September Poems And Quotes

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

Tonight I miss you like the sky misses his moon; a delicate epiphany growing on grass. I serenade the breeze into dancing a cha cha cha; the mountains echo in the background. September sky never looked more charming; or the sublime petals of the rose looked so graceful.

On a certain day in the blue-moon month of September Beneath a young plum tree, quietly I held her there, my quiet, pale beloved In my arms just like a graceful dream. And over us in the beautiful summer sky There was a cloud on which my gaze rested It was very white and so immensely high And when I looked up, it had disappeared.

Autumn is a poem - while you fall for everything, you remember that there is something worth dying for.

September 11, 2001: Citizens of the U.S., besieged by terror’s sting, rose up, weeping glory, as if on eagles’ wings.--from the poem Angel of Remembrance: Candles for September 11, 2001

Millions of fathers in rain Millions of mothers in pain Millions of brothers in woe Millions of sisters nowhere to go Millions of daughters walk in the mud Millions of children wash in the flood A million girls vomit and groan Millions of families hopeless alone

Romantic Ireland's dead and gone It's with O' Leary in the grave (September 1913)

This October like November, That August like a hundred thousand hours, And that September, A hundred thousand dragging sunlit days, And half October like a thousand years...

To Feel The weight of death, the weight of fear, the burden of stress, pain is here. Never to know, never to guess. Never to know, how much the mess Do not show care, do not feel joy, do not have love, life's not a toy and yet we feel, we have, we show, who knows... I do not know. I do not know. (2007) September 9

I was sixteen for twenty years. By September I will be a ghost.

thunder and lightning and our world is another place no day will ever be the same no blood untouched

is it treason to remember what we have done to deserve such villainy nothing we reassure ourselves nothing

and i am consumed with love for all of it the everydayness of bravery of hate of fear of tragedy of death and birth and hope

i bear witness to no thing more human than hate i bear witness to no thing more human than love

and this is not the time I think to ask who is allowed to be american america all of us gathered under one flag praying together safely warmed by the single love of the many tongued God

the st. marys river flows as if nothing has happened i watch it with my coffee afraid and sad as are we all so many ones to hate and i cursed with long memory cursed with the desire to understand have never been good at hating

Next I dream the love is swallowing itself. Next I dream the love is made of glass," — Anne Sexton, from “The Break Away,” The Complete Poems. (Mariner Books; First Mariner Books Edition (April 28, 1999) Originally published September 30th 1981.

The tree is burning on the autumn noon That builds each year the leaf and bark again. Though frost will strip it raw and barren soon, The rounding season will restore and mend. Yet people are not mended, but go on, Accumulating memory and love. And so the wood we used to know is gone, Because the years have taught us that we move. We have moved on, the Tamburlaines of then, To different Asias of our plundering. And though we sorrow not to know again A land or face we loved, yet we are king. The young are never robbed of innocence But given gold of love and memory. We live in wealth whose bounds exceed our sense, And when we die are full of memory. -from "September Ode

September the golden threshold between summer and winter

The Geranium When I put her out, once, by the garbage pail, She looked so limp and bedraggled, So foolish and trusting, like a sick poodle, Or a wizened aster in late September, I brought her back in again For a new routine - Vitamins, water, and whatever Sustenance seemed sensible At the time: she'd lived So long on gin, bobbie pins, half-smoked cigars, dead beer, Her shriveled petals falling On the faded carpet, the stale Steak grease stuck to her fuzzy leaves. (Dried-out, she creaked like a tulip.) The things she endured!- The dumb dames shrieking half the night Or the two of us, alone, both seedy, Me breathing booze at her, She leaning out of her pot toward the window. Near the end, she seemed almost to hear me- And that was scary- So when that snuffling cretin of a maid Threw her, pot and all, into the trash-can, I said nothing. But I sacked the presumptuous hag the next week, I was that lonely.

Agapanthus and peonies in June. Scented stock and sweet peas in July. Sunflowers and sweet William in August. By the time September's oriental lilies and ornamental cabbages appeared, she wasn't hiding upstairs in the workroom anymore. She was spending more time in the shop, answering the phone, dealing with the customers. One Sunday she spent the afternoon at an allotment belonging to a friend of Ciara's, picking lamb's ear and dusty miller and veronica for a wedding, and didn't think about Michael once, but she kept remembering a Patrick Kavanagh poem she'd learned at school, the one about how every old man he saw reminded him of his father.

