Tea Poems And Quotes

A woman knows very well that, though a wit sends her his poems, praises her judgment, solicits her criticism, and drinks her tea, this by no means signifies that he respects her opinions, admires her understanding, or will refuse, though the rapier is denied him, to run through the body with his pen.

We had a kettle; we let it leak: Our not repairing made it worse. We haven't had any tea for a week... The bottom is out of the Universe.

I hope you summon your courage and you invite your demons to tea, and you learn to listen to all their stories.

… and I’ll be happy here and happy there, full of tea and tears

When the tea is brought at five o'clock And all the neat curtains are drawn with care, The little black cat with bright green eyes Is suddenly purring there.

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

Come oh come ye tea-thirsty restless ones -- the kettle boils, bubbles and sings, musically.

you are right where you should be / now act like it

Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? But though I have wept and fasted, wept and prayed, Though I have seen my head (grown slightly bald) brought in upon a platter, I am no prophet--and here's no great matter; I have seen the moment of my greatness flicker, I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid.

There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea.

She makes tea by hand. Nettles, slippery elm, turmeric, cinnamon - my mother is a recipe for warm throats and belly laughs. Once she fell off a ladder when I was three. She says all she was worried about was my face as I watched her fall.

He loved three things in this life: Vespers, white peacocks, And old maps of America, Didn't love children crying, Raspberries with tea, Or feminine hysteria ...And I was his wife.

And indeed there will be time for the yellow smoke that slides along the street rubbing its back upon the window-panes; there will be time , there will be time to prepare a face to meet the faces that you meet; there will be time to murder and create, and time for all the works and days of hands that lift and drop a question on your plate; time for you and time for me, and time yet for a hundred indecisions, and for a hundred visions and revisions, before the taking of toast and tea.

Tea leaves thwart those who court catastrophe, designing futures where nothing will occur: cross the gypsy’s palm and yawning she will still predict no perils left to conquer. Jeopardy is jejune now: naïve knight finds ogres out-of-date and dragons unheard of, while blasé princesses indict tilts at terror as downright absurd.

Though we eat little flesh and drink no wine, Yet let's be merry; we'll have tea and toast; Custards for supper, and an endless host Of syllabubs and jellies and mincepies, And other such ladylike luxuries.

You ask if I will write a poem I could, I suppose write the most splendiferous one of all but not right now not when your hands are brewing warm cinnamon tea across my skin not when I’m trying to imagine what might happen if you began flowering kisses upon me My dear, how can I write a poem when I’m already inside one?

among the clouds we shared a cup of tea the mountain and me

it is to be savored like a seabreeze-whispered dream...in the mysterious blue minutes before dawn like a secret infatuation.... like slow languorous sips of green tea... like a lingering glimpse a self-wrapped paradise like his name upon my lips.

When Cynthia smiles," said young Bingo, "the skies are blue; the world takes on a roseate hue; birds in the garden trill and sing, and Joy is king of everything, when Cynthia smiles." He coughed, changing gears. "When Cynthia frowns - " "What the devil are you talking about?" "I'm reading you my poem. The one I wrote to Cynthia last night. I'll go on, shall I?" "No!" "No?" "No. I haven't had my tea.

I want a marriage of companions—one of shared lives and shared poems,' he murmured. 'If we were husband and wife, we would collect books, read, and drink tea together. As I told you before, I'd want you for what's in here.' Again he pointed to my heart, but I felt it in a place far lower in my body.

… I am the sound of rain on the roof. I also happen to be the shooting star, the evening paper blowing down an alley, and the basket of chestnuts on the kitchen table. I am also the moon in the trees and the blind woman's tea cup. But don't worry, I am not the bread and the knife. You are still the bread and the knife. You will always be the bread and the knife, not to mention the crystal goblet and—somehow—the wine.

You will go on, and when you have prevailed You can say: at this point many a one has failed. But what have I, but what have I, my friend, To give you, what can you receive from me? Only the friendship and the sympathy Of one about to reach her journey's end. I shall sit here, serving tea to friends...

For it is a mad world and it will get madder if we allow the minorities, be they dwarf or giant, orangutan or dolphin, nuclear-head or water conservationalist, pro-computerologist or Neo-Luddite, simpleton or sage, to interfere with aesthetics. The real world is the playing ground for each and every group, to make or unmake laws. But the tip of the nose of my book or stories or poems is where their rights end and my territorial imperatives begin, run and rule. If Mormons do not like my plays, let them write their own. If the Irish hate my Dublin stories, let them rent typewriters. If teachers and grammar school editors find my jawbreaker sentences shatter their mushmilk teeth, let them eat stale cake dunked in weak tea of their own ungodly manufacture. If the Chicano intellectuals wish to re-cut my "Wonderful Ice Cream Suit" so it shapes "Zoot," may the belt unravel and the pants fall.

Alternative Anthem. Put the kettle on Put the kettle on It is the British answer to Armageddon. Never mind taxes rise Never mind trains are late One thing you can be sure of and that’s the kettle, mate. It’s not whether you lose It’s not whether you win It’s whether or not you’ve plugged the kettle in. May the kettle ever hiss May the kettle ever steam It is the engine that drives our nation’s dream. Long live the kettle that rules over us May it be limescale free and may it never rust. Sing it on the beaches Sing it from the housetops The sun may set on empire but the kettle never stops.

Some nights you drink tea, some nights you drink whisky.

He loved three things alone: White peacocks, evensong, old maps of America. He hated children crying, and raspberry jam with his tea, and womanish hysteria. ...And then he married me. 1911

Begin. Keep on beginning. Nibble on everything. Take a hike. Teach yourself to whistle. Lie. The older you get the more they'll want your stories. Make them up. Talk to stones. Short-out electric fences. Swim with the sea turtle into the moon. Learn how to die. Eat moonshine pie. Drink wild geranium tea. Run naked in the rain. Everything that happens will happen and none of us will be safe from it. Pull up anchors. Sit close to the god of night. Lie still in a stream and breathe water. Climb to the top of the highest tree until you come to the branch where the blue heron sleeps. Eat poems for breakfast. Wear them on your forehead. Lick the mountain's bare shoulder. Measure the color of days around your mother's death. Put your hands over your face and listen to what they tell you.

