Sisters Poems And Quotes

I love the silent hour of night, For blissful dreams may then arise, Revealing to my charmed sight What may not bless my waking eyes.

Of two sisters one is always the watcher, one the dancer.

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

For there is no friend like a sister In calm or stormy weather; To cheer one on the tedious way, To fetch one if one goes astray, To lift one if one totters down, To strengthen whilst one stands

Why Not You? Today, many will awaken with a fresh sense of inspiration. Why not you? Today, many will open their eyes to the beauty that surrounds them. Why not you? Today, many will choose to leave the ghost of yesterday behind and seize the immeasurable power of today. Why not you? Today, many will break through the barriers of the past by looking at the blessings of the present. Why not you? Today, for many the burden of self doubt and insecurity will be lifted by the security and confidence of empowerment. Why not you? Today, many will rise above their believed limitations and make contact with their powerful innate strength. Why not you? Today, many will choose to live in such a manner that they will be a positive role model for their children. Why not you? Today, many will choose to free themselves from the personal imprisonment of their bad habits. Why not you? Today, many will choose to live free of conditions and rules governing their own happiness. Why not you? Today, many will find abundance in simplicity. Why not you? Today, many will be confronted by difficult moral choices and they will choose to do what is right instead of what is beneficial. Why not you? Today, many will decide to no longer sit back with a victim mentality, but to take charge of their lives and make positive changes. Why not you? Today, many will take the action necessary to make a difference. Why not you? Today, many will make the commitment to be a better mother, father, son, daughter, student, teacher, worker, boss, brother, sister, & so much more. Why not you? Today is a new day! Many will seize this day. Many will live it to the fullest. Why not you?

Quote words that affirm all men and women are your brothers and sisters.

I gasp, because isn't that just exactly what I've been doing too: writing poems and scattering them to the winds with the same hope as Gram that someone, someday, somewhere might understand who I am, who my sister was, and what happened to us.

But first, on earth as vampire sent, Thy corse shall from its tomb be rent, Then ghastly haunt thy native place, And suck the blood of all thy race. There from thy daughter, sister, wife, At midnight drain the stream of life, Yet loathe the banquet which perforce Must feed thy livid living corse. Thy victims ere they yet expire Shall know the demon for their sire, As cursing thee, thou cursing them, Thy flowers are withered on the stem.

One sister for sale, One sister for sale, One crying and spying young sister for sale I'm really not kidding so who'll start the bidding Do I hear a dollar? A nickle? A penny? Oh isnt there isnt there isnt there any One person who will buy this sister for sale This crying spying old young sister for sale.

Though you are three times more beautiful than angels, Though you are the sister of the river willows, I will kill you with my singing, Without spilling your blood on the ground. Not touching you with my hand, Not giving you one glance, I will stop loving you, But with your unimaginable groans I will finally slake my thirst. From her, who wandered the earth before me, Crueler than ice, more fiery than flame, From her, who still exists in the ether— From her you will set me free.

Mister Cameron - I have read the unexpurgated Ovid, the love poems of Sappho, the Decameron in the original, and a great many texts in Greek and Latin histories that were not though fit for proper gentlemen to read, much less proper ladies. I know in precise detail what Caligula did to, and with, his sisters, and I can quote it to you in Latin or in my own translation if you wish. I am interested in historical truth, and truth in history is often unpleasant and distasteful to those of fine sensibility. I frankly doubt that you will produce anything to shock me.

This cruel age has deflected me, like a river from this course. Strayed from its familiar shores, my changeling life has flowed into a sister channel. How many spectacles I've missed: the curtain rising without me, and falling too. How many friends I never had the chance to meet.

The ancients waited for cherry blossoms, grieved when they were gone, and lamented their passing in countless poems. How very ordinary the poems had seemed to Sachiko when she read them as a girl, but now she knew, as well as one could know, that grieving over fallen cherry blossoms was more than a fad or convention.

Long have I dwelt forgotten here In pining woe and dull despair; This place of solitude and gloom Must be my dungeon and my tomb.

On Stripping Bark from Myself (for Jane, who said trees die from it) Because women are expected to keep silent about their close escapes I will not keep silent and if I am destroyed (naked tree!) someone will please mark the spot where I fall and know I could not live silent in my own lies hearing their 'how nice she is!' whose adoration of the retouched image I so despise. No. I am finished with living for what my mother believes for what my brother and father defend for what my lover elevates for what my sister, blushing, denies or rushes to embrace. I find my own small person a standing self against the world an equality of wills I finally understand. Besides: My struggle was always against an inner darkness: I carry within myself the only known keys to my death – to unlock life, or close it shut forever. A woman who loves wood grains, the color yellow and the sun, I am happy to fight all outside murderers as I see I must.

The wind I hear it sighing, with autumn's saddest sound; withered leaves all thick are lying, as spring-flowers on the ground. This dark night has won me to wander far away; old feelings gather fast upon me.

What can I tell you about the alchemy of twins? Twins are two bodies that dance to each other’s joy. Two minds that drown in each other’s despair. Two spirits that fly with each other’s love. Twins are two separate beings conjoined at the heart!

For Jenn At 12 years old I started bleeding with the moon and beating up boys who dreamed of becoming astronauts. I fought with my knuckles white as stars, and left bruises the shape of Salem. There are things we know by heart, and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke. I'd watch the nicotine rising from her lips like halos, but I could never make dying beautiful. The sky didn't fill with colors the night I convinced myself veins are kite strings you can only cut free. I suppose I love this life, in spite of my clenched fist. I open my palm and my lifelines look like branches from an Aspen tree, and there are songbirds perched on the tips of my fingers, and I wonder if Beethoven held his breath the first time his fingers touched the keys the same way a soldier holds his breath the first time his finger clicks the trigger. We all have different reasons for forgetting to breathe. But my lungs remember the day my mother took my hand and placed it on her belly and told me the symphony beneath was my baby sister's heartbeat. And I knew life would tremble like the first tear on a prison guard's hardened cheek, like a prayer on a dying man's lips, like a vet holding a full bottle of whisky like an empty gun in a war zone… just take me just take me Sometimes the scales themselves weigh far too much, the heaviness of forever balancing blue sky with red blood. We were all born on days when too many people died in terrible ways, but you still have to call it a birthday. You still have to fall for the prettiest girl on the playground at recess and hope she knows you can hit a baseball further than any boy in the whole third grade and I've been running for home through the windpipe of a man who sings while his hands playing washboard with a spoon on a street corner in New Orleans where every boarded up window is still painted with the words We're Coming Back like a promise to the ocean that we will always keep moving towards the music, the way Basquait slept in a cardboard box to be closer to the rain. Beauty, catch me on your tongue. Thunder, clap us open. The pupils in our eyes were not born to hide beneath their desks. Tonight lay us down to rest in the Arizona desert, then wake us washing the feet of pregnant women who climbed across the border with their bellies aimed towards the sun. I know a thousand things louder than a soldier's gun. I know the heartbeat of his mother. Don't cover your ears, Love. Don't cover your ears, Life. There is a boy writing poems in Central Park and as he writes he moves and his bones become the bars of Mandela's jail cell stretching apart, and there are men playing chess in the December cold who can't tell if the breath rising from the board is their opponents or their own, and there's a woman on the stairwell of the subway swearing she can hear Niagara Falls from her rooftop in Brooklyn, and I'm remembering how Niagara Falls is a city overrun with strip malls and traffic and vendors and one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect. I am not the type to mistake a streetlight for the moon. I know our wounds are deep as the Atlantic. But every ocean has a shoreline and every shoreline has a tide that is constantly returning to wake the songbirds in our hands, to wake the music in our bones, to place one fearless kiss on the mouth of that brave river that has to run through the center of our hearts to find its way home.

The world is a wide place where we stumble like children learning to walk. The world is a bright mosaic where we learn like children to see, where our little blurry eyes strive greedily to take in as much light and love and colour and detail as they can. The world is a coaxing whisper when the wind lips the trees, when the sea licks the shore, when animals burrow into earth and people look up at the sympathetic stars. The world is an admonishing roar when gales chase rainclouds over the plains and whip up ocean waves, when people crowd into cities or intrude into dazzling jungles. What right have we to carry our desperate mouths up mountains or into deserts? Do we want to taste rock and sand or do we expect to make impossible poems from space and silence? The vastness at least reminds us how tiny we are, and how much we don't yet understand. We are mere babes in the universe, all brothers and sisters in the nursery together. We had better learn to play nicely before we're allowed out..... And we want to go out, don't we? ..... Into the distant humming welcoming darkness.

From her thighs, she gives you life And how you treat she who gives you life Shows how much you value the life given to you by the Creator. And from seed to dust There is ONE soul above all others -- That you must always show patience, respect, and trust And this woman is your mother. And when your soul departs your body And your deeds are weighed against the feather There is only one soul who can save yours And this woman is your mother. And when the heart of the universe Asks her hair and mind, Whether you were gentle and kind to her Her heart will be forced to remain silent And her hair will speak freely as a separate entity, Very much like the seaweed in the sea -- It will reveal all that it has heard and seen. This woman whose heart has seen yours, First before anybody else in the world, And whose womb had opened the door For your eyes to experience light and more -- Is your very own MOTHER. So, no matter whether your mother has been cruel, Manipulative, abusive, mentally sick, or simply childish How you treat her is the ultimate test. If she misguides you, forgive her and show her the right way With simple wisdom, gentleness, and kindness. And always remember, That the queen in the Creator's kingdom, Who sits on the throne of all existence, Is exactly the same as in yours. And her name is, THE DIVINE MOTHER.

