Wallace Stevens Quotes

Perhaps the truth depends on a walk around the lake.

Human nature is like water. It takes the shape of its container.

Death is the mother of beauty. Only the perishable can be beautiful, which is why we are unmoved by artificial flowers.

I do not know which to prefer, The beauty of inflections Or the beauty of innuendos The blackbird whistling Or just after.

Reality is a cliché from which we escape by metaphor.

Throw away the light, the definitions, and say what you see in the dark.

The only emperor is the emperor of ice cream.

The exceeding brightness of this early sun Makes me conceive how dark I have become.

It is not everyday that the world arranges itself into a poem.

We live in an old chaos of the sun.

The imperfect is our paradise.

The reader became the book; and summer night Was like the conscious being of the book.

The final belief is to believe in a fiction, which you know to be a fiction, there being nothing else. The exquisite truth is to know that it is a fiction and that you believe in it willingly.

A poet looks at the world as a man looks at a woman.

I am what is around me.

The mind can never be satisfied.

For the listener, who listens in the snow, / And, nothing himself, beholds / Nothing that is not there and the nothing that is.

I was the world in which I walked, and what I saw Or heard or felt came not but from myself; And there I found myself more truly and more strange.

The way through the world Is more difficult to find than the way beyond it.

One must read poetry with one's nerves.

I was helpless in trying to return people's kindness, but also helpless to resist it. Kindness is a scarier force than cruelty, that's for sure. Cruelty isn't that hard to understand. I had no trouble comprehending why the phone company wanted to screw me over; they just wanted to steal some money, it was nothing personal. That's the way of the world. It made me mad, but it didn't make me feel stupid. If anything, it flattered my intelligence. Accepting all that kindness, though, made me feel stupid. Human benevolence is totally unfair. We don't live in a kind or generous world, yet we are kind and generous. We know the universe is out to burn us, and it gets us all the way it got Renee, but we don't burn each other, not always. We are kind people in an unkind world, to paraphrase Wallace Stevens. How do you pretend you don't know about it, after you see it? How do you go back to acting like you don't need it? How do you even the score and walk off a free man? You can't. I found myself forced to let go of all sorts of independence I thought I had, independence I had spent years trying to cultivate. That world was all gone, and now I was a supplicant, dependent on the mercy of other people's psychic hearts.

I certainly do not exist from nine to six, when I am at the office.

After the final no there comes a yes / And on that yes the future world depends.

It is the unknown that excites the ardor of scholars, who, in the known alone, would shrivel up with boredom.

in the presence of extraordinary actuality, consciousness takes the place of imagination.

The poem must resist the intelligence Almost successfully.

The yellow glistens. It glistens with various yellows, Citrons, oranges and greens Flowering over the skin.

Poetry is an abstraction bloodied.

I still feel the need of some imperishable bliss.

I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know.

Out of this same light, out of the central mind, We make a dwelling in the evening air, In which being there together is enough.

It can never be satisfied, the mind, never.

Children picking up our bones Will never know that these were once As quick as foxes on the hill;

It is necessary to any originality to have the courage to be an amateur.

God and the imagination are one.

I am the truth, since I am part of what is real, but neither more nor less than those around me.

Of the Surface of Things In my room, the world is beyond my understanding; But when I walk I see that it consists of three or four Hills and a cloud.

The most beautiful thing in the world is, of course, the world itself.

The great poems of heaven and hell have been written and the great poem of earth remains to be written.

Conceptions are artificial. Perceptions are essential.

The river is moving. The blackbird must be flying.

It is never the thing but the version of the thing.

After the leaves have fallen, we return To a plain sense of things. It is as if We had come to an end of the imagination, Inanimate in an inert savoir.

A change of style is a change of meaning.

Next to love is the desire for love.

From this the poem springs: that we live in a place That is not our own and, much more, not ourselves And hard it is in spite of blazoned days.

People should like poetry the way a child likes snow, and they would if poets wrote it.

A poem is a meteor.