In Endymion I leaped headlong into the sea, and thereby have become better acquainted with the soundings, the quicksands, and the rocks, than if I had stayed upon the green shore, and piped a silly pipe, and took tea and comfortable advice.

Morning Poem" I've got to tell you how I love you always I think of it on grey mornings with death in my mouth the tea is never hot enough then and the cigarette dry the maroon robe chills me I need you and look out the window at the noiseless snow At night on the dock the buses glow like clouds and I am lonely thinking of flutes I miss you always when I go to the beach the sand is wet with tears that seem mine although I never weep and hold you in my heart with a very real humor you'd be proud of the parking lot is crowded and I stand rattling my keys the car is empty as a bicycle what are you doing now where did you eat your lunch and were there lots of anchovies it is difficult to think of you without me in the sentence you depress me when you are alone Last night the stars were numerous and today snow is their calling card I'll not be cordial there is nothing that distracts me music is only a crossword puzzle do you know how it is when you are the only passenger if there is a place further from me I beg you do not go

i was really into communal living and we were all / such free spirits, crossing the country we were / nomads and artists and no one ever stopped / to think about how the one working class housemate / was whoring to support a gang of upper middle class / deadheads with trust fund safety nets and connecticut / childhoods, everyone was too busy processing their isms / to deal with non-issues like class....and it’s just so cool / how none of them have hang-ups about / sex work they’re all real / open-minded real / revolutionary you know / the legal definition of pimp is / one who lives off the earnings of / a prostitute, one or five or / eight and i’d love to stay and / eat some of the stir fry i’ve been cooking / for y’all but i’ve got to go fuck / this guy so we can all get stoned and / go for smoothies tomorrow, save me / some rice, ok?

Whenever I hurt myself, my mother says it is the universe’s way of telling me to slow down. She also tells me to put some coconut oil on it. It doesn’t matter what it is. She often hides stones underneath my pillow when I come home for the weekend. The stones are a formula for sweet dreams and clarity. I dig them out from the streets, she tells me what each one is for. My throat hurts, so she grinds black pepper into a spoonful of honey, makes me eat the entire thing. My mother knows how to tie knots like a ship captain, but doesn’t know how I got that sailor mouth. She falls asleep in front of the TV only until I turn it off, shouts, I was watching that! The sourdough she bakes on Friday is older than I am. She sneaks it back and forth across the country when she flies by putting the starter in small containers next to a bag of carrots. They think it’s ranch dressing, she giggles. She makes tea by hand. Nettles, slippery elm, turmeric, cinnamon- my mother is a recipe for warm throats and belly laughs. Once she fell off of a ladder when I was three. She says all she was worried about was my face as I watched her fall.

Well, one wearies of the Public Gardens: one wants a vacation Where trees and clouds and animals pay no notice; Away from the labeled elms, the tame tea-roses

Sunlight on a wooden floor; morning paper, toast and tea. Books at night, put out the light, That's happiness for me.

Suzanne takes you down to her place near the river You can hear the boats go by You can spend the night beside her And you know that she's half crazy But that's why you want to be there And she feeds you tea and oranges That come all the way from China And just when you mean to tell her That you have no love to give her Then she gets you on her wavelength And she lets the river answer

I do nothing, with as little shame as satisfaction. It is the state that suits me best. I write the odd poem when it is there, that is the only thing worth doing. There is an ecstasy of accidia — will-less in a grey tumult of idées obscures. There is an end to the temptation of light, its polite scorchings & consolations. It is good for children & insects. There is an end of making up one's mind, like a pound of tea, an end of patting the butter of consciousness into opinions. The real consciousness is the chaos, a grey commotion of mind, with no premises or conclusions or problems or solutions or cases or judgments.

People drink democracy in a glass of tea but night falls, again.

Sipping tea with glee beneath a gooseberry tree. I wish Alice were here. Oh, my dear, do not fear, she will be.

Just pour the tea, just look into the eye of the flower, just sing the song— one thing at a time and

When we have changed everything we will eat congratulations with our tea.

On Hallows Eve, we witches meet to broil and bubble tasty treats like goblin thumbs with venom dip, crisp bat wings, and fried fingertips. We bake the loudest cackle crunch, and brew the thickest quagmire punch. Delicious are the rotting flies when sprinkled over spider pies. And, my oh my, the ogre brains all scrambled up with wolf remains! But what I love the most, it’s true, are festered boils mixed in a stew. They cook up oh so tenderly. It goes quite well with mugwort tea. So don’t be shy; the cauldron’s hot. Jump in! We witches eat a lot!

Marcus’s appearance the day before had been discussed, dissected, analyzed, and—by Lady Sarah Pleinsworth, Honoria’s cousin and one of her closest friends —rendered into poetry. “He came in the rain,” Sarah intoned. “The day had been plain.” Honoria nearly spit out her tea. “It was muddy, this lane—” Cecily Royle smiled slyly over her teacup. “Have you considered free verse?” “—our heroine, in pain—” “I was cold,” Honoria put in. Iris Smythe-Smith, another of Honoria’s cousins, looked up with her signature dry expression. “I am in pain,” she stated. “Specifically, my ears.” Honoria shot Iris a look that said clearly, Be polite. Iris just shrugged. “—her distress, she did feign—” “Not true!” Honoria protested. “You can’t interfere with genius,” Iris said sweetly. “—her schemes, not in vain—” “This poem is devolving rapidly,” Honoria stated. “I am beginning to enjoy it,” said Cecily. “—her existence, a bane . . .” Honoria let out a snort. “Oh, come now!” “I think she’s doing an admirable job,” Iris said, “given the limitations of the rhyming structure.” She looked over at Sarah, who had gone quite suddenly silent. Iris cocked her head to the side; so did Honoria and Sarah. Sarah’s lips were parted, and her left hand was still outstretched with great drama, but she appeared to have run out of words. “Cane?” Cecily suggested. “Main?” “Insane?” offered Iris. “Any moment now,” Honoria said tartly, “if I’m trapped here much longer with you lot.