Soul Sister Evoking all my inner goodness with bastions of time I cradle your heart sisterly into mine...

Morning and evening Maids heard the goblins cry: 'Come buy our orchard fruits, Come buy, come buy

He remembers which sister I like least and asks how she is doing. (lines 9-11 of the poem 'Divorce')

It is winter now, and the roses are blooming again, their petals bright against the snow. My father died last April; my sisters no longer write, except at the turning of the year, content with their fine houses and their grandchildren. Beast and I putter in the gardens and walk slowly on the forest paths. [from the poem, Beauty and the Beast: An Anniversary]

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

She knows not loves that kissed her She knows not where. Art thou the ghost, my sister, White sister there, Am I the ghost, who knows? My hand, a fallen rose, Lies snow-white on white snows, and takes no care.

Madame V begins the lesson by reading aloud the first stanza of a famous French poem: Il pleure dans mon coeur Comme il pleut sur la ville; Quelle est cette langueur Qui penetre mon coeur? Then she looks up and without any warning she calls on me to translate it. I swallow hard, and try: "It's raining in my heart like it's raining in the city. What is this sadness that pierces my heart?" Saying these words out loud, right in front of the whole class, makes me feel like I'm not wearing any clothes.

To live with you is to live. To live without you is to die.

This is the time of tension between dying and birth The place of solitude where three dreams cross Between blue rocks But when the voices shaken from the yew-tree drift away Let the other yew be shaken and reply. Blessèd sister, holy mother, spirit of the fountain, spirit of the garden, Suffer us not to mock ourselves with falsehood Teach us to care and not to care Teach us to sit still Even among these rocks, Our peace in His will And even among these rocks Sister, mother And spirit of the river, spirit of the sea, Suffer me not to be separated And let my cry come unto Thee.

Amazing Peace: A Christmas Poem Thunder rumbles in the mountain passes And lightning rattles the eaves of our houses. Flood waters await us in our avenues. Snow falls upon snow, falls upon snow to avalanche Over unprotected villages. The sky slips low and grey and threatening. We question ourselves. What have we done to so affront nature? We worry God. Are you there? Are you there really? Does the covenant you made with us still hold? Into this climate of fear and apprehension, Christmas enters, Streaming lights of joy, ringing bells of hope And singing carols of forgiveness high up in the bright air. The world is encouraged to come away from rancor, Come the way of friendship. It is the Glad Season. Thunder ebbs to silence and lightning sleeps quietly in the corner. Flood waters recede into memory. Snow becomes a yielding cushion to aid us As we make our way to higher ground. Hope is born again in the faces of children It rides on the shoulders of our aged as they walk into their sunsets. Hope spreads around the earth. Brightening all things, Even hate which crouches breeding in dark corridors. In our joy, we think we hear a whisper. At first it is too soft. Then only half heard. We listen carefully as it gathers strength. We hear a sweetness. The word is Peace. It is loud now. It is louder. Louder than the explosion of bombs. We tremble at the sound. We are thrilled by its presence. It is what we have hungered for. Not just the absence of war. But, true Peace. A harmony of spirit, a comfort of courtesies. Security for our beloveds and their beloveds. We clap hands and welcome the Peace of Christmas. We beckon this good season to wait a while with us. We, Baptist and Buddhist, Methodist and Muslim, say come. Peace. Come and fill us and our world with your majesty. We, the Jew and the Jainist, the Catholic and the Confucian, Implore you, to stay a while with us. So we may learn by your shimmering light How to look beyond complexion and see community. It is Christmas time, a halting of hate time. On this platform of peace, we can create a language To translate ourselves to ourselves and to each other. At this Holy Instant, we celebrate the Birth of Jesus Christ Into the great religions of the world. We jubilate the precious advent of trust. We shout with glorious tongues at the coming of hope. All the earth's tribes loosen their voices To celebrate the promise of Peace. We, Angels and Mortal's, Believers and Non-Believers, Look heavenward and speak the word aloud. Peace. We look at our world and speak the word aloud. Peace. We look at each other, then into ourselves And we say without shyness or apology or hesitation. Peace, My Brother. Peace, My Sister. Peace, My Soul.

The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, and upon the changes which we hope to bring about through those lives. It is within this light that we form those ideas by which we pursue our magic and make it realized. This is poetry as illumination, for it is through poetry that we give name to those ideas which are — until the poem — nameless and formless, about to be birthed, but already felt.

. . .because we had survived sisters and brothers, daughters and sons, we discovered bones that rose from the dark earth and sang as white birds in the trees Because the story of our life becomes our life Because each of us tells the same story but tells it differently and none of us tells it the same way twice . . (from, Why We Tell Stories)

People love their fathers. Their sisters. People love dogs or songs or poems. If I've got to be the champion of something, make it something that doesn't change what it means every time someone says it.

How heavy my mind is, filled with the past. Is there enough room for the world to penetrate? It must go somewhere, it cannot simply sit on the surface-- Stars gleaming over the water. The leaves piled, waiting to be lit. Insight, my sister said. Now it is here. But hard to see in the darkness. You must find your footing before you put your weight on it.

You have a picture of life within you, a faith, a challenge, and you were ready for deeds and sufferings and sacrifices, and then you became aware by degrees that the world asked no deeds and no sacrifices of you whatever, and that life is no poem of heroism with heroic parts to play and so on, but a comfortable room where people are quite content with eating and drinking, coffee and knitting, cards and wireless. And whoever wants more and has got it in him--the heroic and the beautiful, and the reverence for the great poets or for the saints--is a fool and a Don Quixote. Good. And it has been just the same for me, my friend. I was a gifted girl. I was meant to live up to a high standard, to expect much of myself and do great things. I could have played a great part. I could have been the wife of a king, the beloved of a revolutionary, the sister of a genius, the mother of a martyr. And life has allowed me just this, to be a courtesan of fairly good taste, and even that has been hard enough. That is how things have gone with me. For a while I was inconsolable and for a long time I put the blame on myself. Life, thought I, must in the end be in the right, and if life scorned my beautiful dreams, so I argued, it was my dreams that were stupid and wrong headed. But that did not help me at all. And as I had good eyes and ears and was a little inquisitive too, I took a good look at this so-called life and at my neighbors and acquaintances, fifty or so of them and their destinies, and then I saw you. And I knew that my dreams had been right a thousand times over, just as yours had been. It was life and reality that were wrong. It was as little right that a woman like me should have no other choice than to grow old in poverty and in a senseless way at a typewriter in the pay of a money-maker, or to marry such a man for his money's sake, or to become some kind of drudge, as for a man like you to be forced in his loneliness and despair to have recourse to a razor. Perhaps the trouble with me was more material and moral and with you more spiritual--but it was the same road. Do you think I can't understand your horror of the fox trot, your dislike of bars and dancing floors, your loathing of jazz and the rest of it? I understand it only too well, and your dislike of politics as well, your despondence over the chatter and irresponsible antics of the parties and the press, your despair over the war, the one that has been and the one that is to be, over all that people nowadays think, read and build, over the music they play, the celebrations they hold, the education they carry on. You are right, Steppenwolf, right a thousand times over, and yet you must go to the wall. You are much too exacting and hungry for this simple, easygoing and easily contented world of today. You have a dimension too many. Whoever wants to live and enjoy his life today must not be like you and me. Whoever wants music instead of noise, joy instead of pleasure, soul instead of gold, creative work instead of business, passion instead of foolery, finds no home in this trivial world of ours--

A Rock, A River, A Tree Hosts to species long since departed, Mark the mastodon. The dinosaur, who left dry tokens Of their sojourn here On our planet floor, Any broad alarm of their of their hastening doom Is lost in the gloom of dust and ages. But today, the Rock cries out to us, clearly, forcefully, Come, you may stand upon my Back and face your distant destiny, But seek no haven in my shadow. I will give you no hiding place down here. You, created only a little lower than The angels, have crouched too long in The bruising darkness, Have lain too long Face down in ignorance. Your mouths spelling words Armed for slaughter. The rock cries out today, you may stand on me, But do not hide your face. Across the wall of the world, A river sings a beautiful song, Come rest here by my side. Each of you a bordered country, Delicate and strangely made proud, Yet thrusting perpetually under siege. Your armed struggles for profit Have left collars of waste upon My shore, currents of debris upon my breast. Yet, today I call you to my riverside, If you will study war no more. Come, clad in peace and I will sing the songs The Creator gave to me when I And the tree and stone were one. Before cynicism was a bloody sear across your brow And when you yet knew you still knew nothing. The river sings and sings on. There is a true yearning to respond to The singing river and the wise rock. So say the Asian, the Hispanic, the Jew, The African and Native American, the Sioux, The Catholic, the Muslim, the French, the Greek, The Irish, the Rabbi, the Priest, the Sheikh, The Gay, the Straight, the Preacher, The privileged, the homeless, the teacher. They hear. They all hear The speaking of the tree. Today, the first and last of every tree Speaks to humankind. Come to me, here beside the river. Plant yourself beside me, here beside the river. Each of you, descendant of some passed on Traveller, has been paid for. You, who gave me my first name, You Pawnee, Apache and Seneca, You Cherokee Nation, who rested with me, Then forced on bloody feet, Left me to the employment of other seekers-- Desperate for gain, starving for gold. You, the Turk, the Swede, the German, the Scot... You the Ashanti, the Yoruba, the Kru, Bought, sold, stolen, arriving on a nightmare Praying for a dream. Here, root yourselves beside me. I am the tree planted by the river, Which will not be moved. I, the rock, I the river, I the tree I am yours--your passages have been paid. Lift up your faces, you have a piercing need For this bright morning dawning for you. History, despite its wrenching pain, Cannot be unlived, and if faced with courage, Need not be lived again. Lift up your eyes upon The day breaking for you. Give birth again To the dream. Women, children, men, Take it into the palms of your hands. Mold it into the shape of your most Private need. Sculpt it into The image of your most public self. Lift up your hearts. Each new hour holds new chances For new beginnings. Do not be wedded forever To fear, yoked eternally To brutishness. The horizon leans forward, Offering you space to place new steps of change. Here, on the pulse of this fine day You may have the courage To look up and out upon me, The rock, the river, the tree, your country. No less to Midas than the mendicant. No less to you now than the mastodon then. Here on the pulse of this new day You may have the grace to look up and out And into your sister's eyes, Into your brother's face, your country And say simply Very simply With hope Good morning.

