Trench Poets Quotes

Later, we'll look up what was recorded in our history about yours in faraway lands. Then we'll ask ourselves, "Was Andalusia here or there? On earth, or only in poems?

I don’t know if any of you know Wilfred Owen. He was a soldier who died in the First World War, a war that killed soldiers by the hundreds of thousands. Owen was a strange sort. A poet. A warrior. A homosexual. And as tough a man as any Marine I’ve ever met. In World War One, Owen was gassed. He was blown in the air by a mortar and lived. He spent days in one position, under fire, next to the scattered remains of a fellow officer. He received the Military Cross for killing enemy soldiers with a captured enemy machine gun and rallying his company after the death of his commander. And this is what he wrote about training soldiers for the trenches. These are, by the way, new soldiers. They hadn’t seen combat yet. Not like he had. “Owen writes: ‘For 14 hours yesterday I was at work—teaching Christ to lift his cross by numbers, and how to adjust his crown; and not to imagine he thirsts until after the last halt. I attended his Supper to see that there were no complaints; and inspected his feet that they should be worthy of the nails. I see to it that he is dumb, and stands at attention before his accusers. With a piece of silver I buy him every day, and with maps I make him familiar with the topography of Golgotha.

You took to the trenches and said: war is more beautiful, you shall never see my feet again. I will seek the roads and taverns, I am the blind poet. The frowning autumn gives music for colors – sunset gives me the opulence of roses and I ask about you. I ask about you but as a stung man does after something has afflicted his blood. Peace be . . . – I do not want your reply.

The poet 4 has not described one people divided into two hostile camps, parents and children enrolled on opposite sides, Rome set on fire by the hand of a Roman, troops of fierce horsemen scouring the country to track out the hiding- places of the proscribed, wells defiled with poison, plagues created by human .hands, trenches dug by children round their beleaguered parents, crowded prisons, conflagrations that consume whole cities, gloomy tyrannies, secret plots to establish despotisms and ruin peoples, and men glorying in those deeds which, as long as it was possible to repress them, were counted as crimes — I mean rape, debauchery, and lust …… Add to these, public acts of national bad faith, broken treaties, everything that cannot defend itself carried off as plunder by the stronger, knaveries, thefts, frauds, and disownings of debt such as three of our present law-courts would not suffice to deal with. If you want the wise man to be as angry as the atrocity of men's crimes requires, he must not merely be angry, but must go mad with rage.

They say that it is always poets that die in wars, and I never got over a sense of being in the trenches.

However, Martoglio, in defense of his poetry, claims that while the academicians have not made a fuss about his work, the people have consistently displayed affection for it, so much so that he can say that “there isn’t any town in Sicily where Centona10 has not brought people cheer Martoglio goes on to say that his poetry is a favorite of the Sicilian people wherever they may be, within Sicily, in war trenches and in foreign lands. The reason for this predilection is that Centona brings people the smells and sounds of Sicily, the passions that are always raging in their unhappy hearts, and the memories of their beloved and tragic land. And he concludes with a beautiful testimony to his poetry that says: as long as you leave on each street you pass of restless Sicily the scent and soul, you’ll always be assured of great success. While some readers may regard this as wishful thinking on the part of the poet, I can testify from personal experience that it is actually true. Sicilians love Martoglio and they love his poetry. One brief story will make the point: I was browsing one day in the Cavallotto bookstore in Catania looking through their Sicilian language poetry section and started a conversation with the store manager, Rosario Romeo. When I told him that I was working on a book about Nino Martoglio, he began to recite the “Lu cummattimentu tra Orlandu e Rinardu” from memory. He went through nearly the last 8 stanzas of the poem without faltering once, showing great appreciation for Martoglio’s cleverness by highlighting with shifts in tone and manner of reciting those parts he deemed most interesting. His wonderful performance, however, is not to be considered all that extraordinary. In fact, on several occasions, on learning of my interests in Sicilian literature, my interlocutors have begun reciting their favorite poems or excerpts of poems. As it happens, the poets most commonly found in such personal repertories are Giovanni Meli11 Micio Tempio12 and Nino Martoglio.

I followed them in every foreign land where they work hard, and suffer, where they sigh and if in trenches they as soldiers stand. Once they have met me they can’t say goodbye. Because the way I talk, they like to swear, brings smells of home: pistachio nuts, a hint of shelled, dry almonds, rows of prickly pears, of orange blossoms and of calamint; of our green sea where tuna boats stand ready, of relatives, of lovers, and of wives, Mount Etna, the Red Mountain, Mumpileri, and our night sky when it is clear and bright... I bring them all the passions, so they say, Sicilians harbor in their fiery hearts, those hearts that seem incapable of joy because they constantly torment themselves. For someone like myself, to the wheel tied, mean mother, is it not enough, I say, that I roam round the world without a guide and earn without much art your weekly pay? The Author Forgive me, dear Centona, I apologize! My senses were impaired when I began; What you keep giving me is a great prize I value more than some relationships with man.

…it’s come over me clear that the last two or three years that in a group killing of a man, in a mobbing, the event reaches a point where all rationale is gone; such a term as “anarchist” and “traitor” or “Boche” or “Englander Schwein” disappears and they babble hysterically only one or two epithets, in our language usually a tenor of “Son of a Bitch” with a bass of “Cocksucker”. Since some of the finest blood of the human family goes this way poets and painters have a right to try to employ it or at least not kid themselves about what actually happened at Golgotha. Since I’ve talked with men who were in the trenches and since I’ve seen race riots I am suspicious that the sponge of vinegar on the spear is a faked legend and what probably happened, if the historicity of Jesus is ever established, is that they cut off his genital organ and stuck it in his mouth….

Then he asks when my poetry book will be out, and it’s like he’s bringing up a wart or goiter I’ve secretly had taken off, since the book came out two years ago, with grossly underwhelming response. Even I barely noticed, being stuck in the muddy trench of Dev’s sleepless infancy when the box hit the porch. Tearing it open, I’d lifted a copy, thumbed it, and tried to tell myself it was some worthy stone added to poetry’s great mountain. But I hid it out of eyeshot in my study—the sight of it made me sick. First books rarely get the attention they deserve, the other poet says with a kind look. I explain that virtually all copies sold were, I’m guessing, bought by my sister, who gave twenty or thirty for Christmas that year. He tells me the story of a writer who—on finding his own first book remaindered in a used bookstore—opened to the flyleaf only to discover his own signature above the note To Mum and Dad….

Your layered, sweater-y, thickset hug around me—I dared to dream of your bare, balmy, broken-down skin tangled in mine. It was a twist of artless fate in my mind. I watched you pull away... on your "Naked" bike. I was covered in a trench coat, but more than naked enough for the both of us....