What shall we do at our tea party?" Daddy asked. "Do we sing and read poems like you do at Grammy's?" "We can just talk. I can tell you about what's been happening at school. You can tell me about your work or what you did when you were a little boy. You know. Things that matter.

Long Distance II Though my mother was already two years dead Dad kept her slippers warming by the gas, put hot water bottles her side of the bed and still went to renew her transport pass. You couldn’t just drop in. You had to phone. He’d put you off an hour to give him time to clear away her things and look alone as though his still raw love were such a crime. He couldn’t risk my blight of disbelief though sure that very soon he’d hear her key scrape in the rusted lock and end his grief. He knew she’d just popped out to get the tea. I believe life ends with death, and that is all. You haven’t both gone shopping; just the same, in my new black leather phone book there’s your name and the disconnected number I still call.

There was a time that crepuscular was mild, The hour for tea, acquaintances, and fall Away of day's difficulties, all Discouragement. Weep, you are not a child.

If you really want to make a friend, go to someone's house and eat with him... the people who give you their food give you their heart." Cesar Chavez

People drink democracy in a glass of tea but night falls, again.

Welcome to thee, O sword of eternity! Through Buddha And through Daruma alike Thou hast cleft thy way.

I know: in a dream, the tea could stay forever the exact right drinking temperature & I never want that. I want the debauched joy of everyday bumbles & flops

A good book to read and another to press flowers and herbs – pressed flowers and herbs make wonderful bookmarks.

A writer is someone who spends years patiently trying to discover the second being inside him, and the world that makes him who he is: when I speak of writing, what comes first to my mind is not a novel, a poem, or literary tradition, it is a person who shuts himself up in a room, sits down at a table, and alone, turns inward; amid its shadows, he builds a new world with words. This man – or this woman – may use a typewriter, profit from the ease of a computer, or write with a pen on paper, as I have done for 30 years. As he writes, he can drink tea or coffee, or smoke cigarettes. From time to time he may rise from his table to look out through the window at the children playing in the street, and, if he is lucky, at trees and a view, or he can gaze out at a black wall. He can write poems, plays, or novels, as I do. All these differences come after the crucial task of sitting down at the table and patiently turning inwards. To write is to turn this inward gaze into words, to study the world into which that person passes when he retires into himself, and to do so with patience, obstinacy, and joy. As I sit at my table, for days, months, years, slowly adding new words to the empty page, I feel as if I am creating a new world, as if I am bringing into being that other person inside me, in the same way someone might build a bridge or a dome, stone by stone. The stones we writers use are words. As we hold them in our hands, sensing the ways in which each of them is connected to the others, looking at them sometimes from afar, sometimes almost caressing them with our fingers and the tips of our pens, weighing them, moving them around, year in and year out, patiently and hopefully, we create new worlds.

Silent, Cassandra will pour the tea, Sit at the table, Make up the bed, find the tatters to darn, Toss them on cushions. Silent, she'll rise in the fathomless dawn, Bless you with cross-signs.

Just as the body is shaped for movement, the mind is shaped for poetry. Rhythm and rhyme aid recall. Poems are always rhythmic but not always rhyming. In the same way that melody became rather suspect in twentieth-century classical music – atonal fractures being the mark of seriousness – so Modernism re-branded rhyme as pastoral, lovesick, feminine, superficial. Fine for kids and tea-towels, not fine for the muscular combative voice of the urban poet. It has taken a long time for rhyme to return to favour. Rap, and the rise of performance poetry, has been part of that return.

In Little Rock the people sing Sunday hymns like anything, through Sunday pomp and polishing. And after testament and tunes, Some soften Sunday afternoons With lemon tea and Lorna Doones. I forecast And I believe

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.

A woman knows very well that, though wit sends her his poems, praises her judgment, solicits her criticism, and drinks her tea, this by no means signifies that he respects her opinions, admires her understanding, or will refuse, though the rapier is denied him, to run her through the body with his pen.

Red Brocade" The Arabs used to say, When a stranger appears at your door, feed him for three days before asking who he is, where he’s come from, where he’s headed. That way, he’ll have strength enough to answer. Or, by then you’ll be such good friends you don’t care. Let’s go back to that. Rice? Pine nuts? Here, take the red brocade pillow. My child will serve water to your horse. No, I was not busy when you came! I was not preparing to be busy. That’s the armor everyone put on to pretend they had a purpose in the world. I refuse to be claimed. Your plate is waiting. We will snip fresh mint into your tea.

There will be time, there will be time To prepare a face to meet the faces that you meet There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea.

There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea.

Now that lilacs are in bloom She has a bowl of lilacs in her room And twists one in her fingers while she talks. 'Ah, my friend, you do not know, you do not know What life is, you who hold it in your hands'; (Slowly twisting the lilac stalks) 'You let it flow from you, you let it flow, And youth is cruel, and has no remorse And smiles at situations which it cannot see.' I smile, of course, And go on drinking tea.

On a spring day in 1988…a Massachusetts man who collected books about local history was rummaging through a bin in a New Hampshire antiques barn when something caught his eye. Beneath texts on fertilizers and farm machines lay a slim, worn pamphlet with tea-colored paper covers, titled Tamerlane and Other Poems, by an unnamed author identified simply as “a Bostonian.” He was fairly certain he had found something exceptional, paid the $15 price, and headed home, where Tamerlane would spend only one night. The next day, he contacted Sotheby’s, and they confirmed his suspicion that he had just made one of the most exciting book discoveries in years. The pamphlet was a copy of Edgar Allan Poe’s first text, written when he was only fourteen years old, a find that fortune-seeking collectors have imagined happening upon probably more than they’d like to admit. The humble-looking, forty-page pamphlet was published in 1827 by Calvin F.S. Thomas, a relatively unknown Boston printer who specialized in apothecary labels, and its original price was about twelve cents. But this copy, looking good for its 161 years, most of which were probably spent languishing in one dusty attic box after another, would soon be auctioned for a staggering $198,000.