PLANETARIUM Thinking of Caroline Herschel (1750–1848) astronomer, sister of William; and others. A woman in the shape of a monster a monster in the shape of a woman the skies are full of them a woman ‘in the snow among the Clocks and instruments or measuring the ground with poles’ in her 98 years to discover 8 comets she whom the moon ruled like us levitating into the night sky riding the polished lenses Galaxies of women, there doing penance for impetuousness ribs chilled in those spaces of the mind An eye, ‘virile, precise and absolutely certain’ from the mad webs of Uranusborg encountering the NOVA every impulse of light exploding from the core as life flies out of us Tycho whispering at last ‘Let me not seem to have lived in vain’ What we see, we see and seeing is changing the light that shrivels a mountain and leaves a man alive Heartbeat of the pulsar heart sweating through my body The radio impulse pouring in from Taurus I am bombarded yet I stand I have been standing all my life in the direct path of a battery of signals the most accurately transmitted most untranslatable language in the universe I am a galactic cloud so deep so invo- luted that a light wave could take 15 years to travel through me And has taken I am an instrument in the shape of a woman trying to translate pulsations into images for the relief of the body and the reconstruction of the mind.

I cast myself at him, like a fool, but he didn't see me. And then one day he noticed I was beautiful and he wanted me. He broke me off and took me with him, in his hands, and I didn't care that I was dying until I actually was.

It's corny, but I think poems are echoes of the voices in your head and from your past. Your sisters, your father, your ancestors taking to you and through you. Some of it is primal, some of it is hallucinatory bullshit. That madness those boys rapping ain't nothing but urban folklore. They retelling stories passed down from chicken coop to apartment stoop to Ford coupe. Hear that rhyme, boy. Shit, I could get down and rap if I had to. MC Big Mama Osteoporosis in the house.

Depths of Friendship ...under fathoms deep of dark and bitter cold an eerie oscillation reverberated brash and bold...

Mrs. Spock: He's in his 80's now His face is showing his age Not quite the trim figure That he had on the old show But I've grown older too, Wider, and more creaky bones And "Bones" has travelled on But, still, "Live long and prosper!" Back when I was little Was always Mrs. Spock when Ever we played "Star Trek" With my sisters, as a child

He said he ate his food out of our big refrigerators, drove our eight-cylinder American cars, un-hesitatingly used our medicines when he was sick, and relied on the U.S. Army to protect his parents and sisters from Hitler's Germany, and nothing, not one single thing in all his poems, reflected these realities.

In order to have a happy ending, in order to be triumphant, in order to be heroic, you have to tell your own story. The women's movement knows that; black people know that; brown people know that; yellow people know that. You have to be able to tell your own story in order to show that you are worthy--that you belong.

I didn’t go to the moon, I went much further — for time is the longest distance between two places. Not long after that I was fired for writing a poem on the lid of a shoe-box. I left Saint Louis. I descended the steps of this fire escape for a last time and followed, from then on, in my father’s footsteps, attempting to find in motion what was lost in space. I traveled around a great deal. The cities swept about me like dead leaves, leaves that were brightly colored but torn away from the branches. I would have stopped, but I was pursued by something. It always came upon me unawares, taking me altogether by surprise. Perhaps it was a familiar bit of music. Perhaps it was only a piece of transparent glass. Perhaps I am walking along a street at night, in some strange city, before I have found companions. I pass the lighted window of a shop where perfume is sold. The window is filled with pieces of colored glass, tiny transparent bottles in delicate colors, like bits of a shattered rainbow. Then all at once my sister touches my shoulder. I turn around and look into her eyes. Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger — anything that can blow your candles out! For nowadays the world is lit by lightning! Blow out your candles, Laura — and so goodbye. . .

When you're sixteen or seventeen meaning can be anywhere. A drop of rain running down the window is a symbol, a song comes on the radio just when you longed for it, you have the same initials as the boy for whom you're sick, secret messages await you in poems. It's like living in a net of logic, of systems of words and significance.

The moon from any window is one part whoever’s looking. The part I can’t see is everything my sister keeps to herself. One part my dead brother’s sleepless brow, the other part the time I waste, the time I won’t have. But which is the lion killed for the sake of the honey inside him, and which the wine, stranded in a valley, unredeemed? And don’t forget the curtains. Don’t forget the wind in the trees, or my mother’s voice saying things that will take my whole life to come true. One part earnest child grown tall in his mother’s doorway, and one a last look over the shoulder before leaving. And never forget it answers to no address, but calls wave after wave to a path or thirst. Never forget the candle climbing down without glancing back. And what about the heart counting alone, out loud, in that game in which the many hide from the one? Never forget the cry completely hollowed of the dying one who cried it. Only in such pure outpouring is there room for all this night.

But for my sister, that's the condition of love. She was my father's daughter: the face of love, to her, is the face turning away.

The Power of the Dog by Rudyard Kipling There is sorrow enough in the natural way From men and women to fill our day; And when we are certain of sorrow in store, Why do we always arrange for more? Brothers and Sisters, I bid you beware Of giving your heart to a dog to tear. Buy a pup and your money will buy Love unflinching that cannot lie-- Perfect passion and worship fed By a kick in the ribs or a pat on the head. Nevertheless it is hardly fair To risk your heart for a dog to tear. When the fourteen years which Nature permits Are closing in asthma, or tumour, or fits, And the vet's unspoken prescription runs To lethal chambers or loaded guns, Then you will find--it's your own affair-- But ... you've given your heart to a dog to tear. When the body that lived at your single will, With its whimper of welcome, is stilled (how still!). When the spirit that answered your every mood Is gone--wherever it goes--for good, You will discover how much you care, And will give your heart to a dog to tear. We've sorrow enough in the natural way, When it comes to burying Christian clay. Our loves are not given, but only lent, At compound interest of cent per cent. Though it is not always the case, I believe, That the longer we've kept 'em, the more do we grieve: For, when debts are payable, right or wrong, A short-time loan is as bad as a long-- So why in--Heaven (before we are there) Should we give our hearts to a dog to tear?

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy, in the way my body stretches to music and opens into response, harkening to its deepest rhythms so every level upon which I sense also opens to the erotically satisfying experience whether it is dancing, building a bookcase, writing a poem, or examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of my capacity for joy comes to demand from all of my life that it be lived within the knowledge that such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife. This is one reason why the erotic is so feared, and so often relegated to the bedroom alone, when it is recognized at all. For once we begin to feel deeply all the aspects of our lives, we begin to demand from ourselves and from our life-pursuits that they feel in accordance with that joy which we know ourselves to be capable of. Our erotic knowledge empowers us, becomes a lens through which we scrutinize all aspects of our existence, forcing us to evaluate those aspects honestly in terms of their relative meaning within our lives. And this is a grave responsibility, projected from within each of us, not to settle for the convenient, the shoddy, the conventionally expected, nor the merely safe.

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

Snake's Lullaby Brother, sister, flick your tongue and taste the flakes of autumn sun. Use these last few hours of gold to travel, travel toward the cold. Before your coils grow stiff and dull, your heartbeat slows to winter's lull, seek the sink of sheltered stones that safely cradle sleeping bones. Brother, sister, find the ways back to the deep and tranquil bays, and 'round each other twist and fold to weave a heavy cloak of cold.

Clocks ticking, wasted time, reminded [Poe] The coffin waits and pages lie half done In desolation. Anonymity’s Curse frightens writers more than Roderick Encountering his sister’s open crypt. - - from my poem "Poe and His Women" - -

The day arrived,when myriad teary rivers flow and the muted wind faintly died in his tears—an altar for the beloved one's departure,for sister-hood is no more,for her to adore!while pangs the beating world in a lamenting voice;their remembering loss of the 'one' they embrace most and when the crepuscule came like a phantom,the mournful,gathered birds swiftly flew in gloom.

Invitation to Eternity Say, wilt thou go with me, sweet maid, Say, maiden, wilt thou go with me Through the valley-depths of shade, Of bright and dark obscurity; Where the path has lost its way, Where the sun forgets the day, Where there's nor light nor life to see, Sweet maiden, wilt thou go with me? Where stones will turn to flooding streams, Where plains will rise like ocean's waves, Where life will fade like visioned dreams And darkness darken into caves, Say, maiden, wilt thou go with me Through this sad non-identity Where parents live and are forgot, And sisters live and know us not? Say, maiden, wilt thou go with me In this strange death of life to be, To live in death and be the same, Without this life or home or name, At once to be and not to be— That was and is not—yet to see Things pass like shadows, and the sky Above, below, around us lie? The land of shadows wilt thou trace, Nor look nor know each other's face; The present marred with reason gone, And past and present both as one? Say, maiden, can thy life be led To join the living and the dead? Then trace thy footsteps on with me: We are wed to one eternity.