Alone, she was a flower too afraid to bloom She could have grown much taller for she had enough room Then, the wind came and caught her and tossed her all around But, alone, she stood steady, strong because she grew in solid ground

To Himself" So you've come to me now without knowing why; Nor why you sit in the ruby plush of an ugly chair, the sly Revealing angle of light turning your hair a silver gray; Nor why you have chosen this moment to set the writing of years Against the writing of nothing; you who narrowed your eyes, Peering into the polished air of the hallway mirror, and said You were mine, all mine; who begged me to write, but always Of course to you, without ever saying what it was for; Who used to whisper in my ear only the things You wanted to hear; who comes to me now and says That it's late, that the trees are bending under the wind, That night will fall; as if there were something You wanted to know, but for years had forgotten to ask, Something to do with sunlight slanting over a table And chair, an arm rising, a face turning, and far In the distance a car disappearing over the hill. Mark Strand, Collected Poems. (Knopf; First Edition edition September 30, 2014)

When you are old and grey and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep — W.B. Yeats, from “When You are Old,” The Collected Poems of W.B. Yeats. (Scribner; 2nd Revised edition September 9, 1996) Originally published 1889.

Only let down the veil, the veil, the veil. If it were death I would admire the deep gravity of it, its timeless eyes. I would know you were serious. There would be a nobility then, there would be a birthday. And the knife not carve, but enter Pure and clean as the cry of a baby, And the universe slide from my side. 30 September 1962

They cut my arms off and told me to swim Now I’m sinking in the depths of an ocean thousands of miles from home It’s dark and my mind is getting hazy I wake up on an island, washed up on the shore This man stands over me and I ask him how I got here, out of the water “You swam,” he says Then he was gone Then I was gone Then I was home

In September countless sand and house-martins jazz above the river, taking insects from the surface, from the air, thousands of birds kissing the river farewell. They creak, a sound like the air rubbing against itself. Summer is everything they know; they're preparing themselves, sensing in the shortening days a door they must dash through before it shuts.

To fill the days up of his dateless year Flame from Queen Helen to Queen Guenevere? For first of all the sphery signs whereby Love severs light from darkness, and most high, In the white front of January there glows The rose-red sign of Helen like a rose: And gold-eyed as the shore-flower shelterless Whereon the sharp-breathed sea blows bitterness, A storm-star that the seafarers of love Strain their wind-wearied eyes for glimpses of, Shoots keen through February's grey frost and damp The lamplike star of Hero for a lamp; The star that Marlowe sang into our skies With mouth of gold, and morning in his eyes; And in clear March across the rough blue sea The signal sapphire of Alcyone Makes bright the blown bross of the wind-foot year; And shining like a sunbeam-smitten tear Full ere it fall, the fair next sign in sight Burns opal-wise with April-coloured light When air is quick with song and rain and flame, My birth-month star that in love's heaven hath name Iseult, a light of blossom and beam and shower, My singing sign that makes the song-tree flower; Next like a pale and burning pearl beyond The rose-white sphere of flower-named Rosamond Signs the sweet head of Maytime; and for June Flares like an angered and storm-reddening moon Her signal sphere, whose Carthaginian pyre Shadowed her traitor's flying sail with fire; Next, glittering as the wine-bright jacinth-stone, A star south-risen that first to music shone, The keen girl-star of golden Juliet bears Light northward to the month whose forehead wears Her name for flower upon it, and his trees Mix their deep English song with Veronese; And like an awful sovereign chrysolite Burning, the supreme fire that blinds the night, The hot gold head of Venus kissed by Mars, A sun-flower among small sphered flowers of stars, The light of Cleopatra fills and burns The hollow of heaven whence ardent August yearns; And fixed and shining as the sister-shed Sweet tears for Phaethon disorbed and dead, The pale bright autumn's amber-coloured sphere, That through September sees the saddening year As love sees change through sorrow, hath to name Francesca's; and the star that watches flame The embers of the harvest overgone Is Thisbe's, slain of love in Babylon, Set in the golden girdle of sweet signs A blood-bright ruby; last save one light shines An eastern wonder of sphery chrysopras, The star that made men mad, Angelica's; And latest named and lordliest, with a sound Of swords and harps in heaven that ring it round, Last love-light and last love-song of the year's, Gleams like a glorious emerald Guenevere's.

