul, it is ravenous and hurting […] I want to find a solution, so I write letters, poems, and sometimes I touch solitude on the shoulder and surrender to a great tranquility. I understand I need courage and sometimes, mysteriously, I feel whole. from “Sometimes Mysteriously,

Art Modell, who pitted Cleveland and Baltimore against each other in a bidding war for his football team, was asked in 1996 about tax money going into his pocket at a time when libraries were being closed. It was a well-framed question. His Baltimore Ravens is the only major sports team whose name is a literary allusion, to the haunting poem by Edgar Allan Poe for his lost love Lenore. “The pride and the presence of a professional football team is far more important than 30 libraries,” Modell said. He spoke without a hint of irony or any indication that he had ever upon a midnight dreary, pondered weak and weary the effect of his greed on the human condition.

Ash hangs in the still autumn air. A lone raven calls from above. I come seeking the voices of my friends Oak, Madrone, Buckeye, and Bay. But their spirits have retreated beyond my reach. Only the raven and I are present here.

God strikes his holy bells—Ave Maria!—and Your hand grabs mine. We, the uncrowned Righteous, The uncrowned Incorruptible, mute of vows and Ignorant of commandments. Our practiced restraint Has earned us what? How many Sundays lived In vain? There are laws and there is Law. There is love And there is Love; Need and a nagging small want. I would be happy to forsake everything they told me To desire: glory, rejoicing, even death. To be left With only a limitless holy blank. And you? Do you remember our Old Testament phase, Quaking at the fate of whole cities abruptly erased? Now we’re onto Jesus—those feet! those wrists!— Though belief is a country that eludes us. For ceremony, we light a mosquito coil, Turn down the bed, whisper about small things Like mornings on the beach, swimming farther And farther into cold rhythmic waves, almost Eager for the greedy underside of day. God is ravenous unending fright. Blessed Virgin, safe on the shore, or high up On the cliff overlooking every sea: forget me.

If you think about the truest joy you’ve ever experienced, my guess is that it came along by accident. Rather than thinking about fear or even happiness, concentrate on something that will help you grow in new and unexpected ways. Befriend a raven, sing to the moon, write a love poem to the bookstore on the corner. At the very least you’ll have stretched and opened yourself up and leaned towards the sun.

Sometimes a Light Surprises Sometimes a light surprises The Christian while he sings; It is the Lord, who rises With healing in His wings: When comforts are declining, He grants the soul again A season of clear shining, To cheer it after rain. In holy contemplation, We sweetly then pursue The theme of God’s salvation, And find it ever new: Set free from present sorrow, We cheerfully can say, E’en let the unknown morrow Bring with it what it may. It can bring with it nothing, But He will bear us through; Who gives the lilies clothing, Will clothe His people too: Beneath the spreading heavens, No creature but is fed; And He who feeds the ravens Will give His children bread. WILLIAM COWPER, 1731-1800

Clean the October wind. Clear the October moon. Heaped brown leaves are blowing...a black raven flies from its icy roost. I dream of you. Will I ever see you again? Ah, night of sorrowing heart!

There is a bird in my chest with wings too broad with beak that rips me wanting to get out. I have called it an idiot parrot. I have called it a ravening eagle. But it sings. Bird of no name your cries are red and wet on the iron air. I open my mouth to let you out and your shining blinds me.

T.S. Eliot wrote: ‘and so each venture/is a new beginning, a raid on the inarticulate/with shabby equipment always deteriorating/in the general mess of imprecision of feeling.’ We clap our hands to our hearts in gratitude that unsayable has simply been said. Why? Some deep chord in us is struck when form is realized- a chord in which nature must always be one of the notes because to make art is to practice the form-making compulsion of nature, exercising “wild mind.” Wild is a name for the way that phenomena continually actualize themselves- here a saguaro, there a cypress, here a raven’s prrruk, there a warbler’s cheedle cheedle che che che che, here a sonnet, there a free forming cloud of a poem. 'music heard so deeply/that it is not heard at all, but you are the/music.