We also fought about everything -- like real sisters. We fought about money, bedrooms, whose car to take. Everyone of these fights was actually about something else -- usually abandonment. I wanted to be first on her list and she wanted to be first on mine. I wanted all her attention, all her love, all her care. I wanted her to be my mommy, my daddy, my sister. She wanted the same from me. She wanted to be fed, cared for, nurtured without limit. She wanted backrubs, poems, pastas, and to be left alone when she needed to be left alone. She wanted to come before my writing, my child, my man. And I wanted no less from her. She was sick at first, so I took care of her. Then I was jealous of the attention and she took care of me. We had gone down into the primal cave of our friendship. we had felt loved enough to rage and fight, to show the inside of our naked throats and our bared fags, and the friendship took another leap toward intimacy. Without rage, intimacy can't be.

Not the soul that’s whitest Wakens love the sweetest: When the heart is lightest Oft the charm is fleetest. While the snow-frail maiden, 5 Waits the time of learning, To the passion laden Turn with eager yearning. While the heart is burning Heaven with earth is banded: 10 To the stars returning Go not empty-handed. Ah, the snow-frail maiden! Somehow truth has missed her, Left the heart unladen 15 For its burdened sister.

Father had stretched out his long legs and was tilting back in his chair. Mother sat with her knees crossed, in blue slacks, smoking a Chesterfield. The dessert dishes were still on the table. My sisters were nowhere in evidence. It was a warm evening; the big dining-room windows gave onto blooming rhododendrons. Mother regarded me warmly. She gave me to understand that she was glad I had found what I had been looking for, but that she and father were happy to sit with their coffee, and would not be coming down. She did not say, but I understood at once, that they had their pursuits (coffee?) and I had mine. She did not say, but I began to understand then, that you do what you do out of your private passion for the thing itself. I had essentially been handed my own life. In subsequent years my parents would praise my drawings and poems, and supply me with books, art supplies, and sports equipment, and listen to my troubles and enthusiasms, and supervise my hours, and discuss and inform, but they would not get involved with my detective work, nor hear about my reading, nor inquire about my homework or term papers or exams, nor visit the salamanders I caught, nor listen to me play the piano, nor attend my field hockey games, nor fuss over my insect collection with me, or my poetry collection or stamp collection or rock collection. My days and nights were my own to plan and fill.

It’s late. I’ve come to find the flower which blossoms like a saint dying upside down. The rose won’t do, nor the iris. I’ve come to find the moody one, the shy one, downcast, grave, and isolated. Now, blackness gathers in the grass, and I am on my hands and knees. What is its name? Little sister, my indigo, my secret, vaginal and sweet, you unfurl yourself shamelessly toward the ground, You burn. You live a while in two worlds at once. — Li-Young Lee, “My Indigo,” Rose: Poems (BOA Editions, LTD., 1986)

Sister, if he wants to touch that beautiful and rare diamond between your legs, if he wants to slip into that honey they swarm around, always hungry, always go, then he will take it however you give it to him. And if you want to give it to him hairy, that's how he's going to fucking take it. —Stop trying so hard. Find your own beautiful.

I speak here of poetry as a revelatory distillation of experience, not the sterile word play that, too often, the white fathers distorted the word poetry to mean--in order to cover a desperate wish for imagination without insight. For women, then, poetry is not a luxury. It is a vital necessity of our existence. It forms the quality of the light within which we predicate our hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action. Poetry is the way we help give name to the nameless so it can be thought. The farthest horizons of our hopes and fears are cobbled by our poems, carved from the rock experiences of our daily lives.

The dark eagles, sleep and death, Rustle all night around my head: The golden statue of man Is swallowed by the icy comber Of eternity. On the frightening reef The purple remains go to pieces, And the dark voice mourns Over the sea. Sister in my wild despair Look, a precarious skiff is sinking Under the stars, The face of night whose voice is fading.

As they become known to and accepted by us, our feelings and the honest exploration of them become sanctuaries and spawning grounds for the most radical and daring of ideas. They become a safe-house for that difference so necessary to change and the conceptualization of any meaningful action. Right now, I could name at least ten ideas I would have found intolerable or incomprehensible and frightening, except as they ame after dreams and poems. This is not idle fantasy, but a disciplined attention to the true meaning of "it feels right to me." We can train ourselves to respect our feelings and to transpose them into a language so they can be shared. And where that language does not yet exist, it is our poetry which helps to fashion it. Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change, a bridge across our fears of what has never been before.

In his room, scanning through the poetry book for one to read in class, Tate found a poem by Thomas Moore: ... she's gone to the Lake of the Dismal Swamp, Where, all night long, by a fire-fly lamp, She paddles her white canoe. And her fire-fly lamp I soon shall see, And her paddle I soon shall hear; Long and loving our life shall be, And I'll hide the maid in a cypress tree, When the footstep of death is near. The words made him think of Kya, Jodie's little sister. She'd seemed so small and alone in the marsh's big sweep. He imagined his own sister lost out there. His dad was right- poems made you feel something.

In Ireland the three divine sisters known as na Morrigna or "The Great Macha and associated with battles and protection, magic and shape shifting, fertility and abundance, and sovereignty and the Otherworld (to varying degrees).

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining-board, which I have padded with our dog's blanket and the tea-cosy. I can't say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring - I wrote my very best poem while sitting on the hen-house. Though even that isn't a very good poem. I have decided my best poetry is so bad that I mustn't write any more of it. Drips from the roof are plopping into the water-butt by the back door. The view through the windows above the sink is excessively drear. Beyond the dank garden in the courtyard are the ruined walls on the edge of the moat. Beyond the moat, the boggy ploughed fields stretch to the leaden sky. I tell myself that all the rain we have had lately is good for nature, and that at any moment spring will surge on us. I try to see leaves on the trees and the courtyard filled with sunlight. Unfortunately, the more my mind's eye sees green and gold, the more drained of all colour does the twilight seem. It is comforting to look away from the windows and towards the kitchen fire, near which my sister Rose is ironing - though she obviously can't see properly, and it will be a pity if she scorches her only nightgown. (I have two, but one is minus its behind.) Rose looks particularly fetching by firelight because she is a pinkish person; her skin has a pink glow and her hair is pinkish gold, very light and feathery. Although I am rather used to her I know she is a beauty. She is nearly twenty-one and very bitter with life. I am seventeen, look younger, feel older. I am no beauty but I have a neatish face. I have just remarked to Rose that our situation is really rather romantic - two girls in this strange and lonely house. She replied that she saw nothing romantic about being shut up in a crumbling ruin surrounded by a sea of mud. I must admit that our home is an unreasonable place to live in. Yet I love it. The house itself was built in the time of Charles II, but it was grafted on to a fourteenth-century castle that had been damaged by Cromwell. The whole of our east wall was part of the castle; there are two round towers in it. The gatehouse is intact and a stretch of the old walls at their full height joins it to the house. And Belmotte Tower, all that remains of an even older castle, still stands on its mound close by. But I won't attempt to describe our peculiar home fully until I can see more time ahead of me than I do now. I am writing this journal partly to practise my newly acquired speed-writing and partly to teach myself how to write a novel - I intend to capture all our characters and put in conversations. It ought to be good for my style to dash along without much thought, as up to now my stories have been very stiff and self-conscious. The only time father obliged me by reading one of them, he said I combined stateliness with a desperate effort to be funny. He told me to relax and let the words flow out of me.

If an eagle gives you a feather, keep it safe. Remember: that giants sleep too soundly; that witches are often betrayed by their appetites; dragons have one soft spot, somewhere, always; hearts can be well-hidden, and you betray them with your tongue. Do not be jealous of your sister. Know that diamonds and roses are as uncomfortable when they tumble from one's lips as toads and frogs: colder, too, and sharper, and they cut. Remember your name. Do not lose hope -- what you seek will be found. Trust ghosts. Trust those that you have helped to help you in their turn. Trust dreams. Trust your heart, and trust your story. When you come back, return the way you came. Favors will be returned, debts be repaid. Do not forget your manners. Do not look back. Ride the wise eagle (you shall not fall). Ride the silver fish (you will not drown). Ride the grey wolf (hold tightly to his fur). There is a worm at the heart of the tower; that is why it will not stand. When you reach the little house, the place your journey started, you will recognize it, although it will seem much smaller than you remember. Walk up the path, and through the garden gate you never saw before but once. And then go home. Or make a home. Or rest.

The Women Who Walk Us Home The ones who arrive with a bag of clothes, four tired lemons, half a story from her sister's trip to Paraguay. The ones who keep our secrets and whose secrets we keep in potted plants, in every ocean we've ever known. The ones who know our husbands, their little pleasures. Our lovers and our scars. The ones who stay, hope like a moth. Who stare into the gaping tomb and are not afraid of its unveiling. The ones who will be there, even then (even then), to walk us home.

It is difficult to be an artist, because what you can see needs to be done and what you can achieve are generally two very opposite things. The two are like yin and yang, north and south, positive and negative. What you see is just totally opposite of what the reality can be, and that's unfortunate. But there are things we can do. Writers can either repave--we fill in some of the cracks in the road that are already there--or we start to knock down some of the weeds to make a clearing in the wilderness.