LA CHAPELLE. 92ND DIVISION. TED. (September, 1918) This lonely beautiful word means church and it is quiet here; the stone walls curve like slow water. It’s Sunday and I’m standing on the bitter ridge of France, overlooking the war. La Guerre is asleep. This morning early on patrol we slipped down through the mist and scent of burning woodchips (somewhere someone was warm) into Moyenmoutier… a cloister of flushed brick and a little river braiding its dark hair. Back home in Louisiana the earth is red, but it suckles you until you can sing yourself grown. Here, even the wind has edges. Drizzle splintered around us; we stood on the arched bridge and thought for a moment of the dead we had left behind in the valley, in the terrible noise.

While I'm in the shop, I dream of all the things I could be doing if I were at home, cleaning my flat, reading the stack of unread books by my bed, cracking on with the poem I'd started back in September, but when my days off come around, I waste them in bed on my phone, scrolling and scrolling and scrolling, and stalking Eli's girlfriend. I'd planned to start writing something that I'd been thinking about for a while, something about my mother, but everything feels soupy, my body a great weight I have to drag around my flat. I never have the energy when I have the time and I never have the time when I have the energy.

Autumn eats its leaf out of my hand: we are friends. From the nuts we shell time and we teach it to walk: then time returns to the shell. In the mirror it’s Sunday, September 17, 2017 in dream there is room for sleeping, our mouths speak the truth. My eye moves down to the sex of my loved one: we look at each other, we exchange dark words, we love each other like poppy and recollection, we sleep like wine in the conches, like the sea in the moon’s blood ray. We stand by the window embracing, and people look up from the street: it is time they knew! It is time the stone made an effort to flower, time unrest had a beating heart. It is time it were time. It is time. ("Corona")

The day the mountains move has come. Or so I say, though no one will believe me. The mountains were merely asleep for a while. But in ages past, they had moved, as if they were on fire. If you don’t believe me, that’s fine with me. All I ask is that you believe this and only this, That at this very moment, women are awakening from their deep slumber. If I could but write entirely in the first person, I, who am a woman. If I could write entirely in the first person, I, I. —Yosano Akiko These are the first lines from Yosano Akiko’s longer poem Sozorogoto (Rambling Thoughts), which were first published in the inaugural issue of the feminist magazine Seit (Bluestocking), in September 1911.

September, 1918" This afternoon was the colour of water falling through sunlight; The trees glittered with the tumbling of leaves; The sidewalks shone like alleys of dropped maple leaves, And the houses ran along them laughing out of square, open windows. Under a tree in the park, Two little boys, lying flat on their faces, Were carefully gathering red berries To put in a pasteboard box. Some day there will be no war, Then I shall take out this afternoon And turn it in my fingers, And remark the sweet taste of it upon my palate, And note the crisp variety of its flights of leaves. To-day I can only gather it And put it into my lunch-box, For I have time for nothing But the endeavour to balance myself Upon a broken world.

Tell me not here, it needs not saying, What tune the enchantress plays In aftermaths of soft September Or under blanching mays, For she and I were long acquainted And I knew all her ways. On russet floors, by waters idle, The pine lets fall its cone; The cuckoo shouts all day at nothing In leafy dells alone; And traveler's joy beguiles in autumn Hearts that have lost their own. On acres of the seeded grasses The changing burnish heaves; Or marshalled under moons of harvest Stand still all night the sheaves; Or beeches strip in storms for winter And stain the wind with leaves. Possess, as I possessed a season, The countries I resign, Where over elmy plains the highway Would mount the hills and shine, And full of shade the pillared forest Would murmur and be mine. For nature, heartless, witless nature, Will neither care nor know What stranger's feet may find the meadow And trespass there and go, Nor ask amid the dews of morning If they are mine or no.