Death is the mother of beauty; hence from her, Alone, shall come fulfillment to our dreams And our desires.

A pear should come to the table popped with juice, Ripened in warmth and served in warmth. On terms Like these, autumn beguiles the fatalist.

The imagination loses vitality as it ceases to adhere to what is real.

To die would be an awfully big adventure. But it’s not true. Life is the real adventure. Having the hurricane inside you is the true adventure. And then I think not of Cate Blanchett as Queen Elizabeth I, but of Mel Gibson as William Wallace. Everyone dies. Not everyone really lives.

The Snow Man" One must have a mind of winter To regard the frost and the boughs Of the pine-trees crusted with snow; And have been cold a long time To behold the junipers shagged with ice, The spruces rough in the distant glitter Of the January sun; and not to think Of any misery in the sound of the wind, In the sound of a few leaves, Which is the sound of the land Full of the same wind That is blowing in the same bare place For the listener, who listens in the snow, And, nothing himself, beholds Nothing that is not there and the nothing that is. Wallace Stevens, The Collected Poems of Wallace Stevens. (Vintage; Reissue edition February 19, 1990)

Divinity must live within herself: Passions of rain, or moods in the falling snow; Grievings in loneliness, or unsubdued Elations when the forest blooms; gusty Emotions on wet roads on autumn nights; All pleasures and all pains, remembering The boughs of summer and the winter branch. These are the measures destined for her soul.

We must endure our thoughts all night, until the bright obvious stands motionless in cold.

One must have a mind of winter.

The House Was Quiet and the World Was Calm The house was quiet and the world was calm. The reader became the book; and summer night Was like the conscious being of the book. The house was quiet and the world was calm. The words were spoken as if there was no book, Except that the reader leaned above the page, Wanted to lean, wanted much to be The scholar to whom his book is true, to whom The summer night is like a perfection of thought. The house was quiet because it had to be. The quiet was part of the meaning, part of the mind: The access of perfection to the page. And the world was calm. The truth in a calm world, In which there is no other meaning, itself Is calm, itself is summer and night, itself Is the reader leaning late and reading there.

A violent order is disorder; and a great disorder is an order. These two things are one.

One cannot spend one's time in being modern when there are so many more important things to be.

To Wallace Stevens' post-Nietzschean formula 'God and the imagination are one,' these women poets would add a crucial third element: God and the imagination and my body are one.

The people in the world, and the objects in it, and the world as a whole, are not absolute things, but on the contrary, are the phenomena of perception... If we were all alike: if we were millions of people saying do, re, mi, in unison, One poet would be enough... But we are not alone, and everything needs expounding all the time because, as people live and die, each one perceiving life and death for himself, and mostly by and in himself, there develops a curiosity about the perceptions of others. This is what makes it possible to go on saying new things about old things.

Beauty is momentary in the mind -- The fitful tracing of a portal; But in the flesh it is immortal. The body dies; the body's beauty lives. So evenings die, in their green going, A wave, interminably flowing.

Sigh for me, night-wind, in the noisy leaves of the oak. / I am tired. Sleep for me, heaven over the hill. / Shout for me, loudly and loudly, joyful sun, when you rise.

Let be be finale of seem. The only emperor is the emperor of ice-cream.

There is nothing in life except what one thinks of it.

(Wallace) Stevens turns to the idea of the weather precisely as the religious idea turns to the idea of God.

At first she thought the writing would be easy. She was extremely confident in her ability to dream, to imagine, and she supposed that expressing her dreams in words, in writing, would be entirely natural, like drawing breath. She had read widely from the time she was a child, and she knew how to recognize something that was well written. She admired certain lines and passages so much that she had taken complete possession of them and committed them to memory. She could recite “The Gettysburg Address” and “The Twenty-Third Psalm.” She could recite “Jabberwocky” and Emily Dickinson’s “Further in summer that the birds” and Wallace Stevens’s “Sunday Morning.” She knew by heart the final paragraph of Joyce’s “The Dead,” and if challenged she could say in whole the parts of both Romeo and Juliet. And she knew many Kiowa stories and many long prayers in Navajo. These were not feats of memory in the ordinary sense; it was simply that she attended to these things so closely that they became a part of her most personal experience. She had assumed them, appropriated them to her being. But to write! She discovered that was something else again.