Pleasures of Memory!—oh supremely blest, And justly proud beyond a Poet's praise; If the pure confines of thy tranquil breast Contain, indeed, the subject of thy lays! By me how envied!—for to me, The herald still of misery, Memory makes her influence known By sighs, and tears, and grief alone: I greet her as the fiend, to whom belong The vulture's ravening beak, the raven's funeral song. She tells of time mispent, of comfort lost, Of fair occasions gone for ever by; Of hopes too fondly nurs'd, too rudely cross'd, Of many a cause to wish, yet fear to die; For what, except th' instinctive fear Lest she survive, detains me here, When "all the life of life" is fled?— What, but the deep inherent dread, Lest she beyond the grave resume her reign, And realize the hell that priests and beldams feign?

Stand still. The trees ahead and bushes beside you Are not lost. Wherever you are is called Here, And you must treat it as a powerful stranger, Must ask permission to know it and be known. The forest breathes. Listen. It answers, I have made this place around you. If you leave it, you may come back again, saying Here. No two trees are the same to Raven. No two branches are the same to Wren. If what a tree or a bush does is lost on you, You are surely lost. Stand still. The forest knows Where you are. You must let it find you. —David Wagoner, “Lost,” Collected Poems 1956-1976 (Indiana University Press, 1976)

An Artemisian Coronation by Stewart Stafford A waxing moon with tidings, Cataract vision in sheer mist, Through curtains of fine rain, The foresight of the lunar eye. Cockcrow stabs the dawn, Drowned green fields rouse, Boars trample in the fens, Sheep as anchored clouds. A magpie and raven duelling, Branch to branch to the death, Proudly staking their claims, To the wren's avian coronation. © Stewart Stafford, 2023. All rights reserved.

Our adventure There was nothing in the garden, No trees, no grass, no flowers at all, It was Summer’s eternal burden, To have an existence within this gloomy wall, Where it was now trapped forever, In this world without any beautiful thing, There were no girls, no boys, no lover, The world was a picture of remorse, totally a lifeless thing, Shadows of life crawled on the walls of death, Life had retired into a permanent state of inadventurousness, It was as if life was running short of its own breath, Love, that existed without its loveliness, It was like Alice in a land without the wonder, Beauty with no one to appreciate or admire, It was like lightning but no rumbling of the thunder, A world full of wishes, but devoid of desire, A sad state for the joyless Summer, Where only time had a pulse of life everything else felt like an ominous raven, A bright day that grew dimmer and dimmer, Where reality exited only never to be proven, Until one day the Summer garden vanished suddenly, And the Summer beauty proliferated every virtue except the reality, Then gloom reigned endlessly, The beauty had disavowed the beast, because the prince in the beast had lost the perception of beauty, And at this juncture Earth lost its humans and humanity, For love was forgotten, beauty was forsaken and lovers were forbidden, To kiss and love in reality, And everywhere lay feelings hurt, emotions killed and hearts broken, While I thought of you hoping you too would be thinking of me, And as I stood in this world of hurt feelings and hearts broken, How I wished to be, With you in this world, where everyone feels lost and forsaken! As the world is crumbling under my still steady feet, The covenants of human morality lie desecrated, I still hope that we shall meet, Before Earth’s every aspect of pride and beauty is relegated, To the basest ranks of virtueless vanity, Because when that happens you and I shall dwell in the corner our own, Where beauty, love and humanity are still the only reality, Then no matter how old you might be, thee I shall neither forsake nor disown!

A fair lady I suppose, you balanced his spiritual and material being. He symbolized you as infinite love forever together and the dark cloud and ravens sung a dirge Oh! Annabel Lee.