யார் மறப்பார்...?" மூவென்பது ஆண்டின் முன்னே. நல்லூரின் மூவிரண்டு முகத்தான் முன்றலிலே.. ஆறிரண்டு நாளாக -அன்னந் தண்ணிஇன்றி நாவரண்டு நீபுரண்டு பாய்கிடந்து - உயிர் போய்முடித்த சோகத்தினை தியாகத்தினை யார் மறப்பார? யார்மறப்பார் ? சொல் திலீபா? தாயிருந்து பார்த்திருந்தால் தாங்குவளோ? -இந்தியா எம்தாயாக நினைந்திருந்தால் உன்னுயிர். வாங்குவரோ? தோலுரித்து காட்டினாயே அவர் துரோகத்தை வெளிவேசத்தை நாலாறு வயதே வாழ்ந்த திலீபனே!. நாரறுந்து கிழிந்தவராய் போர்புரிந்து தோற்றவராய் புறப்பட்டார் தம்பொதிகளோடு தொண்ணூறில் வேறுக்க வேசம்போட்டு நாருரிக்கும் நரிகளாகி நமையழிக்க வந்தாரே நந்திக் கடல்காண..இனியும் ..நம்புவதா....? கவிஞர்:கவிவன் பிரசுரித்த திகதி:19, SEPTEMBER 2014

September 11 Never a trial that    He is not there. Never a burden that    He does not bear. Never a sorrow that   He does not share. Moment by moment    I'm under His care. —D.W.Whittle

And if it happens that you cannot go on or turn back and you find yourself where you will be at the end, tell yourself in that final flowing of cold through your limbs that you love what you are. — Mark Strand, from “Lines for Winter,” Selected Poems. (Knopf September 26, 1990)

My poems are addressed to an “all”—the stars, the trees, the birds, everything. When I’m writing a poem, I feel like the whole future of the universe depends on that poem. Of course I’m laughing, chuckling to myself as I say this. I’m embarrassed that I feel this way, but I do. Someone asked a poet I know after September 11th if he could write a poem for the occasion of September 11th. He said, “I already did. It’s all I have ever been doing.” In a way, every poem is written at Ground Zero.

Where are you from?" Wherever I go, people think I am from somewhere else! The first question they ask is that same sad question that confirms and reminds me of not belonging anywhere: “Where are you from?” They are right to ask! My grandma used to say that I am from a time and a place that don’t exist anymore… My friends tell me that I carry my home with me everywhere I go, therefore, I belong to all times and all places! As for me, I often wish I weren’t at all! [Original poem published in Arabic on September 1, 2023 at ahewar.org]

Did you too see it, drifting, all night, on the black river? Did you see it in the morning, rising into the silvery air – An armful of white blossoms, A perfect commotion of silk and linen as it leaned into the bondage of its wings; a snowbank, a bank of lilies, Biting the air with its black beak? Did you hear it, fluting and whistling A shrill dark music – like the rain pelting the trees – like a waterfall Knifing down the black ledges? And did you see it, finally, just under the clouds – A white cross Streaming across the sky, its feet Like black leaves, its wings Like the stretching light of the river? And did you feel it, in your heart, how it pertained to everything? And have you too finally figured out what beauty is for? And have you changed your life? — Mary Oliver, “The Swan,” Swan: Poems and Prose Poems. (Beacon Press; 1St Edition edition September 14, 2010)

My former attitude was the luxury of a sheltered child who got to his twenties without ever doubting the stability (and, smugly, I know, the superiority) of his country, without disaster. As it did to so many of my generation, 9/11 broke a stupor that should have broken well before. It seems impossible to me that people who weren't alive then will soon be getting their driver's licenses. When I zoom out, much of this country's history since that day seems a fitful, graceless descent to overseas violence and domestic paranoia. Terrorism works.

CHIANTI The yellow sun lays low upon the fields that are covered in dry grass. Soft is the rain that falls in the distance yet does not dare to come near the places where summer lives and dies. The haze is the aftermath of the kiss summer shared with the land so gracefully. And now, I may kiss your wine-stained lips within September's pale delight.

THE BALLADE OF SUMMER'S FALL Hues of pale green, on delicate olive branches the soft rustling of somberness along the fields of gold that lay themselves to gentle rest after another long summer. I have nothing to bury under them except my own heart -that is my soul's greatest regret, once my lines begin to fill in autumn, under the velvet gloom of shortening days. The admiration of the Florentine sun had doomed my words to become eventually a remembrance once September falls in October's pale hands. I shall have nothing to grieve for once the winter arrives, coming over the distant hills and laying bare the orchards along his way. I doomed them to become ruins by overthinking, hoping - at least once too often - for change; So, let it be then. I will mourn my mere passion for life in the presence of death - though my art may be eternal.