What did we talk about? I don't remember. We talked so hard and sat so still that I got cramps in my knee. We had too many cups of tea and then didn't want to leave the table to go to the bathroom because we didn't want to stop talking. You will think we talked of revolution but we didn't. Nor did we talk of our own souls. Nor of sewing. Nor of babies. Nor of departmental intrigue. It was political if by politics you mean the laboratory talk that characters in bad movies are perpetually trying to convey (unsuccessfully) when they Wrinkle Their Wee Brows and say (valiantly--dutifully--after all, they didn't write it) "But, Doctor, doesn't that violate Finagle's Constant?" I staggered to the bathroom, released floods of tea, and returned to the kitchen to talk. It was professional talk. It left my grey-faced and with such concentration that I began to develop a headache. We talked about Mary Ann Evans' loss of faith, about Emily Brontë's isolation, about Charlotte Brontë's blinding cloud, about the split in Virginia Woolf's head and the split in her economic condition. We talked about Lady Murasaki, who wrote in a form that no respectable man would touch, Hroswit, a little name whose plays "may perhaps amuse myself," Miss Austen, who had no more expression in society than a firescreen or a poker. They did not all write letters, write memoirs, or go on the stage. Sappho--only an ambiguous, somewhat disagreeable name. Corinna? The teacher of Pindar. Olive Schriener, growing up on the veldt, wrote on book, married happily, and ever wrote another. Kate Chopin wrote a scandalous book and never wrote another. (Jean has written nothing.). There was M-ry Sh-ll-y who wrote you know what and Ch-rl-tt- P-rk-ns G-lm-an, who wrote one superb horror study and lots of sludge (was it sludge?) and Ph-ll-s Wh--tl-y who was black and wrote eighteenth century odes (but it was the eighteenth century) and Mrs. -nn R-dcl-ff- S-thw-rth and Mrs. G--rg- Sh-ld-n and (Miss?) G--rg-tt- H-y-r and B-rb-r- C-rtl-nd and the legion of those, who writing, write not, like the dead Miss B--l-y of the poem who was seduced into bad practices (fudging her endings) and hanged herself in her garter. The sun was going down. I was blind and stiff. It's at this point that the computer (which has run amok and eaten Los Angeles) is defeated by some scientifically transcendent version of pulling the plug; the furniture stood around unknowing (though we had just pulled out the plug) and Lady, who got restless when people talked at suck length because she couldn't understand it, stuck her head out from under the couch, looking for things to herd. We had talked for six hours, from one in the afternoon until seven; I had at that moment an impression of our act of creation so strong, so sharp, so extraordinarily vivid, that I could not believe all our talking hadn't led to something more tangible--mightn't you expect at least a little blue pyramid sitting in the middle of the floor?

You don’t believe in leprechauns. A myth you say they be. You don’t believe in pots-o-gold, or four-leaf-clover tea. You don’t believe the rainbow’s end alights on treasured finds. They are illusions meant for fools you say ‘ave lost their minds. You don’t believe in whispering your wishes to the wind, where on St. Patrick’s holiday they blow t’wards Ireland. You don’t believe in magic spells or longings coming true. Yet, head-to-toe you dress in green on Patty’s Day, you do.

foreign Tyrants and of Nymphs at home;   Here thou, great ANNA! whom three realms obey.   Dost sometimes counsel take—and sometimes Tea.   Hither the heroes and the nymphs resort,   To taste awhile the pleasures of a Court; 10   In various talk th' instructive hours they past,   Who gave the ball, or paid the visit last;   One speaks the glory of the British Queen,   And one describes a charming Indian screen;   A third interprets motions, looks, and eyes; 15   At ev'ry word a reputation dies.

Amends Regret lingers, niggles. Yellow lilies on the table, gone brown in the vase. The garden we talk about, endlessly, but never begin, deterred by tough sod. On the edge of the walk, the wheelbarrow full of stones waits like an undelivered apology. Within, the floor needs scrubbing and only hands and knees will do the job. I know that forgiveness is a simple meal— a salad, a boiled potato, a glass of tea. Easy to prepare, to offer. That the silence afterward will satisfy, perhaps even nourish.

I understand, intellectually, that the death of a parent is a natural, acceptable part of life. Nobody would call the death of a very sick eighty-year-old woman a tragedy. There was soft weeping at her funeral and red watery eyes. No wrenching sobs. Now I think that I should have let myself sob. I should have wailed and beaten my chest and thrown myself over her coffin. I read a poem. A pretty, touching poem I thought she would have liked. I should have used my own words. I should have said: No one will ever love me as fiercely as my mother did. I should have said: You all think you’re at the funeral of a sweet little old lady, but you’re at the funeral of a girl called Clara, who had long blond hair in a heavy thick plait down to her waist, who fell in love with a shy man who worked on the railways, and they spent years and years trying to have a baby, and when Clara finally got pregnant, they danced around the living room but very slowly, so as not to hurt the baby, and the first two years of her little girl’s life were the happiest of Clara’s life, except then her husband died, and she had to bring up the little girl on her own, before there was a single mother’s pension, before the words “single mother” even existed. I should have told them about how when I was at school, if the day became unexpectedly cold, Mum would turn up in the school yard with a jacket for me. I should have told them that she hated broccoli with such a passion she couldn’t even look at it, and that she was in love with the main character on the English television series Judge John Deed. I should have told them that she loved to read and she was a terrible cook, because she’d try to cook and read her latest library book at the same time, and the dinner always got burned and the library book always got food spatters on it, and then she’d spend ages trying to dab them away with the wet corner of a tea towel. I should have told them that my mum thought of Jack as her own grandchild, and how she made him a special racing car quilt he adored. I should have talked and talked and grabbed both sides of the lectern and said: She was not just a little old lady. She was Clara. She was my mother. She was wonderful.