Everything is complicated; if that were not so, life and poetry and everything else would be a bore.

Poetry is the scholar's art.

Thought tends to collect in pools.

Eyes dripping blue, so much to learn.

Beneath every no lays a passion for yes that had never been broken.

... unreal things have a reality of their own, in poetry as elsewhere.

The fire burns as the novel taught it how.

(Wallace) Stevens turns to the idea of the weather precisely as the religious man turns to the idea of God.

The imagination is man's power over nature.

There is a perfect rout of characters in every man—and every man is like an actor’s trunk, full of strange creatures, new & old. But an actor and his trunk are two different things

The Emperor of Ice-Cream Call the roller of big cigars, The muscular one, and bid him whip In kitchen cups concupiscent curds. Let the wenches dawdle in such dress As they are used to wear, and let the boys Bring flowers in last month's newspapers. Let be be finale of seem. The only emperor is the emperor of ice-cream. Take from the dresser of deal, Lacking the three glass knobs, that sheet On which she embroidered fantails once And spread it so as to cover her face. If her horny feet protrude, they come To show how cold she is, and dumb. Let the lamp affix its beam. The only emperor is the emperor of ice-cream.

He brushed away the thunder, then the clouds, then the colossal illusion of heaven. Yet still the sky was blue.

We say God and the imagination are one . . . How high that highest candle lights the dark.

There is no wing like meaning

There will never be an end To this droning of the surf.

If sex were all, then every trembling hand Could make us squeak, like dolls, the wished-for words.

Thought is an infection. In the case of certain thoughts it becomes an epidemic. p901

In the end, despite the large volume of bad news, we can conclude with an affirmation. We can say with Wallace Stevens that 'after the final no there comes a yes.' Yes, we can save what is left. Yes, we can repair and make amends. We can reclaim nature and restore ourselves. There is a bridge at the end of the world.

The girls were always running out of money, out of cash, precisely, to pay taxi drivers, train conductors, men who delivered pizzas after dark. They borrowed cash, normally, upon arrival. They borrowed passions—Wallace Stevens, Joseph Conrad, Mozart, hiking, the Bible—from each other, as girls of another generation borrowed clothes.

You both love Tolstoy and Dostoyevsky, Hawthorne and Melville, Flaubert and Stendahl, but at that stage of your life you cannot stomach Henry James, while Gwyn argues that he is the giant of giants, the colossus who makes all other novelists look like pygmies. You are in complete harmony about the greatness of Kafka and Beckett, but when you tell her that Celine belongs in their company, she laughs at you and calls him a fascist maniac. Wallace Stevens yes, but next in line for you is William Carlos Williams, not T.S. Eliot, whose work Gwyn can recite from memory. You defend Keaton, she defends Chaplin, and while you both howl at the sight of the Marx Brothers, your much-adored W.C. Fields cannot coax a single smile from her. Truffaut at his best touches you both, but Gwyn finds Godard pretentious and you don't, and while she lauds Bergman and Antonioni as twin masters of the universe, you reluctantly tell her that you are bored by their films. No conflicts about classical music, with J.S. Bach at the top of the list, but you are becoming increasingly interested in jazz, while Gwyn still clings to the frenzy of rock and roll, which has stopped saying much of anything to you. She likes to dance, and you don't. She laughs more than you do and smokes less. She is a freer, happier person than you are, and whenever you are with her, the world seems brighter and more welcoming, a place where your sullen, introverted self can almost begin to feel at home.

It is deep January. The sky is hard. The stalks are firmly rooted in ice. It is in this solitude, a syllable, Out of these gawky flitterings, Intones its single emptiness, The savagest hollow of winter-sound.

It is a world of words to the end of it, / In which nothing solid is its solid self.