In The Garret Four little chests all in a row, Dim with dust, and worn by time, All fashioned and filled, long ago, By children now in their prime. Four little keys hung side by side, With faded ribbons, brave and gay When fastened there, with childish pride, Long ago, on a rainy day. Four little names, one on each lid, Carved out by a boyish hand, And underneath there lieth hid Histories of the happy band Once playing here, and pausing oft To hear the sweet refrain, That came and went on the roof aloft, In the falling summer rain. 'Meg' on the first lid, smooth and fair. I look in with loving eyes, For folded here, with well-known care, A goodly gathering lies, The record of a peaceful life-- Gifts to gentle child and girl, A bridal gown, lines to a wife, A tiny shoe, a baby curl. No toys in this first chest remain, For all are carried away, In their old age, to join again In another small Meg's play. Ah, happy mother! Well I know You hear, like a sweet refrain, Lullabies ever soft and low In the falling summer rain. 'Jo' on the next lid, scratched and worn, And within a motley store Of headless dolls, of schoolbooks torn, Birds and beasts that speak no more, Spoils brought home from the fairy ground Only trod by youthful feet, Dreams of a future never found, Memories of a past still sweet, Half-writ poems, stories wild, April letters, warm and cold, Diaries of a wilful child, Hints of a woman early old, A woman in a lonely home, Hearing, like a sad refrain-- 'Be worthy, love, and love will come,' In the falling summer rain. My Beth! the dust is always swept From the lid that bears your name, As if by loving eyes that wept, By careful hands that often came. Death canonized for us one saint, Ever less human than divine, And still we lay, with tender plaint, Relics in this household shrine-- The silver bell, so seldom rung, The little cap which last she wore, The fair, dead Catherine that hung By angels borne above her door. The songs she sang, without lament, In her prison-house of pain, Forever are they sweetly blent With the falling summer rain. Upon the last lid's polished field-- Legend now both fair and true A gallant knight bears on his shield, 'Amy' in letters gold and blue. Within lie snoods that bound her hair, Slippers that have danced their last, Faded flowers laid by with care, Fans whose airy toils are past, Gay valentines, all ardent flames, Trifles that have borne their part In girlish hopes and fears and shames, The record of a maiden heart Now learning fairer, truer spells, Hearing, like a blithe refrain, The silver sound of bridal bells In the falling summer rain. Four little chests all in a row, Dim with dust, and worn by time, Four women, taught by weal and woe To love and labor in their prime. Four sisters, parted for an hour, None lost, one only gone before, Made by love's immortal power, Nearest and dearest evermore. Oh, when these hidden stores of ours Lie open to the Father's sight, May they be rich in golden hours, Deeds that show fairer for the light, Lives whose brave music long shall ring, Like a spirit-stirring strain, Souls that shall gladly soar and sing In the long sunshine after rain

Lorelei It is no night to drown in: A full moon, river lapsing Black beneath bland mirror-sheen, The blue water-mists dropping Scrim after scrim like fishnets Though fishermen are sleeping, The massive castle turrets Doubling themselves in a glass All stillness. Yet these shapes float Up toward me, troubling the face Of quiet. From the nadir They rise, their limbs ponderous With richness, hair heavier Than sculptured marble. They sing Of a world more full and clear Than can be. Sisters, your song Bears a burden too weighty For the whorled ear's listening Here, in a well-steered country, Under a balanced ruler. Deranging by harmony Beyond the mundane order, Your voices lay siege. You lodge On the pitched reefs of nightmare, Promising sure harborage; By day, descant from borders Of hebetude, from the ledge Also of high windows. Worse Even than your maddening Song, your silence. At the source Of your ice-hearted calling- Drunkenness of the great depths. O river, I see drifting Deep in your flux of silver Those great goddesses of peace. Stone, stone, ferry me down there.

My Song So many memories, and I'm still young. So many dreams, my song's just begun. Sometimes I hear my private melody grow, then the sound vanishes, but returns, I now know. I've heard my heart break; wounded, I've felt alone, but slowly I learned to thrive on my own. I want to keep learning, to depend my song; in whatever I work may my best self grow strong. It's still the morning, the green spring of my life. i'm starting my journey, family and friends at my side, my song inside, and love as my guide. My family wonders where I will go. I wonder too. I long to discover how to protect the earth, our home, hear world sisters and brothers, who feel so alone. Hearts and hands open to those close and those far, a great family circle with peace our lodestar. No child should be hungry. All children should read, be healthy and safe, feel hope, learn to lead. It's still the morning, the spring of my life I'm starting my journey, family and friends at my side, my song inside, and love as my guide. I'm take wrong turns and again lose my way. I'll search for wise answers, listen, study and pray. So many memories, and I'm still young. So many dreams; my own song has begun. I'll resist judging others by their accents and skin, confront my life challenges, improve myself within. Heeding my song- for life's not easy or fair- I'll persist, be a light resist the snare of despair. Mysteriously, I've grown to feel strong. I'm preparing to lead. I'm composing my song. It's still the morning, the spring of my life. I'm starting my journey, family and friends at my side, my song inside, and love as my guide.

I have a dream that one day this nation will rise up and live out the true meaning of its creed: We hold these truths to be self-evident, that all men are created equal. ‘I have a dream that one day, on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down to gether at the table of brotherhood – I have a dream. ‘That one day even the state of Mississippi – a state sweltering with the heat of injustice, sweltering with the heat of op pression – will be transformed into an oasis of freedom and justice. I have a dream.’ He had hit a rhythm, and two hundred thousand people felt it sway their souls. It was more than a speech: it was a poem and a canticle and a prayer as deep as the grave. The heartbreaking phrase ‘I have a dream’ came like an amen at the end of each ringing sentence. ‘. . . That my four little children will one day live in a nation where they will not be judged by the colour of their skin but by the content of their character – I have a dream today. ‘I have a dream that one day down in Alabama – with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification – one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers – I have a dream today. ‘With this faith we will be able to hew, out of the mountain of despair, a stone of hope. ‘With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. ‘With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.’ Looking around, Jasper saw that black and white faces alike were running with tears. Even he felt moved, and he had thought himself immune to this kind of thing. ‘And when this happens; when we allow freedom to ring; when we let it ring from every village and every hamlet, from every state and every city; we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands . . .’ Here he slowed down, and the crowd was almost silent. King’s voice trembled with the earthquake force of his passion. ‘. . . and sing, in the words of the old Negro spiritual: ‘Free at last! ‘Free at last! ‘Thank God Almighty, we are free at last!

Then It occurred to me that I was coming at it in quite the wrong way. I was trying to think it into submission. I began to fear I might be about to destroy the very thing I wanted to understand. It struck me that a poem was perhaps too fragile an object to bear the weight of too much rational examination

Dear Cook, please lend a frying-pan To me as quickly as you can.” “And wherefore should I lend it you?” “The reason, Cook, is plain to view. I wish to make an Irish stew.” “What meat is in that stew to go?” “My sister’ll be the contents!” “Oh!” “You’ll lend the pan to me, Cook?” “No!” Moral: Never stew your sister.

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.

Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History. First, there was the heaving oil, heavy as chaos; then, likea light at the end of a tunnel, the lantern of a caravel, and that was Genesis. Then there were the packed cries, the shit, the moaning: Exodus. Bone soldered by coral to bone, mosaics mantled by the benediction of the shark's shadow, that was the Ark of the Covenant. Then came from the plucked wires of sunlight on the sea floor the plangent harp of the Babylonian bondage, as the white cowries clustered like manacles on the drowned women, and those were the ivory bracelets of the Song of Solomon, but the ocean kept turning blank pages looking for History. Then came the men with eyes heavy as anchors who sank without tombs, brigands who barbecued cattle, leaving their charred ribs like palm leaves on the shore, then the foaming, rabid maw of the tidal wave swallowing Port Royal, and that was Jonah, but where is your Renaissance? Sir, it is locked in them sea sands out there past the reef's moiling shelf, where the men-o'-war floated down; strop on these goggles, I'll guide you there myself. It's all subtle and submarine, through colonnades of coral, past the gothic windows of sea fans to where the crusty grouper, onyx-eyed, blinks, weighted by its jewels, like a bald queen; and these groined caves with barnacles pitted like stone are our cathedrals, and the furnace before the hurricanes: Gomorrah. Bones ground by windmills into marl and cornmeal, and that was Lamentations - that was just Lamentations, it was not History; then came, like scum on the river's drying lip, the brown reeds of villages mantling and congealing into towns, and at evening, the midges' choirs, and above them, the spires lancing the side of God as His son set, and that was the New Testament. Then came the white sisters clapping to the waves' progress, and that was Emancipation - jubilation, O jubilation - vanishing swiftly as the sea's lace dries in the sun, but that was not History, that was only faith, and then each rock broke into its own nation; then came the synod of flies, then came the secretarial heron, then came the bullfrog bellowing for a vote, fireflies with bright ideas and bats like jetting ambassadors and the mantis, like khaki police, and the furred caterpillars of judges examining each case closely, and then in the dark ears of ferns and in the salt chuckle of rocks with their sea pools, there was the sound like a rumour without any echo of History, really beginning.