But mostly, finally, ultimately, I'm here for the weather. As a result of the weather, ours is a landscape in a minor key, a sketchy panorama where objects, both organic and inorganic, lack well-defined edges and tent to melt together, creating a perpetual blurred effect, as if God, after creating Northwestern Washington, had second thoughts and tried unsuccessfully to erase it. Living here is not unlike living inside a classical Chinese painting before the intense wisps of mineral pigment had dried upon the silk - although, depending on the bite in the wind, they're times when it's more akin to being trapped in a bad Chinese restaurant; a dubious joint where gruff waiters slam chopsticks against the horizon, where service is haphazard, noodles soggy, wallpaper a tad too green, and considerable amounts of tea are spilt; but in each and every fortune cookie there's a line of poetry you can never forget. Invariably, the poems comment on the weather. In the deepest, darkest heart of winter, when the sky resembles bad banana baby food for months on end, and the witch measles that meteorologists call "drizzle" are a chronic gray rash on the skin of the land, folks all around me sink into a dismal funk. Many are depressed, a few actually suicidal. But I, I grow happier with each fresh storm, each thickening of the crinkly stratocumulus. "What's so hot about the sun?" I ask. Sunbeams are a lot like tourists: intruding where they don't belong, promoting noise and forced activity, faking a shallow cheerfulness, dumb little cameras slung around their necks. Raindrops, on the other hand, introverted, feral, buddhistically cool, behave as if they were locals. Which, of course, they are.

They say the world will end soon. They say that the nuclear weapons made, Due to fearing 'the other', Has become a curse, a plague, a scourge On those who made them Even more than those they were made to scare... And I wonder: Will the nuclear weapons be the cause of world’s end? Or will world’s end be caused by humanity’s fear, complicity, and submission? And if what they say is true, Before the world ends and before I die, I wish to drink one last cup of cardamom-flavored tea Taste one last fig, peach, or apricot, Smell a quince, Dip one last piece of bread In Palestinian thyme and olive oil… Before the world ends, I wish to smell a few pine needles, To breathe the smell of the first rain shower After a long, hot, and dry summer… Before the world ends and before I die, I wish to read one more book Out of the thousands of books that I still want to read… Before the world ends and before I die, I ask for one more spring To smell bunches of Iraqi narcissus flowers. I want to live one more autumn, To enjoy the magical colors Of the dying leaves on the trees As they challenge death with beauty Right before falling on the grounds of indifference… But my biggest wish before I die is For my death not to be the end of the world… [Original poem published in Arabic on October 13 at ahewar.org]

Charivari ‘They capped their heads with feathers, masked their faces, wore their clothes backwards, howled with torches through the midnight winter and dragged the black man from his house to the jolting music of broken instruments, pretending to each other it was a joke, until they killed him. I don’t know what happened to the white bride.’ The American lady, adding she thought it was a disgraceful piece of business, finished her tea. (Note: Never pretend this isn’t part of the soil too, teadrinkers, and inadvertent victims and murderers, when we come this way again in other forms, take care to look behind, within where the skeleton face beneath the face puts on its feather mask, the arm within the arm lifts up the spear: Resist those cracked drumbeats. Stop this. Become human.)

Nocturne" After a friend has gone I like the feel of it: The house at night. Everyone asleep. The way it draws in like atmosphere or evening. One-o-clock. A floral teapot and a raisin scone. A tray waits to be taken down. The landing light is off. The clock strikes. The cat comes into his own, mysterious on the stairs, a black ambivalence around the legs of button-back chairs, an insinuation to be set beside the red spoon and the salt-glazed cup, the saucer with the thick spill of tea which scalds off easily under the tap. Time is a tick, a purr, a drop. The spider on the dining-room window has fallen asleep among complexities as I will once the doors are bolted and the keys tested and the switch turned up of the kitchen light which made outside in the back garden an electric room -- a domestication of closed daisies, an architecture instant and improbable.

Here, where the possessive note is utterly silent and all events are tautological repetitions and no decision will ever alter the secular stagnation, at long last you are, as you have asked to be, the only subject. Who, When, Why, the poor tired little historic questions fall wilting into a hush of utter failure. Your tears splash down upon clinkers which will never be persuaded to recognise a neighbour and there is really and truly no one to appear with tea and help. You have indeed come all the way to the end of your bachelor's journey where Liberty stands with her hands behind her back, not caring, not minding anything. Confronted by a straight and snubbing stare to which mythology is bosh, surrounded by an infinite passivity and purely arithmetrical disorder which is only open to perception, and with nowhere to go on to, your existence is indeed free at last to choose its own meaning, that is, to plunge headlong into despair and fall through silence fathomless and dry, all fact your single drop, all value your pure alas.

But are chocolates, roses, jewelry, and big fancy dinners what love is really about? Really? Those things can certainly be part of the equation, but the kind of love I think everyone needs is the love that’s already all around us. It’s love that is patient, kind, supportive, gentle, and accepting. It’s about caring, listening, and being present. It’s about forgiveness and understanding. It’s when someone brings you a cup of coffee or orders you an iced tea before you arrive, just because they know you like it. It’s your friend sending you an article or a poem she likes. Or someone calling just to check in on you. I’m not saying I don’t like flowers or beautiful dinners, because I do. But like my friend, I’ve often missed acknowledging and experiencing the gift of love that already surrounds me in my life. Yes, what the world needs now is more love. But what each of us also needs now is to see and experience the real hardworking love that’s already there for us in our lives every single day. We need to see it, feel it, and recognize it for what it is: real love in real life.