In December 2014, the release of a Senate report on the use of torture by the United States after September 11 provoked a national debate on the morality of our tactics to fight terrorism. Beyond the argument over the results produced by such techniques lies a fundamental question of values and our standing in the world. The use of torture helps validate jihadist claims about the immorality and hypocrisy of the West. We must not fight violent extremism by becoming the brutal enemy that jihadists want. While painful, the process of publicly disclosing and confronting such incidents is, as David Rothkopf argues in Foreign Policy, “very American”33 in its transparency, which, in our view, is something to embrace. We should be seen, constantly, as balancing the scales of justice and individual freedom rather than letting the weight of groups like al Qaeda and ISIS constantly drag us toward an irrevocable mandate for more action, more compromise, and less concern for innocent people caught in the crossfire. “The Second Coming,” a poem by W. B. Yeats, is often quoted (maybe too often), because it feels so relevant to many modern situations. But its apocalyptic tone and cutting observations could have been written for the challenge of ISIS. Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.

Hues of pale green, on delicate olive branches the soft rustling of somberness along the fields of gold that lay themselves to gentle rest after another long summer. I have nothing to bury under them except my own heart -that is my soul's greatest regret, once my lines begin to fill in autumn, under the velvet gloom of shortening days. The admiration of the Florentine sun had doomed my words to become eventually a remembrance once September falls in October's pale hands. I shall have nothing to grieve for once the winter arrives, coming over the distant hills and laying bare the orchards along his way. I doomed them to become ruins by overthinking, hoping - at least once too often - for change; So, let it be then. I will mourn my mere passion for life in the presence of death - though my art may be eternal.

Auld Reekie's sons blyth faces wear, September's merry month is near, That brings in Neptune's caller chere, New oysters fresh; The halesomest and nicest gear Of fish or flesh. Whan big as burns the gutters rin, Gin ye hae catcht a drookit skin, To Luckie Middlemist's loup in, And sit fair snug O'er oysters and a dram o' gin, Or haddock lug.

The Edge of Reason by Stewart Stafford I do not want to die or take my own life, I cling to the outside of skyscraper metal, Thick, choking smoke rakes my shoulder, Scorching flames lash my back and legs. I showered, dressed and went to work, I arrived early, said hello, found my desk, Then the building shifted, smiles faded, Everything changed, and here we are. God, please take me quickly, I beg you, Bless my loved ones, I hope they understand, A Rorschach test for shocked rubberneckers, I let the air pressure suck me out and drop. The initial relief of vacating impossibility, Turns to violent buffeting in wind currents, Clothes ripped off as I spin, falling faster, Crowds point, the ground rushes towards me. © 2024, Stewart Stafford. All rights reserved.

Sounds" Few are the sounds that deepen and enrich silence .. There are sounds without which silence remains incomplete, like a ticking clock or the sudden sound of a cycling fridge… The chirping roaches and cicadas, or croaking frogs… Then there are those sounds that make existence more alienating and unbearable, like the scuffle of a big insect against a window or a door as if committing suicide! Or a creaking rusty door we close behind a departing loved one, knowing deep inside that they won’t return and nothing would be the same after closing that door.. The whistling sound of a kettle declaring that peace and tranquility are illusions that never last… There are also those sounds that summarize the traumas of the past from which hearers never recover, like the screams and cries of the woman next door when beaten by her husband… The coughing, spitting, and heavy breathing of an elderly woman we visited in our childhood… And can we ever forget the sounding sirens of the ships and trains declaring that departure is inevitable? [Original poem published in Arabic on September 15, 2023 at ahewar.org]

Than creatures passing, leaving tracks on the ground. The bird goes by and forgets, which is as it should be. The creature, no longer there, and so, perfectly useless, Shows it was there — also perfectly useless. Remembering betrays Nature, Because yesterday’s Nature is not Nature, What’s past is nothing and remembering is not seeing. Fly, bird, fly away; teach me to disappear! —Fernando Pessoa, “XLIII. Rather the flight of the bird passing and leaving no trace,” Poems of Fernando Pessoa (‎ Los libros de la Catarata; 1st edition, September 8, 2014) Originally published March 1, 1930.