In October 1845—while still enjoying the popularity of “The Raven,” his Tales and his numerous public lectures—Poe was invited to read an original poem before the Boston Lyceum for a fee of fifty dollars. James Russell Lowell had secured this invitation, despite Poe’s recent attack on him. Poe had mixed feelings about Boston, which had played a significant role in his life. He had been born in poverty in Boston while his parents had been on tour; had fled there from Richmond after quarreling with John Allan; had enlisted and served his first months in the army there; had published his first volume, “By a Bostonian,” there; he had criticized the integrity of one of their most prominent authors in the “Longfellow War”; and had for many years conducted a running battle in the literary reviews with the puritanical and provincial New England Transcendentalists. Boston, for Poe, was enemy territory. But he entered it with reckless audacity.

Consider the cold-eyed thrush, that spring carnivore of lawns, worm stabber, basher to death of snails. We should not sentimentalise his song, and forget the killing that sustains it.’ And consider too Hughes’ poem ‘Thrushes’, from the collection Lupercal, published in 1960, just when Baker was preparing to write The Peregrine: ‘Terrifying are the attent sleek thrushes on the lawn, / More coiled steel than living – a poised / Dark deadly eye, those delicate legs / Triggered to stirrings beyond sense – with a start, a bounce, a stab / Overtake the instant and drag out some writhing thing. / No indolent procrastinations and no yawning stares. / No sighs or head scratchings. Nothing but bounce and stab / And a ravening second.

Once upon a poem is where she longs to be. Flying with the Ravens above wildflowers, storms & ghostly seas.

Praise the rain; the seagull dive The curl of plant, the raven talk— Praise the hurt, the house slack The stand of trees, the dignity— Praise the dark, the moon cradle The sky fall, the bear sleep— Praise the mist, the warrior name The earth eclipse, the fired leap— Praise the backwards, upward sky The baby cry, the spirit food— Praise canoe, the fish rush The hole for frog, the upside-down— Praise the day, the cloud cup The mind flat, forget it all— Praise crazy. Praise sad. Praise the path on which we're led. Praise the roads on earth and water. Praise the eater and the eaten. Praise beginnings; praise the end. Praise the song and praise the singer. Praise the rain; it brings more rain. Praise the rain; it brings more rain.

Silence the lambs The quiet of the night brings the peaceful of the moonlight of the sky. As through the forest you hear the lambs' cries as they have wandered too far into the darkness. It is cold as to the flock be nowhere in sight. The lamb has to be found some way, somehow. Silence the lamb of the fear as to stop weeping. It will attract the attention of the wolves in the distance. It is to the owl of wisdom to seek out the ravens' omen to see the future of the lamb's way back home or the path of certain death. The owl makes the swift decision. As the magic fills the air to the breeze of the wind that is to carry the guidance of the lamb to the herd it came from. The omen of the raven is to silence the lambs fear as to be safe as well as warm amongst the flock of sheep it was separated from. Silence the lambs to the peaceful sleep til the morning. Under the owl as well the raven's protection of the morning sun. Silence be the lambs for a new day has started. The lambs be silent now for they are both fed as well as protected amongst the herd. Quiet as they sleep amongst the lambs' counting sheep as the night races time to daybreak. Now the lamb has survived another day, another night. Tapping of the ravens without the screeching of the owl. The lamb be special as the birds know this isn’t a sacrificial lamb. For it has made its way home. By the moon as well as the stars. With the guidance of the owl's wisdom and the ravens the omen. As well as the magical divinity of the power of magic. For now, the lambs be silent through darkness of the night to save souls from the devil himself.

I like my lover's heart blackened with a deeper shade of darkness, where the ravens and I can rest in peace.