They say the world will end soon. They say that the nuclear weapons made, Due to fearing ‘the other’, Have become a curse, a plague, a scourge On those who made them Even more than those they were made to scare... And I wonder: Will the nuclear weapons be the cause of the world’s end? Or will the world’s end be caused by humanity’s fear, complicity, and submission? And if what they say is true, Before the world ends and before I die, I wish to drink one last cup of cardamom-flavored tea Taste one last fig, peach, or apricot, Smell a quince, Dip one last piece of bread In Palestinian thyme and olive oil… Before the world ends, I wish to smell a few pine needles, To breathe the smell of the first rain shower After a long, hot, and dry summer… Before the world ends and before I die, I wish to read one more book Out of the thousands of books that I still want to read… Before the world ends and before I die, I ask for one more spring To smell bunches of Iraqi narcissus flowers. I want to live one more autumn, To enjoy the magical colors Of the dying leaves on the trees As they challenge death with beauty Right before falling on the grounds of indifference… But my biggest wish before I die is For my death not to be the end of the world… [Original poem published in Arabic by ahewar.org on October 13, 2022]

She took out a charcoal stick and began to sketch-- on the workbench itself. Of course the moon wouldn't come to her in songs or poems or crystals or whatever... she felt the most centered, the most tranquil, when she was painting or drawing. Lost in her own world or in new ones she imagined. She shouldn't have made a chart; she should have drawn a circle, with the moons going from waxing to waning all the way around... She hummed to herself a little, the way she always did when she painted. Her hair began to glow. A little shading here, a few light strokes in the middle of the full moon for the face that Rapunzel saw there... Circles and shadows and crosshatching... She worked extra hard on the profile of the fatter waxing crescent, where the moon would be now. She knew what it looked like as she felt her hand shape it. Her power surged; her hair began to sparkle. She looked around frantically for something to release her magic on. The first thing she saw was her tea, so she grabbed the red clay cup and wrapped the end of a braid around it. Just like with Pascal, sparks sprayed off her hair and over the object. When they faded they revealed... ... a heavy, crude clay cup. Rapunzel started to slump in disappointment-- and then noticed something. Where the hair had touched the sides, the cup was now shiny black, like onyx or obsidian.

Preparation - Poem by Malay Roy Choudhury Who claims I'm ruined? Because I'm without fangs and claws? Are they necessary? How do you forget the knife plunged in abdomen up to the hilt? Green cardamom leaves for the buck, art of hatred and anger and of war, gagged and tied Santhal women, pink of lungs shattered by a restless dagger? Pride of sword pulled back from heart? I don't have songs or music. Only shrieks, when mouth is opened wordless odour of the jungle; corner of kin & sin-sanyas; Didn't pray for a tongue to take back the groans power to gnash and bear it. Fearless gunpowder bleats: stupidity is the sole faith-maimed generosity- I leap on the gambling table, knife in my teeth Encircle me rush in from tea and coffee plateaux in your gumboots of pleasant wages The way Jarasandha's genital is bisected and diamond glow Skill of beating up is the only wisdom in misery I play the burgler's stick like a flute brittle affection of thev wax-skin apple She-ants undress their wings before copulating I thump my thighs with alternate shrieks: VACATE THE UNIVERSE get out you omnicompetent conchshell in scratching monkeyhand lotus and mace and discuss-blade Let there be salt-rebellion of your own saline sweat along the gunpowder let the flint run towards explosion Marketeers of words daubed in darkness in the midnight filled with young dog's grief in the sicknoon of a grasshopper sunk in insecticide I reappear to exhibit the charm of the stiletto. (Translation of Bengali poem 'Prostuti')

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

Enjoyment requires discernment. It can be a gift to wrap up in a blanket and lose myself in a TV show but we can also amuse ourselves to death. My pleasure in wine or tea or exercise is good in itself but it can become disordered. As we learn to practice enjoyment we need to learn the craft of discernment: How to enjoy rightly, to have, to read pleasure well. There is a symbiotic relationship, cross-training, if you will, between the pleasures we find in gathered worship and those in my tea cup, or in a warm blanket, or the smell of bread baking. Lewis reminds us that one must walk before one can run. We will not be able to adore God on the highest occasions if we have learned no habit of doing so on the lowest. At best our faith and reason will tell us that He is adorable but we shall not have found Him so. These tiny moments of beauty in our day train us in the habits of adoration and discernment, and the pleasure and sensuousness of our gathered worship teach us to look for and receive these small moments in our days, together they train us in the art of noticing and reveling in our God’s goodness and artistry. A few weeks ago I was walking to work, standing on the corner of tire and auto parts store, waiting to cross the street when I suddenly heard church bells begin to ring, loud and long. I froze, riveted. They were beautiful. A moment of transcendence right in the middle of the grimy street, glory next to the discount tire and auto parts. Liturgical worship has been referred to sometimes derisively as smells and bells because of the sensuous ways Christians have historically worshipped: Smells, the sweet and pungent smell of incense, and bells, like the one I heard in neighborhood which rang out from a catholic church. At my church we ring bells during the practice of our eucharist. The acolyte, the person often a child, assisting the priest, rings chimes when our pastor prepares the communion meal. There is nothing magic about these chimes, nothing superstitious, they’re just bells. We ring them in the eucharist liturgy as a way of saying, “pay attention.” They’re an alarm to rouse the congregation to jostle us to attention, telling us to take note, sit up, and lean forward, and notice Christ in our midst. We need this kind of embodied beauty, smells and bells, in our gathered worship, and we need it in our ordinary day to remind us to take notice of Christ right where we are. Dostoevsky wrote that “beauty will save the world.” This might strike us as mere hyperbole but as our culture increasingly rejects the idea and language of truth, the churches role as the harbinger of beauty is a powerful witness to the God of all beauty. Czeslaw Milosz wrote in his poem, “One more day,” “Though the good is weak, beauty is very strong.” And when people cease to believe there is good and evil, only beauty will call to them and save them so that they still know how to say, “this is true and that is false.” Being curators of beauty, pleasure, and delight is therefore and intrinsic part of our mission, a mission that recognizes the reality that truth is beautiful. These moments of loveliness, good tea, bare trees, and soft shadows, or church bells, in my dimness, they jolt me to attention and remind me that Christ is in our midst. His song of truth, sung by His people all over the world, echos down my ordinary street, spilling even into my living room.