She came towards me with a juicy gash between her legs that smelled like my best friend's sister" Just when I thought I'd escaped them all She comes reeling herself in pulling at my strings her hand quick to find my zipper She moaned the way a drunk old lady does And I wasn't even inside her yet "You don't have anywhere else to be," she managed to say... "My wounds have been reopened tonight already," I muttered I caught wind of the gully ...the part of her she once kept sacred as a Christian I smelled the information I lifted my hand into the air and hailed a cab He rolled down his window and saw her "Find another cab," he said, and sped off into the night I took her home because she said she was lonely really she was drunk off something some memory or some choice she walked funny... -one of her heels had broken On the couch I left her, Before I could go, she grabbed my cock I slapped her across the face and she pulled harder Her eyes stayed closed Her lips dripped Her grip clenched I wasn't getting out of this one unscathed "If I take my pants off, will you let me go?" I asked "If you take your pants off, I'll be suckin' that cock till you pass out from all the screamin'..." I slapped her again, because she needed it She laughed Saying her cousin beat her harder Saying her father knew how to really... ...make things happen I asked her what her father's number was Let's get his motherfucking self up here to take you away, that's what I said She said he died, or killed himself "What's the difference really," she said, chewing on her hair She let go of my cock on her own accord And she opened her eyes for a moment She closed them again And I could tell she was sleeping Her eyes opened once more Her face red where I'd hit her She tasted the blood on her lip "Do you think if we remind ourselves enough, we can make up for all the pain we've caused others?" I said to her, "We can't. All we can do is keep ourselves from all those who don't deserve it.

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

Christopher . . . are these from you?” she asked at lunch, careful to make her tone light as she placed the two picture-poems on the table. Christopher’s eyes fell to them, and he smiled. “Yes.” He didn’t ask if she liked them, and he didn’t seem embarrassed. Sarah was flustered, and somewhat surprised by Christopher’s easy confidence. Even so, her natural suspicion surfaced. “Why?” “Because,” he answered seriously, “you make a good subject. Your hair, for one, is like a shimmering waterfall. It’s so fair that it catches the light. It makes you seem like you have a halo about you. And your eyes—they’re such a pure color, not washed out at all, deep as the ocean. And your expression . . . intense and yet somehow detached, as if you see more of the world than the rest of us.” Flustered, she could think of no way to respond. Did he just say this stuff from the top of his head? Only her strict Vida control kept her from blushing. Meanwhile Nissa entered the cafeteria. She started to sit, then glanced from the pictures, to Christopher, to Sarah. “Should I go somewhere else?” Christopher nodded to a chair, answering easily, “Sit down. We aren’t exchanging dark secrets—yet.” Nissa flashed a teasing look to her brother as she took a seat. “As his sister, I feel the need to inform you, Sarah, that Christopher has been talking about you incessantly.” Christopher smiled, unembarrassed. “I suppose I might have been.’ “Especially your eyes—he never shuts up about your eyes,” Nissa confided, and this time Christopher shrugged. “They’re beautiful,” he said casually. “Beauty should be looked at, not ignored. I try to capture it on paper, but that’s really impossible with eyes, because they have a life no still portrait can capture.” Sarah’s voice was tied up so tightly she thought she might be able to speak again sometime next year. No one had ever talked about her—or to her—with such admiration.

Ode to the West Wind I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull’d by the coil of his crystàlline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem’d a vision; I would ne’er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chain’d and bow’d One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like wither’d leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguish’d hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken’d earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind?

A short poem from my new book, The Lost Journal of my Second Trip to Pergatory, Thorny Crowns Of course the gold one was for special occasions, weddings, etc, silver for family reunions, office-casual type affairs. Bronze was a everyday choice; during yard work its burnished surface shone in sunlight. There were various colors and holiday appropriate ones. I could never find the hatboxes they were stored in. But the wooden one was reserved for the long suffering caused by family. Stevie’s funeral, my hospital trips and sister’s rebellion rated real wood. One tip filed extra sharp produced a fine and dramatic line of blood droplets on her brow.

As they become known to and accepted by us, our feelings and the honest exploration of them become sanctuaries and spawning grounds for the most radical and daring of ideas. They become a safe-house for that difference so necessary to change and the conceptualization of any meaningful action. Right now, I could name at least ten ideas I would have found intolerable or incomprehensible and frightening, except as they ame after dreams and poems. This is not idle fantasy, but a disciplined attention to the true meaning of "it feels right to me." We can train ourselves to respect our feelings and to transpose em into a language so they can be shared.

The End” It is time for me to go, mother; I am going. When in the paling darkness of the lonely dawn you stretch out your arms for your baby in the bed, I shall say, “Baby is not there!”—mother, I am going. I shall become a delicate draught of air and caress you; and I shall be ripples in the water when you bathe, and kiss you and kiss you again. In the gusty night when the rain patters on the leaves you will hear my whisper in your bed, and my laughter will flash with the lightning through the open window into your room. If you lie awake, thinking of your baby till late into the night, I shall sing to you from the stars, “Sleep, mother, sleep.” On the straying moonbeams I shall steal over your bed, and lie upon your bosom while you sleep. I shall become a dream, and through the little opening of your eyelids I shall slip into the depths of your sleep; and when you wake up and look round startled, like a twinkling firefly I shall flit out into the darkness. When, on the great festival of puja, the neighbours’ children come and play about the house, I shall melt into the music of the flute and throb in your heart all day. Dear auntie will come with puja-presents and will ask, “Where is our baby, sister?” Mother, you will tell her softly, “He is in the pupils of my eyes, he is in my body and in my soul.

I remember our childhood days when life was easy and math problems hard. Mom would help us with our homework and dad was not at home but at work. After our chores, we’d go to the old fort museum with clips in our hair and pure joy in our hearts. You, sister, wore the bangles that you, brother, got as a prize from the Dentist. “Why the bangles?” the Dentist asked, surprised, for boys picked the stickers of cars instead. “They’re for my sisters,” you said. Mom would treat us to a bottle of Coke, a few sips each. Then, we’d buy the sweet smelling bread from the same white van and hand-in-hand, we’d walk to our small flat above the restaurant. I remember our childhood days. Do you remember them too?

breath, life after seven decades plus three years is a lot of breathing. seventy three years on this earth is a lot of taking in and giving out, is a life of coming from somewhere and for many a bunch of going nowhere. how do we celebrate a poet who has created music with words for over fifty years, who has showered magic on her people, who has redefined poetry into a black world exactness thereby giving the universe an insight into darkroads? just say she interprets beauty and wants to give life, say she is patient with phoniness and doesn’t mind people calling her gwen or sister. say she sees the genius in our children, is visionary about possibilities, sees as clearly as ray charles and stevie wonder, hears like determined elephants looking for food. say that her touch is fine wood, her memory is like an african roadmap detailing adventure and clarity, yet returning to chicago’s south evans to record the journey. say her voice is majestic and magnetic as she speaks in poetry, rhythms, song and spirited trumpets, say she is dark skinned, melanin rich, small-boned, hurricane-willed, with a mind like a tornado redefining the landscape. life after seven decades plus three years is a lot of breathing. gwendolyn, gwen, sister g has not disappointed our expectations. in the middle of her eldership she brings us vigorous language, memory, illumination. she brings breath. (Quality: Gwendolyn Brooks at 73)

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy. In the way my body stretches to music and opens into response, hearkening to its deepest rhythms, so every level upon which I sense also opens to the erotically satisfying experience, whether it is dancing, building a bookcase, writing a poem, examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of my capacity for joy comes to demand from all of my life that it be lived within the knowledge that such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife.

A perfect birthday poem called ‘When You Are Old.’” Everyone chortled, and Eoin looked confused. “Are you old, Mother?” he asked. “No, darling boy. I’m ageless,” I answered. Everyone laughed again, but the O’Toole sisters urged Thomas on, pleading for the poem. Thomas stood, and with his hands in his pockets and his shoulders slightly hunched, he began. “When you are old and grey and full of sleep . . .” Thomas enunciated “old and grey,” and everyone tittered again, but I knew the poem well, knew every word, and my heart had turned to liquid in my chest. “When you are old and grey and full of sleep,” he repeated over the chuckling, “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; how many loved your moments of glad grace, and loved your beauty with love false or true, but one man loved the pilgrim soul in you, and loved the sorrows of your changing face.” The room had grown quiet, and Maggie’s lips trembled, the soft sweetness of memory gleaming in her eyes. It was the kind of poem that made old women remember how it felt to be young. As he spoke, Thomas looked at everyone in turn, but the poem was for me; I was the pilgrim soul with a changing face. He finished, reflecting on how love fled and “paced upon the mountains overhead and hid his face amid a crowd of stars.” Everyone clapped and stamped their feet, and Thomas bowed jauntily, accepting the praise. But he met my gaze before taking his seat. When I dragged my eyes away, I found Brigid

CHILDHOOD I That idol, black eyes and yellow mop, without parents or court, nobler than Mexican and Flemish fables; his domain, insolent azure and verdure, runs over beaches called by the shipless waves, names ferociously Greek, Slav, Celt. At the border of the forest—dream flowers tinkle, flash, and flare,—the girl with orange lips, knees crossed in the clear flood that gushes from the fields, nakedness shaded, traversed, dressed by rainbow, flora, sea. Ladies who stroll on terraces adjacent to the sea; baby girls and giantesses, superb blacks in the verdigris moss, jewels upright on the rich ground of groves and little thawed gardens,—young mothers and big sisters with eyes full of pilgrimages, sultanas, princesses tyrannical of costume and carriage, little foreign misses and young ladies gently unhappy. What boredom, the hour of the “dear body” and “dear heart.” II

We were in Julie’s room one night, my eldest daughter and I, maybe a decade ago now. I wanted to show her how the canvas painting she had carefully labored over for her little sister's Christmas gift was framed and hung on the wall. I said, gazing at her masterpiece with no small amount of motherly pride, “Now it looks like a real work of art”. Bella looked at me quizzically, wondering yet again how her mother could possibly understand so little about the world. “Mama, every time you make something, or draw something, or paint something, it is already real art. There is no such thing as art that is not real” And so I said that she was right, and didn’t it look nice, and once again, daughter became guru and mother became willing student. Which is, I sometimes think, the way it was meant to be. ~~~~~ art is always real. all of it. even the stuff you don’t understand. even the stuff you don’t like. even the stuff that you made that you would be embarrassed to show your best friend that photo that you took when you first got your DSLR, when you captured her spirit perfectly but the focus landed on her shoulder? still art. the painting you did last year the first time you picked up a brush, the one your mentor critiqued to death? it’s art. the story you are holding in your heart and so desperately want to tell the world? definitely art. the scarf you knit for your son with the funky messed up rows? art. art. art. the poem scrawled on your dry cleaning receipt at the red light. the dress you want to sew. the song you want to sing. the clay you’ve not yet molded. everything you have made or will one day make or imagine making in your wildest dreams. it’s all real, every last bit. because there is no such thing as art that is not real.

There was always an outrageousness to our response to minor events. Flamboyance and exaggeration were the tail feathers, the jaunty plumage that stretched and flared whenever a Wingo found himself eclipsed in the lampshine of a hostile world. As a family, we were instinctive, not thoughtful. We could never outsmart our adversaries but we could always surprise them with the imaginativeness of our reactions. We functioned best as connoisseurs of hazard and endangerment. We were not truly happy unless we were engaged in our own private war with the rest of the world. Even in my sister’s poems, one could always feel the tension of approaching risk. Her poems all sounded as though she had composed them of thin ice and falling rock. They possessed movement, weight, dazzle and craft. Her poetry moved through streams of time, wild and rambunctious, like an old man entering the boundary waters of the Savannah River, planning to water-ski forty miles to prove he was still a man.

Dear father, It's been five years today, but makes no difference! Not a day goes by without me remembering your pure green eyes, the tone of your voice singing In Adighabza, or your poems scattered all around the house. Dear father, from you I have learned that being a girl doesn't mean that I can't achieve my dreams, no matter how crazy or un-urban they might seem. That you raised me with the utmost of ethics and morals and the hell with this cocooned society, if it doesn't respect the right to ask and learn and be, just because I'm a girl. Dear father, from you I have learned to respect all mankind, and just because you descend from a certain blood or ethnicity, it doesn't make you better than anybody else. It's you, and only you, your actions, your thoughts, your achievements, are what differentiates you from everybody else. At the same time, thank you for teaching me to respect and value where I came from, for actually taking me to my hometown Goboqay, for teaching me about my family tree, how my ancestors worked hard and fought for me to be where I am right now, and to continue on with the legacy and make them all proud. Dear father, from you and mom, I have learned to speak in my mother tongue. A gift so precious, that I have already made a promise to do the same for my unborn children. Dear father, from you I have learned to be content, to fear Allah, to be thankful for all that I have, and no matter what, never loose faith, as it's the only path to solace. Dear father, from you I have learned that if a person wants to love you, then let them, and if they hurt you, be strong and stand your ground. People will respect you only if you respect yourself. Dear father, I'm pretty sure that you are proud of me, my sisters and our dear dear Mom. You have a beautiful grand daughter now and a son in-law better than any brother I would have ever asked for. Till we meet again, Shu wasltha'3u. الله يرحمك يا غالي. (الفاتحة) على روحك الطاهرة.

Permission Granted" You do not have to choose the bruised peach or misshapen pepper others pass over. You don't have to bury your grandmother's keys underneath her camellia bush as the will states. You don't need to write a poem about your grandfather coughing up his lung into that plastic tube—the machine's wheezing almost masking the kvetching sisters in their Brooklyn kitchen. You can let the crows amaze your son without your translation of their cries. You can lie so long under this summer shower your imprint will be left when you rise. You can be stupid and simple as a heifer. Cook plum and apple turnovers in the nude. Revel in the flight of birds without dreaming of flight. Remember the taste of raw dough in your mouth as you edged a pie. Feel the skin on things vibrate. Attune yourself. Close your eyes. Hum. Each beat of the world's pulse demands only that you feel it. No thoughts. Just the single syllable: Yes ... See the homeless woman following the tunings of a dead composer? She closes her eyes and sways with the subways. Follow her down, inside, where the singing resides.

Neither that I picked my nose compulsively, daydreamed through my boring classes, masturbated, once in a condom I stole from my father’s drawer, enraptured by its half-chemical, half-organic odor; nor my obsessions with smells in general, earth, dead rats, even my baby sister’s diaper shit, which made me pleasantly retch; nor that I filched money from my mother for candy and so knew early on I was a thief, a sneak, a liar: none of that convinced me I was “bad,” subversive and perverse, so much as that purveyor of morality—parent, teacher, maybe even treacherous friend—who inculcated the unannulable conviction in me that the most egregious wrong, of which I was clearly already despicably, irredeemably guilty, was my abiding involvement with myself. Even now, only rarely am I able to convince myself that my reluctance to pass on my most secret reflections, meditations, theorizings, all the modes by which I manage to distract myself, arises from my belief that out of my appalling inner universe nothing anyway could possibly be extracted, departicularized, and offered as an instance of anything at all to anyone else.

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

The Garden" How vainly men themselves amaze To win the palm, the oak, or bays, And their uncessant labours see Crown’d from some single herb or tree, Whose short and narrow verged shade Does prudently their toils upbraid; While all flow’rs and all trees do close To weave the garlands of repose. Fair Quiet, have I found thee here, And Innocence, thy sister dear! Mistaken long, I sought you then In busy companies of men; Your sacred plants, if here below, Only among the plants will grow. Society is all but rude, To this delicious solitude. No white nor red was ever seen So am’rous as this lovely green. Fond lovers, cruel as their flame, Cut in these trees their mistress’ name; Little, alas, they know or heed How far these beauties hers exceed! Fair trees! wheres’e’er your barks I wound, No name shall but your own be found. When we have run our passion’s heat, Love hither makes his best retreat. The gods, that mortal beauty chase, Still in a tree did end their race: Apollo hunted Daphne so, Only that she might laurel grow; And Pan did after Syrinx speed, Not as a nymph, but for a reed. What wond’rous life in this I lead! Ripe apples drop about my head; The luscious clusters of the vine Upon my mouth do crush their wine; The nectarine and curious peach Into my hands themselves do reach; Stumbling on melons as I pass, Ensnar’d with flow’rs, I fall on grass. Meanwhile the mind, from pleasure less, Withdraws into its happiness; The mind, that ocean where each kind Does straight its own resemblance find, Yet it creates, transcending these, Far other worlds, and other seas; Annihilating all that’s made To a green thought in a green shade. Here at the fountain’s sliding foot, Or at some fruit tree’s mossy root, Casting the body’s vest aside, My soul into the boughs does glide; There like a bird it sits and sings, Then whets, and combs its silver wings; And, till prepar’d for longer flight, Waves in its plumes the various light. Such was that happy garden-state, While man there walk’d without a mate; After a place so pure and sweet, What other help could yet be meet! But ’twas beyond a mortal’s share To wander solitary there: Two paradises ’twere in one To live in paradise alone. How well the skillful gard’ner drew Of flow’rs and herbs this dial new, Where from above the milder sun Does through a fragrant zodiac run; And as it works, th’ industrious bee Computes its time as well as we. How could such sweet and wholesome hours Be reckon’d but with herbs and flow’rs!

POEM – MY AMAZING TRAVELS [My composition in my book Travel Memoirs with Pictures] My very first trip I still cannot believe Was planned and executed with such great ease. My father, an Inspector of Schools, was such a strict man, He gave in to my wishes when I told him of the plan. I got my first long vacation while working as a banker One of my co-workers wanted a travelling partner. She visited my father and discussed the matter Arrangements were made without any flutter. We travelled to New York, Toronto, London, and Germany, In each of those places, there was somebody, To guide and protect us and to take us wonderful places, It was a dream come true at our young ages. We even visited Holland, which was across the Border. To drive across from Germany was quite in order. Memories of great times continue to linger, I thank God for an understanding father. That trip in 1968 was the beginning of much more, I visited many countries afterward I am still in awe. Barbados, Tobago, St. Maarten, and Buffalo, Cirencester in the United Kingdom, Miami, and Orlando. I was accompanied by my husband on many trips. Sisters, nieces, children, grandchildren, and friends, travelled with me a bit. Puerto Rico, Los Angeles, New York, and Hialeah, Curacao, Caracas, Margarita, Virginia, and Anguilla. We sailed aboard the Creole Queen On the Mississippi in New Orleans We traversed the Rockies in Colorado And walked the streets in Cozumel, Mexico. We were thrilled to visit the Vatican in Rome, The Trevi Fountain and the Colosseum. To explore the countryside in Florence, And to sail on a Gondola in Venice. My fridge is decorated with magnets Souvenirs of all my visits London, Madrid, Bahamas, Coco Cay, Barcelona. And the Leaning Tower of Pisa How can I forget the Spanish Steps in Rome? Stratford upon Avon, where Shakespeare was born. CN Tower in Toronto so very high I thought the elevator would take me to the sky. Then there was El Poble and Toledo Noted for Spanish Gold We travelled on the Euro star. The scenery was beautiful to behold! I must not omit Cartagena in Columbia, Anaheim, Las Vegas, and Catalina, Key West, Tampa, Fort Lauderdale, and Pembroke Pines, Places I love to lime. Of course, I would like to make special mention, Of two exciting cruises with Royal Caribbean. Majesty of the Seas and Liberty of the Seas Two ships which grace the Seas. Last but not least and best of all We visited Paris in the fall. Cologne, Dusseldorf, and Berlin Amazing places, which made my head, spin. Copyright@BrendaMohammed