Birds
 of
a
feather
burn
together,
 though
as
a
rule
ravens
are
singular

I read a poem today that reminded me of you.” He gave her another sideways glance, as if confessing something naughty. “Would you like to hear it?” Her knees quivered beneath her skirts. Perhaps he did feel something for her. Perhaps he is now going to declare himself! “Yes, I would.” “Your chaperone is watching us from the parapets. It would be better for me to recite it more privately.” With gentle force, he guided her behind a tall hedge. Lydia’s belly fluttered as Deveril took both her hands. His hair gleamed like an angel’s wing. Would he tell her he couldn’t let her go, that they didn’t have to go to London? That instead they could remain here…together? “She walks in beauty, like the night,” he whispered. “Of cloudless climes and starry skies; And all that’s best of dark and bright Meet in her aspect and her eyes; Thus mellowed to that tender light Which heaven to gaudy day denies.” Vincent’s eyes were like a turbulent sea in a moonlit storm. He gazed at her as though she was something precious. Lydia sighed as his long fingers removed a pin from her hair. “One shade the more, one ray the less, Had half impaired the nameless grace Which waves in every raven tress,” Her breath caught as he twirled a lock of her hair. “Or softly lightens o’er her face; Where thoughts serenely sweet express, How pure, how dear their dwelling-place.” His hand crept up to caress her cheek, his intent gaze never wavering. “And on that cheek, and o’er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow,” His lips curved in a sensual smile as he concluded. “But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent!” For an eternity, they stared as if peering into each other’s souls. His fingers slid past her cheek and threaded once more through her hair, sending the remaining pins scattering into the grass. “Lydia,” he whispered. Then his lips were on hers, warm, silken, teasing.

I read a poem today that reminded me of you.” He gave her another sideways glance, as if confessing something naughty. “Would you like to hear it?” Her knees quivered beneath her skirts. Perhaps he did feel something for her. Perhaps he is now going to declare himself! “Yes, I would.” “Your chaperone is watching us from the parapets. It would be better for me to recite it more privately.” With gentle force, he guided her behind a tall hedge. Lydia’s belly fluttered as Deveril took both her hands. His hair gleamed like an angel’s wing. Would he tell her he couldn’t let her go, that they didn’t have to go to London? That instead they could remain here…together? “She walks in beauty, like the night,” he whispered. “Of cloudless climes and starry skies; And all that’s best of dark and bright Meet in her aspect and her eyes; Thus mellowed to that tender light Which heaven to gaudy day denies.” Vincent’s eyes were like a turbulent sea in a moonlit storm. He gazed at her as though she was something precious. Lydia sighed as his long fingers removed a pin from her hair. “One shade the more, one ray the less, Had half impaired the nameless grace Which waves in every raven tress,” Her breath caught as he twirled a lock of her hair. “Or softly lightens o’er her face; Where thoughts serenely sweet express, How pure, how dear their dwelling-place.” His hand crept up to caress her cheek, his intent gaze never wavering. “And on that cheek, and o’er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow,” His lips curved in a sensual smile as he concluded. “But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent!” For an eternity, they stared as if peering into each other’s souls. His fingers slid past her cheek and threaded once more through her hair, sending the remaining pins scattering into the grass. “Lydia,” he whispered. Then his lips were on hers, warm, silken, teasing. Her limbs melted. Intoxicating heat unfurled low in her body. Lydia reached up to pull him closer, to demand more. Vincent pulled back before she could grasp him. He took a deep, shuddering breath. “And that is your most important lesson in courtship, Lydia. Never allow a man to get you off alone, especially if he desires to recite poetry, and particularly Lord Byron’s verses.” A strangled gasp caught in her throat at his duplicity. It had all been part of the game! “You…you…” He held up a hand. “Now slap me with your fan in retaliation for taking such liberties.” Reeling in outrage, she fumbled in the pockets of her cloak for the ineffectual weapon. Vincent shrugged, undaunted at her ire. “That is why you should keep your fan at the ready.” Seizing the bundle of cloth-covered sticks, she smacked him soundly on the arm, much harder than Miss Hobson had instructed. “You are lucky I did not have my gun,” she hissed. How could he? To

Like a ravenous dog a lumbering, slobbering Mastiff or St. Bernard, sloping up raw hamburger and eggs from its dish on the floor in the corner of the family kitchen licking and slurping and lapping wanting more, always more Some greasy Hemingway Some grainy Steinbeck Savory salad with lots of garlic, that's Vonnegut

No one can say exactly when the process of combining the different historical, legendary, and mythic elements into a Volsung cycle began, but it was probably at an early date. By the ninth century the legends of the Gothic Jormunrek and those of the destruction of the Burgundians had already been linked in Scandinavia, where the ninth-century “Lay of Ragnar” by the poet Bragi the Old treats both subjects. Bragi’s poem describes a shield on which a picture of the maiming of Jormunrek was either painted or carved and refers to the brothers Hamdir and Sorli from the Gothic section of the saga as “kinsmen of Gjuki,” the Burgundian father of King Gunnar. The “Lay of Ragnar” has other connections with the Volsung legend. The thirteenth-century Icelandic writer Snorri Sturluson identifies the central figure of the lay, whose gift inspired the poem in his honor, with Ragnar Hairy Breeches, a supposed ancestor of the Ynglings, Norway’s royal family. Ragnar’s son-in-law relationship to Sigurd through his marriage to Sigurd’s daughter Aslaug (mentioned earlier in connection with stave church carvings) is reflected in the sequence of texts in the vellum manuscript: The Saga of the Volsungs immediately precedes The Saga of Ragnar Lodbrok. Ragnar’s saga, in turn, is followed by Krákumál (Lay of the Raven), Ragnar’s death poem, in which Ragnar, thrown into the snakepit by the Anglo-Saxon King Ella, boasts that he will die laughing. The Volsung and Ragnar stories are further linked by internal textual references. It is likely that the The Saga of the Volsungs was purposely set first in the manuscript to serve as a prelude to the Ragnar material. The opening section of Ragnar’s saga may originally have been the ending of The Saga of the Volsungs. Just where the division between these two sagas occurs in the manuscript is unclear. Together these narratives chronicle the ancestry of the Ynglings—the legendary line (through Sigurd and Ragnar) and the divine one (through Odin). Such links to Odin, or Wotan, were common among northern dynasties; by tracing their ancestry through Sigurd, later Norwegian kings availed themselves of one of the greatest heroes in northern lore. In so doing, they probably helped to preserve the story for us.” (Jesse Byock)

Until this night, this awful night, he’d had a little joke about himself. He didn’t know who he was, or where he’d come from, but he knew what he liked. And what he liked was all around him-the flower stands on the corners, the big steel and glass buildings filled with milky evening light, the trees, of course, the grass beneath his feet. And the telephones-it didn’t matter. He liked to figure them out, master them, then crush them into tiny hard multicolored balls which he could then juggle or toss through plate glass windows when nobody was about. He liked piano music, the motion pictures, and the poems he found in books. He also liked the automobiles that burnt oil from the earth like lamps. And the great jet planes that flew on the same scientific principles, above the clouds. He always stopped and listened to the people laughing and talking up there when one of the people laughing and talking up there when one of the planes flew overhead. Driving was an extraordinary pleasure. In a silver Mercedes-Benz, he had sped on smooth empty roads from Rome to Florence to Venice in one night. He also liked television-the entire electric process of it, with tiny bits of lights. How soothing it was to have the company of the television, the intimacy with so many artfully painted faces speaking to you in friendship from the glowing screen. The rock and roll, he liked that too. He liked the music. He liked the Vampire Lestat singing “Requiem for the Marquise”. He didn’t pay attention to the words much. It was the melancholy and the dark undertone of drums and cymbals. Made him want to dance. He liked the giant yellow machines that dug into the earth late at night in the big cities with men in uniforms, crawling all over them; he liked the double-decker buses of London, and the people-the clever mortals everywhere-he liked, too, of course. He liked walking in Damascus during the evening, and seeing in sudden flashes of disconnected memory the city of the ancients. Romans, Greeks, Persians, Egyptians in these streets. He liked the libraries where he could find photographs of ancient monuments in big smooth good-smelling books. He took his own photographs of the new cities around him and sometimes he could put images on those pictures which came from his thoughts. For example, in his photograph of Rome there were Roman people in tunics and sandals superimposed upon the modern versions in their thick ungraceful clothes. Oh, yes, much to like around him always-the violin music of Bartók, little girls in snow white dresses coming out of the church at midnight having sung at the Christmas mass. He liked the blood of his victims too, of course. That went without saying. It was no part of his little joke. Death was not funny to him. He stalked his prey in silence; he didn’t want to know his victims. All a mortal had to do was speak to him and he was turned away. Not proper, as he saw it, to talk to these sweet, soft-eyed things and then gobble their blood, break their bones and lick the marrow, squeeze their limbs to dripping pulp. And that was the way he feasted now, so violently. He felt no great need for blood anymore; but he wanted it. And the desire overpowered him in all its ravening purity, quite apart from the thirst. He could have feasted upon three or four mortals a night.