January brings the snow, Makes our feet and fingers glow. February brings the rain, Thaws the frozen lake again. March brings breezes, loud and shrill, To stir the dancing daffodil. April brings out the primrose sweet, Scatters daisies at our feet. May brings flock of pretty lambs, Skipping by their fleecy dams, June brings tulips, lilies, roses, Fills the children's hands with posies. Hot July brings cooling showers, Apricots, and gillyflowers. August brings the sheaves of corn, Then the harvest home is borne. Warm September brings the fruit; Sportsmen then begin to shoot. Fresh October brings the pheasant; Then to gather nuts is pleasant. Dull November brings the blast; Then the leaves are whirling fast. Chill December brings the sleet, Blazing fire, and Christmas treat.

It’s hard to say where this will take me My heart tends to run faster than my feet, but you walk across my thoughts like a visitor in the city, careful to not leave footprints of his own, but failing to stay hidden from every passerby coming through My heart’s been broken before but, still, it yearns to hear your name It’s hard to say where this will take me, but, if you’re there, I’ll go too

The first hint of what is to come occurs near the end of Luther’s obscurity. In September 1517 the dutiful Johann Rhau-Grunenberg publishes a one-page broadsheet by Luther with a boring title: A Disputation against Scholastic Theology. In his broadsheet, Luther ironically lists concise propositions to be argued over—a central practice of scholasticism—in order to criticize scholasticism itself, sort of like a poet writing a poem to criticize poetry.

It is those possessed by sublime madness who keep alive another way of being. W. H. Auden captured the solitude and even futility of such a life at the end of his poem “September 1, 1939.” Defenceless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.32 ———

In times of conflict, make use of your love and compassion; not your guns and bullets.

school stood. He wished he’d had the guts to choose something honest, like the entry Andi had been bold enough to submit. While most students, like him, had produced anodyne statements calculated not to offend, she had mused about the private nature of journaling and how carefully curated everyone’s senior page actually was, before concluding with a poem: These Best Years Bridging the gap between childhood and adulthood Prepared, precisely prepped, on the path to our predestination Are we about to wake up? Or have we just fallen asleep? Every time Ian read her senior page, he thought about one of his entries from freshman year—the day he met her, September 20, 1993. A new girl started today. Her name’s Andi Bloom. She just showed up in algebra

This slave to the clock needs no further introduction on the station platform, for the world recognizes him as the bard who named our times “The Age of Anxiety” and won the 1948 Pulitzer Prize for his long poem of the same name set in a New York bar. This is the poet who pleaded—in a poem called “September 1, 1939,” which he later withdrew from circulation—that “we must love one another or die.” This is the heir wearing, somewhat reticently, the mantle of Yeats and Eliot.

José Martí is recognized as the George Washington of Cuba or perhaps better yet, as the Simon Bolivar, the liberator of South America. He was born in Havana on January 28, 1853, to Spanish parents. His mother, Leonor Pérez Cabrera, was a native of the Canary Islands and his father, Mariano Martí Navarro, came from Valencia. Families were big then, and it was not long before José had seven sisters. While still very young his parents took him to Spain, but it was just two years later that they returned to Santa Clara where his father worked as a prison guard. His parents enrolled José at a local public school. In September of 1867, Martí signed up at the Escuela Profesional de Pintura y Escultura de La Habana, an art school for painting and sculpture in Havana. Instead of pursuing art as a career, Martí felt that his real talents were as a writer and poet. By the early age of 16, he had already contributed poems and articles to the local newspapers. In 1865 after hearing the news of Abraham Lincoln’s assassination, he was inspired to seek freedom for the slaves in his country, and to achieve Cuban independence from Spain. In 1868, Cuban landowners started fighting in what came to be known as the Ten Years’ War. Even at this early age, Martí had definite opinions regarding political affairs, and wrote papers and editorials in support of the rebels. His good intentions backfired and he was convicted of treason. After confessing, he was sentenced to serve six years at hard labor. His parents did what they could to have their son freed but failed, even though at the age of sixteen he was still considered a minor. In prison, Martí’s legs were tightly shackled causing him to become sick with severe lacerations on his ankles. Two years later at the age of eighteen, he was released and sent to Spain where he continued his studies. Because of complications stemming from his time in prison, he had to undergo two surgical operations to correct the damage done to his legs by the shackles. End of part 1.