It was getting late in the year, the sky had been low and overcast for days, and I was drinking tea in a glassy room with a woman without children, a gate through which no one had entered the world. She was turning the pages of an expensive book on a coffee table, even though we were drinking tea, a book of colorful paintings— a landscape, a portrait, a still life, a field, a face, a pear and a knife, all turning on the table. Men had entered there but no girl or boy had come out, I was thinking oddly as she stopped at a page of clouds aloft in a pale sky, tinged with red and gold. This one is my favorite, she said, even though it was only a detail, a corner of a larger painting which she had never seen. Nor did she want to see the countryside below or the portrayal of some myth in order for the billowing clouds to seem complete. This was enough, this fraction of the whole, just as the leafy scene in the windows was enough now that the light was growing dim, as was she enough, perfectly by herself somewhere in the enormous mural of the world.

Old Man Eating Alone in a Chinese Restaurant I am glad I resisted the temptation, if it was a temptation when I was young, to write a poem about an old man eating alone at a corner table in a Chinese restaurant. I would have gotten it all wrong thinking: the poor bastard, not a friend in the world and with only a book for a companion. He’ll probably pay the bill out of a change purse. So glad I waited all these decades to record how hot and sour the hot and sour soup is here at Chang’s this afternoon and how cold the Chinese beer in a frosted glass. And my book—José Saramago’s Blindness as it turns out—is so absorbing that I look up from its escalating horrors only when I am stunned by one of its arresting sentences. And I should mention the light which falls through the big windows this time of day italicizing everything it touches—the plates and tea pots, the immaculate tablecloths, as well as the soft brown hair of the waitress in the white blouse and short black skirt, the one who is smiling now as she bears a cup of rice and shredded beef with garlic to my favorite table in the corner.

She looked in the cupboards to get some ideas. "I've got it!" she shrieked. "I'll make Bat Ear Tortillas!

A writer had to think about a Trial for a divers poem.

...you cannot mirror Any but your own And this is why I have learned To ignore the barking And sip my tea

I climb to the edge into the speckled warlike wave of tea lights. Alloy railings and spiral stairways angel headed day sleepers bearing wild teeth and forgotten memories.

Monsters carving themselves within, Leaving hidden scars.

My emotions came Giving me every reason to worry. Every breath is up for judgment.

I am enough. Regardless of what I may say

we measure our lives in brimming cups of tea, / there is a glimmer of the / marvelous hidden in the monotony, / interwoven like stars in the dark & heavy quilt of night / the way it warms our bellies / like the dwindling embers of a fireplace / but without the sting

A woman knows very well that, though a wit sends her his poems, praises her judgment, solicits her criticism, and drinks her tea, this by no means signifies that he respects her opinions, admires her understanding, or will refuse, though the rapier is denied him, to run her through the body with his pen.

Red Elephant" When am I supposed to say so long? When am I supposed to say so long? When I fall in love 'fore dusk is dawn When you take my hand across the lawn With the eyes so sweet they're like a fawn Red elephant is wet & long... How am I supposed to wash you off? Rungs of bad poems I've hacked & coughed But I have to spare a breath for you Which I'll take, before we make anew Our hearts will take a stroll for two Our feet will take the avenue & Walk in unison, so cute Red elephant is turning blue Why am I here when you're over there? Let's meet at the fountains In Dundas Square Who am I supposed to be with you? I'll wait 'til you say & pretend I knew Because if it's true that walls can talk How mine would brag of tears I've sobbed When thinking of the way we walked Along the paths of sideway chalk Forever under ticking clock Where you & I are free to flock What can I write when I know it's wrong? Slapping my knee to my own damn song Where can we go when the sinking stops? To the pit of my chest As it drops and drops... Put your head upon my chest, it breathes & My fingers through your hair they weave & Your shoulders are the perfect sea In which I get lost invariably Oh the elephant is up to sea If it meets the peach fish underneath & When I am you and you are me We are stirred as spoons in lover's tea

Queer, fantastic, most lovely life! Sordid, squalid, grotesque life, bitter as black tea, sour as stale wine! Gloriously funny, brilliant as a flowerbed, bright as a street in hell, - unsteady as swing-boat, silly as a drunkard's dream, tragic as a poem by Masefield… To have one's corner in it, to run here and there about the city, grinning like a dog - what more did one want?

what if you get most of what the eye sees? what if love came in seeds? what if we plant them and they grow trees? what if they form hearts instead of leafs? what if hate was to freeze? what if there was no honeybees? what if your heart stops when you sneeze? what if the evil uses the word please? what if we get down on our knees? what if we pray to the creator of the earth, heavens ,and seas? what if the heartless bleeds? what if the poor needs? what if the wealthy and greedy feeds? what if the illiterate reads what if hearts had keys? what if we aim for our dreams? what if we do all good deeds? what if the only brew was teas? what if we all wore white tees? what if we could accomplish some of these? WHAT IF ?

Clouds are gentle walls that hide Gardens on the other side Tell the tabby cats I take All my meals with William Blake Lunch at noon and tea at four Served in splendor on the shore at the tinkling of a bell. Tell them I am sleeping well.

Sergei recited a Pushkin poem in Russian while I recited a stanza by Racine from my French classical repertoire. Both of us, romantics at heart, were inebriated by the fresh air, the calm and the greenery surrounding us, and we decided to ride to a village where we could taste the local food and wash it down with beer for Sergei and tea for me.

Jt'i to- You shall love your neighbor as yourself. -LEVITICUS 19:18 Yes, I give you permission to be selfish at times. One thing I notice about so many people is that they are burned out because they spend so much time serving others that they have no time for themselves. As a young mom I was going from sunup to late in the evening just doing the things that moms do. When evening came around I was exhausted. All I wanted to do was take a hot bath and slip into bed and catch as much sleep as possible before I was awakened in the night by one of the children. After several years I remember saying to myself, I've got to have some time just for me-I need help. One of the things I did was to get up a half hour before everyone else so I could spend time in the Scriptures over an early cup of tea. This one activity had an incredibly positive effect upon my outlook. I went on to making arrangements to get my hair and nails taken care of periodically. I was even known to purchase a new outfit (on sale of course) occasionally. As I matured I discovered that I became a better parent and wife when I had time for myself and my emotional tank was filled up. I soon realized I had plenty left over to share with my loved ones. When you're able to spend some time just for you, you will be more relaxed, and your family and home will function better. I find these to be beneficial time-outs: • taking a warm bath by candlelight • getting a massage • having my hair and nails done • meeting a friend for lunch • listening to my favorite CD • reading a good book • writing a poem

When she can’t sleep at night, she tries to remember the details of all the rooms where she has slept…The objects that appear are always linked to gestures and singular facts…In those rooms, she never sees herself with the clarity of photos, but blurred as in a film on an encrypted TV channel…She doesn’t know what she wants from these inventories, except maybe through the accumulation of memories of objects, to again become the person she was at such and such a time. She would like to assemble these multiple images of herself, separate and discordant, thread them together with the story of her existence, starting with her birth during World War II up until the present day. Therefore, an existence that is singular but also merged with the movements of a generation. Each time she begins, she meets the same obstacles: how to represent the passage of historical time, the changing of things, ideas, and manners, and the private life of this woman? How to make the fresco of forty-five years coincide with the search for a self outside of History, the self of suspended moments transformed into the poems she wrote at twenty (“Solitude,” etc.)? Her main concern is the choice between “I” and “she.” There is something too permanent about “I,” something shrunken and stifling, whereas “she” is too exterior and remote. The image she has of her book in its nonexistent form, of the impression it should leave, is…an image of light and shadow streaming over faces. But she hasn’t yet discovered how to do this. She awaits if not a revelation, then a sign, a happenstance, as the madeleine dipped in tea was for Marcel Proust. Even more than this book, the future is the next man who will make her dream, buy new clothes, and wait: for a letter, a phone call, a message on the answering machine.

Amantes Assemble Sonnet 63 Love is a lamp, That the sane cannot light. Peace is poetry, That the sober cannot write. Growth is green, That the greedy cannot plant. Insight is a state, That the pompous cannot land. Society is a cup of tea, That the selfish cannot make. World is a responsibility, That the animals cannot take. However, it's okay if the world feels too heavy. Start by taking your neighborhood's responsibility.

ON THE DISCOMFORT OF BEING IN THE SAME ROOM AS THE BOY YOU LIKE Everyone is looking at you looking at him. Everyone can tell. He can tell. So you spend most of your time not looking at him. The wallpaper, the floor, there are cracks in the ceiling. Someone has left a can of iced tea in the corner, it is half-empty, I mean half-full. There are four light bulbs in the standing lamp, there is a fan. You are counting things to keep from looking at him. Five chairs, two laptops, someone’s umbrella, a hat. People are talking so you look at their faces. This is a good trick. They will think you are listening to them and not thinking about him. Now he is talking. So you look away. The cracks in the ceiling are in the shape of a whale or maybe an elephant with a fat trunk. If he ever falls in love with you, you will lie on your backs in a field somewhere and look up at the sky and he will say, Baby, look at that silly cloud, it is a whale! and you will say, Baby, that is an elephant with a fat trunk, and you will argue for a bit, but he will love you anyway. He is asking a question now and no one has answered it yet. So you lower your eyes from the plaster and say, The twenty-first, I think, and he smiles and says, Oh, cool, and you smile back, and you cannot stop your smiling, oh, you cannot stop your smile.

POEM I watched an armory combing its bronze bricks and in the sky there were glistening rails of milk. Where had the swan gone, the one with the lame back? Now mounting the steps I enter my new home full of grey radiators and glass ashtrays full of wool. Against the winter I must get a samovar embroidered with basil leaves and Ukranian mottos to the distant sound of wings, painfully anti-wind, a little bit of the blue summer air will come back as the steam chuckles in the monster's steamy attack and I'll be happy here and happy there, full of tea and tears. I don't suppose I'll ever get to Italy, but I have the terrible tundra at least. My new home will be full of wood, roots and the like, while I pace in a turtleneck sweater, repairing my bike. I watched the palisades shivering in the snow of my face, which had grown preternaturally pure. Once I destroyed a man's idea of himself to have him.

WHAT TO DO WITH YOUR PAST Serve it with lemons and curdled milk with shortbread biscuits make the day gray spots of rain. Make a quilt out of the villains crochet the heroes together in a hat Wear the hat. Use the quilt as a picnic blanket. Bring your friends. Watch the squirrels be tiny monkeys dare-deviling the trees. Exclaim things! Each lemon, sup of tea, cookie is a bite into the future / will digest, exit, and swim. Digest. Exit. Swim. Drink the curdled milk and get sick watch your friends clean up hold your hair back / hat on hand you a tissue. When you wash the vomit out of the villainous quilt each time it gets weaker Picnic often.

Each day was a struggle, life's meaning veiled in sorrow's plight, Drowning in my own tears, embracing the darkest nights Hunger was my constant companion, I lived on dry bread and tea, Yearning for relief, wondering if tomorrow's hope I will see.

HOLMES, ON SPIRITUALISM A sitting room is not the proper setting for a spiritual awakening. As a horse forgets his shoes (he is not, after all, the one to nail them to his feet), so can a man forget his deceased wife despite previous adoration. Adoration: the sudden attention to such details (unbrushed coat, needlemark in the crook of an arm) in a lady’s appearance when these have not been marked before in one’s closest companion. When you assumed my death, you quit me after a quarter hour. I have trained you well in observation and distance. There are certain well-carved tables, excellent china, there are vessels for the quiet governesses of tragic good breeding who are pleased to rise from the dead and come back to their husbands for a justifiable fee. Come back. See, I am fond of charlatans. There is a certain amount of pleasure in disguise and the caught-breath escape from water and chains. The drowning or how it is imagined. If you had been watching closely? Then I could have returned sooner. Here I will differentiate between legerdemain and what meager love I have witnessed. What desire, to call back the dead to watch you take your tea.