Citing Poe’s celebrity—everybody was “raven-mad about his last poem”—Briggs took him on as junior partner.

no verse, no diction resurrected, shaped unless the thought of you dictates this ink, your slave as the poems flow through from the ocean, the vastness that is you so that even nej is a lie for you are the poet, oh muse, not I

Here, where the lonely hooting owl Sends forth his midnight moans, Fierce wolves shall o'er my carcase growl, Or buzzards pick my bones. No fellow-man shall learn my fate, Or where my ashes lie; Unless by beasts drawn round their bait, Or by the ravens' cry. Yes! I've resolved the deed to do, And this the place to do it: This heart I'll rush a dagger through, Though I in hell should rue it! Hell! What is hell to one like me Who pleasures never knew; By friends consigned to misery, By hope deserted too? To ease me of this power to think, That through my bosom raves, I'll headlong leap from hell's high brink, And wallow in its waves. Though devils yell, and burning chains May waken long regret; Their frightful screams, and piercing pains, Will help me to forget. Yes! I'm prepared, through endless night, To take that fiery berth! Think not with tales of hell to fright Me, who am damn'd on earth! Sweet steel! come forth from your sheath, And glist'ning, speak your powers; Rip up the organs of my breath, And draw my blood in showers! I strike! It quivers in that heart Which drives me to this end; I draw and kiss the bloody dart, My last—my only friend! —Poem attributed to Abraham Lincoln

He can give everyone what they so desperately crave: hope for a life beyond death... Love poems fall out of fashion over time, often turning maudlin in the ears of future listeners. Humans' enjoyment of satire and humor is equally fickle, and epic adventures stop seeming so epic when new heroes accomplish new feats. Yet mortals' fear and bewilderment of death will never die - not as long as people keep dying.

Try as you might there’s nothing you can do about bird shadows except try to head them off and abruptly stop, letting them pass by in peace. Looking up and down at the very same moment is difficult for a single-eyed man. The ones coming behind you, often cautious crows or ravens, strike hard against the back and nape nerve. Like most of life your wariness is useless. You wobble slightly dumbstruck, queasy, then watch the shadow flit across the brown wind-tormented grass.

The Provider Several crows were lined up along the ridge of a quite ordinary house. 'These ridge poles are a good idea,' said a young one. 'Who dreamed it up?' 'This place of rest is a fortuitous gift from the moon,' said a raven who was mixing with the hoi polloi today. 'The moon is a relative of the roc, a distant cousin of mine. Believe me,' he said, stretching his wings out to their full advantage and pushing the crows at the end off balance, so several leaped into the wind and cried, 'caw' . . . 'it depends on your original stock. I've got a piece of the roc.' The moon rose spectral and drained, a gossamer imprint of her nighttime self, a reminder of crystal fracture, the load of swinging primitive stones, the ancient hairy arms with slingshots. A sudden explosion and the sky was defined with flapping and cawing. 'What was that?' cried the young one who was addicted to awe. 'Who knows?' replied the raven. 'Often the moon demands a sacrifice. As a close relative, it is now my duty to go and eat the meat. For it is said, nothing is wasted; nothing is without purpose.' And the raven rose and flew toward the hunters.

Nathan said, “Not a chance. I’ve heard him recite it in class. He knows dozens of Poe’s poems by heart. ‘The Raven,’ ‘Lenore,’ ‘The Lake,’ ‘To Annie’…dozens of them. Sometimes I think he fucking channels Poe.