She could envision Shakespeare's sister. But she imagined a violent, an apocalyptic end for Shakespeare's sister, whereas I know that isn't what happened. You see, it isn't necessary. I know that lots of Chinese women, given in marriage to men they abhorred and lives they despised, killed themselves by throwing themselves down the family well. I'm not saying it doesn't happen. I'm only saying that isn't what usually happens. It it were, we wouldn't be having a population problem. And there are so much easier ways to destroy a woman. You don't have to rape or kill her; you don't even have to beat her. You can just marry her. You don't even have to do that. You can just let her work in your office for thirty-five dollars a week. Shakespeare's sister did...follow her brother to London, but she never got there. She was raped the first night out, and bleeding and inwardly wounded, she stumbled for shelter into the next village she found. Realizing before too long that she was pregnant, she sought a way to keep herself and her child safe. She found some guy with the hots for her, realized he was credulous, and screwed him. When she announced her pregnancy to him, a couple months later, he dutifully married her. The child, born a bit early, makes him suspicious: they fight, he beats her, but in the end he submits. Because there is something in the situation that pleases him: he has all the comforts of home including something Mother didn't provide, and if he has to put up with a screaming kid he isn't sure is his, he feels now like one of the boys down at the village pub, none of whom is sure they are the children of the fathers or the fathers of their children. But Shakespeare's sister has learned the lesson all women learn: men are the ultimate enemy. At the same time she knows she cannot get along in the world without one. So she uses her genius, the genius she might have used to make plays and poems with, in speaking, not writing. She handles the man with language: she carps, cajoles, teases, seduces, calculates, and controls this creature to whom God saw fit to give power over her, this hulking idiot whom she despises because he is dense and fears because he can do her harm. So much for the natural relation between the sexes. But you see, he doesn't have to beat her much, he surely doesn't have to kill her: if he did, he'd lose his maidservant. The pounds and pence by themselves are a great weapon. They matter to men, of course, but they matter more to women, although their labor is generally unpaid. Because women, even unmarried ones, are required to do the same kind of labor regardless of their training or inclinations, and they can't get away from it without those glittering pounds and pence. Years spent scraping shit out of diapers with a kitchen knife, finding places where string beans are two cents less a pound, intelligence in figuring the most efficient, least time-consuming way to iron men's white shirts or to wash and wax the kitchen floor or take care of the house and kids and work at the same time and save money, hiding it from the boozer so the kid can go to college -- these not only take energy and courage and mind, but they may constitute the very essence of a life. They may, you say wearily, but who's interested?...Truthfully, I hate these grimy details as much as you do....They are always there in the back ground, like Time's winged chariot. But grimy details are not in the background of the lives of most women; they are the entire surface.

Neither that I picked my nose compulsively, daydreamed through my boring classes, masturbated, once in a condom I stole from my father’s drawer, enraptured by its half-chemical, half-organic odor; nor my obsessions with smells in general, earth, dead rats, even my baby sister’s diaper shit, which made me pleasantly retch; nor that I filched money from my mother for candy and so knew early on I was a thief, a sneak, a liar: none of that convinced me I was “bad,” subversive and perverse, so much as that purveyor of morality—parent, teacher, maybe even treacherous friend—who inculcated the unannulable conviction in me that the most egregious wrong, of which I was clearly already despicably, irredeemably guilty, was my abiding involvement with myself. Even now, only rarely am I able to convince myself that my reluctance to pass on my most secret reflections, meditations, theorizings, all the modes by which I manage to distract myself, arises from my belief that out of my appalling inner universe nothing anyway could possibly be extracted, departicularized, and offered as an instance of anything at all to anyone else. An overrefined sense of generosity, I opine; an unwillingness to presume upon others by hauling them into this barn, this sty, where mental vermin gobble, lust, excrete. Not a lack of sensitivity but a specialization of that lobe of it which most appreciates the unspoken wish of others: to stay free of that rank habitation within me I call “me.” Really, though: to consider one’s splendid self-made self as after all benevolent, propelled by secret altruism? Aren’t I, outer mouth and inner masticating self-excusing sublimations, still really back there in my neither-land? Aren’t I still a thief, stealing from some hoard of language trash to justify my inner stink? Maybe let it go, just let it go.

Top Dog" If I could, I would take your grief, dig it up out of the horseradish field and grate it into something red and hot to sauce the shellfish. I would take the lock of hair you put in the locket and carry it in my hand, I would make the light strike everything the way it hit the Bay Bridge, turning the ironwork at sunset into waffles. If I could, I would blow your socks off, they would travel far, always in unison, past the dead men running, past the cranes standing in snow, beyond the roads we rode, so small in our little car, it was like riding in a miner's helmet. If I could I would make everyone vote and call their public servants to say, “No one was meant for this.” I would go back to the afternoon we made love in the tall grass under the full sun not far from the ravine where the old owner had flung hundreds of mink cages. I would memorize gateways to the afterworld, the electric third rail, the blond braid our girl has hanging down her back, the black guppy we killed at our friends’ when we unplugged the bubbler and the fish floated to the top, one eye up at the ceiling, the other at the blue gravel on the bottom of the tank. I would beg an audience with Sister Lucia, the last living of the children visited by Our Lady of Fatima, I would ask her about the weight of secrets, if they let her sleep or if she woke at night with a body on her body, if the body said, “Let's play top dog, first I'll lie on you, then you lie on me.” I would ask how she lived with revelation, the normal state of affairs amplified beyond God, bumped up to the Virgin Mother, who no doubt knew a few things, passed them on, quietly, and I would ask Lucia how she lived with knowing, how she could keep it under her hat, under wraps, button up, zip her lip, play it close to the vest, never telling, never using truth as a weapon.

According to folk belief that is reflected in the stories and poems, a being who is petrified man and he can revive. In fairy tales, the blind destructiveness of demonic beings can, through humanization psychological demons, transformed into affection and love of the water and freeing petrified beings. In the fairy tale " The Three Sisters " Mezei de-stone petrified people when the hero , which she liked it , obtain them free . In the second story , the hero finding fairy , be petrified to the knee , but since Fairy wish to marry him , she kissed him and freed . When entering a demonic time and space hero can be saved if it behaves in a manner that protects it from the effects of demonic forces . And the tales of fortune Council hero to not turn around and near the terrifying challenges that will find him in the demon area . These recommendations can be tracked ancient prohibited acts in magical behavior . In one short story Penina ( evil mother in law ) , an old man , with demonic qualities , sheds , first of two brothers and their sister who then asks them , iron Balot the place where it should be zero as chorus, which sings wood and green water . When the ball hits the ground resulting clamor and tumult of a thousand voices, but no one sees - the brothers turned , despite warnings that it should not , and was petrified . The old man has contradictory properties assistants and demons . Warning of an old man in a related one variant is more developed - the old man tells the hero to be the place where the ball falls to the reputation of stones and hear thousands of voices around him to cry Get him, go kill him, swang with his sword , stick go ! . The young man did not listen to warnings that reveals the danger : the body does not stones , during the site heroes - like you, and was petrified . The initiation rite in which the suffering of a binding part of the ritual of testing allows the understanding of the magical essence of the prohibition looking back . MAGICAL logic respectful direction of movement is particularly strong in relation to the conduct of the world of demons and the dead . From hero - boys are required to be deaf to the daunting threats of death and temporarily overcome evil by not allowing him to touch his terrible content . The temptation in the case of the two brothers shows failed , while the third attempt brothers usually releases the youngest brother or sister . In fairy tales elements of a rite of passage blended with elements of Remembrance lapot . Silence is one way of preventing the evil demon in a series of ritual acts , thoughts Penina Mezei . Violation of the prohibition of speech allows the communication of man with a demon , and abolishes protection from him . In fairy tales , this ritual obligations lost connection with specific rituals and turned into a motive of testing . The duration of the ban is extended in the spirit of poetic genre in years . Dvanadestorica brothers , to twelve for saving haunted girls , silent for almost seven years, but eleven does not take an oath and petrified ; twelfth brother died three times , defeat the dragon , throw an egg at a crystal mountain , and save the brothers ( Penina Mezei : 115 ) . Petrify in fairy tales is not necessarily caused by fear , or impatience uneducated hero . Self-sacrificing hero resolves accident of his friend's seemingly irrational moves, but he knows that he will be petrified if it is to warn them in advance , he avoids talking . As his friend persuaded him to explain his actions , he is petrified ( Penina Mezei : 129 ) . Petrified friends can save only the blood of a child , and his " borrower " Strikes sacrifice their own child and revives his rescuers . A child is a sacrificial object that provides its innocence and purity of the sacrificial gift of power that allows the return of the forces of life.