I like Rhine wine, blue grapes, good cheese, endive and lots of books, etc., etc., etc., as much as I like supreme fiction.

She says, "But in contentment I still feel The need for imperishable bliss." Death is the mother of beauty; hence from her, Alone, shall come fulfillment to our dreams And our desires. Is there no change of death in paradise? Does ripe fruit never fall? or do the boughs Hang always heavy in that perfect sky, Unchanging, yet so like our perishing earth, With rivers like our own that seek for seas They never find, the same receding shores That never touch with inarticulate pang?

The Poem That Took The Place Of A Mountain There it was, word for word, The poem that took the place of a mountain. He breathed its oxygen, Even when the book lay turned in the dust of his table. It reminded him how he had needed A place to go to in his own direction How he had recomposed the pines, Shifted the rocks and picked his way among clouds For the outlook that would be right, Where he would be complete in an unexplained completion: The exact rock where his inexactness Would discover, at last, the view toward which they had edged Where he could lie and gazing down at the sea, Recognize his unique and solitary home.

Two things of opposite natures seem to depend On on another, as Logos depends On Eros, day on night, the imagined On the real. This is the origin of change. Winter and spring, cold copulars, embrace And forth the particulars of rapture come. Music falls on the silence like a sense A passion that we feel, not understand. Morning and afternoon are clasped together And North and South are an intrinsic couple And sun and rain a plural, like two lovers That walk away together as one in the greenest body.

I was reading a poem by my idol, Wallace Stevens, in which he said, ‘The self is a cloister of remembered sounds.’ My first response was, Yesss! How did he know that? It’s like he’s reading my mind. But my second response was, I need some new sounds to remember. I’ve been stuck in my little isolation chamber for so long I’m spinning through the same sounds I’ve been hearing in my head all my life. If I go on this way, I’ll get old too fast, without remembering any more sounds than I already know now. The only one who remembers any of my sounds is me. How do you turn down the volume on your personal-drama earphones and learn how to listen to other people? How do you jump off one moving train, marked Yourself, and jump onto a train moving in the opposite direction, marked Everybody Else? I loved a Modern Lovers song called, ‘Don’t Let Our Youth Go to Waste,’ and I didn’t want to waste mine.

It was her voice that made The sky acutest at its vanishing. She measured to the hour its solitude. She was the single artificer of the world In which she sang. And when she sang, the sea, Whatever self it had, became the self That was her song, for she was the maker. Then we, As we beheld her striding there alone, Knew that there never was a world for her Except the one she sang and, singing, made.

Thirteen Ways of Looking at a Blackbird" I Among twenty snowy mountains, The only moving thing Was the eye of the blackbird. II I was of three minds, Like a tree In which there are three blackbirds. III The blackbird whirled in the autumn winds. It was a small part of the pantomime. IV A man and a woman Are one. A man and a woman and a blackbird Are one. V I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after. VI Icicles filled the long window With barbaric glass. The shadow of the blackbird Crossed it, to and fro. The mood Traced in the shadow An indecipherable cause. VII O thin men of Haddam, Why do you imagine golden birds? Do you not see how the blackbird Walks around the feet Of the women about you? VIII I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. IX When the blackbird flew out of sight, It marked the edge Of one of many circles. X At the sight of blackbirds Flying in a green light, Even the bawds of euphony Would cry out sharply. XI He rode over Connecticut In a glass coach. Once, a fear pierced him, In that he mistook The shadow of his equipage For blackbirds. XII The river is moving. The blackbird must be flying. XIII It was evening all afternoon. It was snowing And it was going to snow. The blackbird sat In the cedar-limbs.

The Plot Against The Giant First Girl When this yokel comes maundering, Whetting his hacker, I shall run before him, Diffusing the civilest odors Out of geraniums and unsmelled flowers. It will check him. Second Girl I shall run before him, Arching cloths besprinkled with colors As small as fish-eggs. The threads Will abash him. Third Girl Oh, la...le pauvre! I shall run before him, With a curious puffing. He will bend his ear then. I shall whisper Heavenly labials in a world of gutturals. It will undo him.

THE POEMS OF OUR CLIMATE I Clear water in a brilliant bowl, Pink and white carnations. The light In the room more like a snowy air, Reflecting snow. A newly-fallen snow At the end of winter when afternoons return. Pink and white carnations - one desires So much more than that. The day itself Is simplified: a bowl of white, Cold, a cold porcelain, low and round, With nothing more than the carnations there. II Say even that this complete simplicity Stripped one of all one's torments, concealed The evilly compounded, vital I And made it fresh in a world of white, A world of clear water, brilliant-edged, Still one would want more, one would need more, More than a world of white and snowy scents. III There would still remain the never-resting mind, So that one would want to escape, come back To what had been so long composed. The imperfect is our paradise. Note that, in this bitterness, delight, Since the imperfect is so hot in us, Lies in flawed words and stubborn sounds.

I caution against communication because once language exist only to convey information, it is dying. In news articles the relation of the words to the subject is a strong one. The relation of the words to the writer is weak. (Since the majority of your reading has been newspapers, you are used to seeing language function this way). When you write a poem these relations must reverse themselves: The relation of the word to the subject must weaken – the relation of the words to the writer (you) must take on strength. This is probably the hardest thing about writing poems In a poem you make something up, say for example a town, but an imagined town is at least as real as an actual town. If it isn’t you may be in the wrong business. Our triggering subjects, like our words, come from obsessions we must submit to, whatever the social cost. It can be hard. It can be worse 40 years from now if you feel you could have done it and didn’t. RICHARD HUGO Public versus private poets: With public poets the intellectual and emotional contents of the words are the same for the reader as for the writer. With the private poet, the words, at least certain key words, mean something to the poet they don’t mean to the reader. A sensitive reader perceives this relation of poet to word and in a way that relation – the strange way the poet emotionally possesses his vocabulary – is one of the mysteries and preservative forces of the art. If you are a private poet, then your vocabulary is limited by your obsessions. In fact, most poets write the same poem over and over. (Wallace Stevens was honest enough not to try to hide it. Frost’s statement that he tried to make every poem as different as possible from the last one is a way of saying that he knew it couldn’t be).

The Idea of Order at Key West She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, fluttering Its empty sleeves; and yet its mimic motion Made constant cry, caused constantly a cry, That was not ours although we understood, Inhuman, of the veritable ocean. The sea was not a mask. No more was she. The song and water were not medleyed sound Even if what she sang was what she heard, Since what she sang was uttered word by word. It may be that in all her phrases stirred The grinding water and the gasping wind; But it was she and not the sea we heard. For she was the maker of the song she sang. The ever-hooded, tragic-gestured sea Was merely a place by which she walked to sing. Whose spirit is this? we said, because we knew It was the spirit that we sought and knew That we should ask this often as she sang. If it was only the dark voice of the sea That rose, or even colored by many waves; If it was only the outer voice of sky And cloud, of the sunken coral water-walled, However clear, it would have been deep air, The heaving speech of air, a summer sound Repeated in a summer without end And sound alone. But it was more than that, More even than her voice, and ours, among The meaningless plungings of water and the wind, Theatrical distances, bronze shadows heaped On high horizons, mountainous atmospheres Of sky and sea. It was her voice that made The sky acutest at its vanishing. She measured to the hour its solitude. She was the single artificer of the world In which she sang. And when she sang, the sea, Whatever self it had, became the self That was her song, for she was the maker. Then we, As we beheld her striding there alone, Knew that there never was a world for her Except the one she sang and, singing, made. Ramon Fernandez, tell me, if you know, Why, when the singing ended and we turned Toward the town, tell why the glassy lights, The lights in the fishing boats at anchor there, As the night descended, tilting in the air, Mastered the night and portioned out the sea, Fixing emblazoned zones and fiery poles, Arranging, deepening, enchanting night. Oh! Blessed rage for order, pale Ramon, The maker's rage to order words of the sea, Words of the fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds