...fine love poetry tends to be written when the object of one's affection is at a safe distance; also, it often reflects a love of words more than a love of women...

Only--but this is rare--When a beloved hand is laid in ours,When, jaded with the rush and glareOf the interminable hours, Our eyes can in another's eyes read clear,When our world-deafen'd earIs by the tones of a loved voice caress'd--A bolt is shot back somewhere in our breast,And a lost pulse of feeling stirs again.The eye sinks inward, and the heart lies plain,And what we mean, we say, and what we would, we know.A man becomes aware of his life's flow,And hears its winding murmur; and he seesThe meadows where it glides, the sun, the breeze.

Yes, I am proud; I must be proud to seeMen not afraid of God afraid of me.

Every poet will forever try to write the greatest poem ever written, I have found that this kind of poem can be written with “One” word. And that word consists of a beauty beyond any measure to man and one of the most beauty creations to grace the presents of man. That one word poem is…….. “YOU

Poetry is the guardian of love - constructed from truth it is a bridge that can be crossed from either side and it is oblivious of age or gender

Here the phenomenologist has nothing in common with the literary critic who, as has frequently been noted, judges a work that he could not create and, if we are to believe certain facile condemnations, would not want to create. A literary critic is a reader who is necessarily severe. By turning inside out like a glove an overworked complex that has become debased to the point of being part of the vocabulary of statesmen, we might say that the literary critic and the professor of rhetoric, who know-all and judge-all, readily go in for a simplex of superiority. As for me, being an addict of felicitous reading, I only read and re-read what I like, with a bit of reader's pride mixed in with much enthusiasm.

SPRING POEMIt is spring, my decision, the earthferments like rising breador refuse, we are burninglast year's weeds, the smokeflares from the road, the clumped stalksglow like sluggish phoenixes / it wasn'tonly my fault / birdsongs burst fromthe feathered pods of their bodies, dandelionswhirl their blades upwards, from beneaththis decaying board a snakesidewinds, chained hidesmelling of reptile sex / the hensroll in the dust, squinting with bliss, frogbodiesbloat like bladders, contract, stringthe pond with living jellyeyes, can I be thisruthless? I plungemy hands and arms into the dirt,swim among stones and cutworms,come up rank as a fox,restless. Nights, while seedlingsdig near my headI dream of reconciliationswith those I have hurtunbearably, we move stilltouching over the greening fields, the futurewounds folded like seedsin our tender fingers, daysI go for vicious walks past the charredroadbed over the bashed stubbleadmiring the view, avoidingthose I have not hurtyet, apocalypse coiled in my tongue,it is spring, I am searchingfor the word:finishedfinishedso I can begin overagain, some yearI will take this word too far.

Thou, silent form, dost tease us out of thoughtAs doth eternity...

Without poets, without artists, men would soon weary of nature's monotony. The sublime idea men have of the universe would collapse with dizzying speed. The order which we find in nature, and which is only an effect of art, would at once vanish. Everything would break up in chaos. There would be no seasons, no civilization, no thought, no humanity; even life would give way, and the impotent void would reign everywhere.

How do I learn to speakwhen silence is all I know?

I fain would follow love, if that could be; I needs must follow death, who calls for me; Call and I follow, I follow! let me die.

The still watersWrap my lips,Eyes, nose and ears,A clearCellophane I cannot crack.

He said he'd hurt himself against a wall or had fallen down.But there was probably some other reason for the wounded, the bandaged shoulder.With a rather abrupt gesture, reaching for a shelf to bring down some photographs he wanted to look at, the bandage came came undone and a little blood ran.I did it up again, taking my time over the binding; he wasn't in pain and I liked looking at the blood. It was a thing of my love, that blood.When he left, I found, in front of his chair, a bloody rag, part of the dressing, a rag to be thrown straight into the garbage; and I put it to my lips and kept it there a long while- the blood of love against my lips.

Next o'er his books his eyes began to roll,In pleasing memory of all he stole.

He sits, strong and blunt as a Celtic cross, Clearly used to silence and an armchair: Tonight the wife and children will be quiet At slammed door and smoker's cough in the hall.

In the prison of his daysTeach the free man how to praise

Hesitate once, hesitate twice, hesitate a hundred times before employing political standards as a device for the analysis and appreciation of poetry.

In those days I used to talk to myself as if reciting poetry.

You alone in Europe are not ancient oh ChristianityThe most modern European is you Pope Pius XAnd you whom the windows observe shame keeps youFrom entering a church and confessing this morningYou read the prospectuses the catalogues the billboards that sing aloudThat's the poetry this morning and for the prose there are the newspapersThere are the 25 centime serials full of murder mysteriesPortraits of great men and a thousand different headlines("Zone")

I dragged myself to my feet, and with my hellhound in tow started off once more through the fastness of the wood, feeling, as the poet did before me, that my companion would be with me through the nights and through the days and down the arches of the years, and I should never be rid of him.

Shadow is ever besieged, for that is its nature. Whilst darkness devours, and light steals. And so one sees shadow ever retreat to hidden places, only to return in the wake of the war between dark and light.

This is life...by all means necessary

As often as we made love I remembered what my poet told me, that this man was born of a goddess, the force that moves the stars and the waves of the sea and couples the animals in the fields in spring, the power of passion, the light of the evening star.

Nature is bent on new beginningand death has not a chance of winning...

Aeneas' mother is a star?""No; a goddess."I said cautiously, "Venus is the power that we invoke in spring, in the garden, when things begin growing. And we call the evening star Venus."He thought it over. Perhaps having grown up in the country, among pagans like me, helped him understand my bewilderment. "So do we, he said. "But Venus also became more...With the help of the Greeks. They call her Aphrodite...There was a great poet who praised her in Latin. Delight of men and gods, he called her, dear nurturer. Under the sliding star signs she fills the ship-laden sea and the fruitful earth with her being; through her the generations are conceived and rise up to see the sun; from her the storm clouds flee; to her the earth, the skillful maker, offers flowers. The wide levels of the sea smile at her, and all the quiet sky shines and streams with light..."It was the Venus I had prayed to, it was my prayer, though I had no such words. They filled my eyes with tears and my heart with inexpressible joy.

A life without books is a thirsty life, and one without poetry is...like a life without pictures.

I,” I’ll type. And that will be enough.Then there are the other days, when nothing is enough. The poem grins. It grins because it knows it is a terrible poem. It grins in embarrassment. It grins in pity. It grins in superiority. I may be a terrible poem, it grins, but at least I have one comfort. At least I’m not a terrible poet. At least I’m not the guy who sat in front of a typewriter for two hours coming up with the likes of me.

[Poetry] was a form of incantation, a means of welding the world inside his head to the one that surrounded him, words the fiery chain that bound it all together.

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.

...prose unfolds in time; and time contains both obstacles and revelations. Prose develops, the way characters and situations do. It requires a flow. A poem is an instant, lightning across the sky. Prose is before the storm, the storm, after the storm.

Listen. Outside this frame I can see light,heavy as pardon, reliable as granite.Help me. Help me drag it into the picture.

maybe silent hurting is the new Mid-Western love

The world is as it used to be:“All nations striving strong to makeRed war yet redder. Mad as hattersThey do no more for Christés sakeThan you who are helpless in such matters.“That this is not the judgment-hourFor some of them’s a blessed thing,For if it were they’d have to scourHell’s floor for so much threatening....“Ha, ha. It will be warmer whenI blow the trumpet (if indeedI ever do; for you are men,And rest eternal sorely need).

I believe that open-heart surgery is a mustfor all human beings

Poets find their voices when they articulate the wishes of the dead, especially those slain as sacrificial talismans to a larger frame of existence.

And the testicles of the fathers hang down like old lace

once I trained for the Olympics but panic is not a sport

if what is true brings us sorrow, / if what sorrow brings is truth

My whole being is a dark chantthat will carry you perpetuating youto the dawn of eternal growths and blossomingsin this chant I sighed you, ohin this chant,I grafted you to the tree, to the water, to the fire.

Poetry will die when love and pain cease to exist.

something genuine like a mark in a toilet, graced with guts and gutted with grace

A casual stroll through the lunatic asylum shows that faith does not prove anything.

You and those shot-glass eyes, deep swirling pools of 80-proof firewater, with the depth and profundity of Saturn’s spinning pulsars…

Spring, spring! Bytuene Mershe ant Averil, when spray biginneth to spring! When shaws be sheene and swards full fayre, and leaves both large and longe! When the hounds of spring are on winter’s traces, in the spring time, the only pretty ring time, when the birds do sing, hey-ding-a-ding ding, cuckoo, jug-jug, pu-wee, ta-witta-woo! And so on and so on and so on. See almost any poet between the Bronze Age and 1805.

Stone-cutters fighting time with marble, you fore defeated Challengers of oblivion Eat cynical earnings, knowing rock splits, records fall down, The square-limbed Roman letters Scale in the thaws, wear in the rain. The poet as well Builds his monument mockingly; For man will be blotted out, the blithe earth die, the brave sun Die blind and blacken to the heart: Yet stones have stood for a thousand years, and pained thoughts found The honey of peace in old poems.

My earliest poems appear almost skeletal to me now - it seems I've learned to add meat, muscle and a nice suit of clothes.

For me, the short story is not a character sketch, a mouse trap, an epiphany, a slice of suburban life. It is the flowering of a symbol center. It is a poem grafted onto sturdier stock.

Writing poetry is supernatural. Or, it should be.

How can love's spaciousnessbe conveyed in the narrowconfines of one syllable?

I notice you have the assault proof vest -So it's my fault I guess.So apparently I didn't say 'no' as loud as my clothes could say 'yes.'You see I didn't know that my ‘no’ wasn't enough -I didn't understand that my body became less precious because certain dresses make me look hot.And I guess if I'm wearing the wrong topthen my ‘yes’ is the same as ‘stop.’And you shouldn't have to, just because I begged you to.I'm begging you -Tell me the magic outfit and I'll buy it.Apparently my ‘no’ wasn't heard,even when I screamed.So I need my clothes to be quiet.

I walk through the old yellow sunlightto get to my kitchen tablethe poem about melying there with the booksin which I am listedamong the dead and future Dylans

I keep following this sort of hidden river of my life, you know, whatever the topic or impulse which comes, I follow it along trustingly. And I don't have any sense of its coming to a kind of crescendo, or of its petering out either. It is just going steadily along.

Jag föddes för att kränga rosor på de dödas avenyer

Haunted by demons of the past, hounded by demons not yet met, the nevermore and evermore left her little peace.” ~A Tale of Two Women

The house burned in the fire. Her house. Her prison of lies and of denial. Her American dream turned nightmare.”~Unbreakable Heart

I am always trying to 'preserve' things by getting other people to read what I have written, and feel what I felt.

Fiction and poetry are doses, medicines. What they heal is the rupture reality makes on the imagination.

Stars are shining, my dreams too

I will never take what is never given, but I will receive to what is given.

Fragmentary BlueWhy make so much of fragmentary blueIn here and there a bird, or butterfly,Or flower, or wearing-stone, or open eye,When heaven presents in sheets the solid hue?Since earth is earth, perhaps, not heaven (as yet)--Though some savants make earth include the sky;And blue so far above us comes so high,It only gives our wish for blue a whet.

We fall asleep to fairy tales, and the world rotates and revolves and time passes and we grow up and we understand that they are false. There are not heroes and princesses and villains. It's not that easy.

Empty-page staring again tonight. It's maddening. I suppose people who don't write (like the Connollies) imagine anything that can be though can be expressed. Well, I don't know. I can't do it. It's this sort of thing that makes me belittle the whole business: what's the good of a 'talent' if you can't do it when you want to? What should we think of a woodcarver who couldn't woodcarver? or a pianist who couldn't play the piano? Bah, likewise grrr.

But the detail of the poem shows power akin to genius, and reveals to us that much neglected law of literary history -- that potential genius can never become actual unless it finds or makes the Form which it requires.

Demander à la poésie du sentimentalisme ... ce n'est pas ça. Des mots rayonnants, des mots de lumière ... avec un rythme et une musique, voilà ce que c'est, la poésie.

The music of revelation announces itself to the reader in somber brooding tones or in melodies light as air and one is invited to dance with the most captivating of partners: poetry.

When we lose these woods, we lose our soul. Not simply as individuals, but as a people.

A tree forms itself in answerto its place and the light.Explain it how you will, the onlything explainable will beyour explanation.” Sabbaths 1999 IV

All I have seen teaches me to trust the Creator for all I have not seen.

For the past thirty years or so, much American poetry has been marked by an earnestness that rejects the comic. This has nothing to do with seriousness. The comic can be very serious. The trouble with the earnest is that it seeks to be commended. It seeks to be praised for its intention more than for what it is saying.

We need faith and the mind of the Lord Jesus to recognize something of lasting value in even our most ordinary tasks.

He is a Londoner, too, in his writings. In his familiar letters he displays a rambling urban vivacity, a tendency to to veer off the point and to muddle his syntax. He had a brilliantly eclectic mind, picking up words and images while at the same time forging them in new and unexpected combinations. He conceived several ideas all at once, and sometimes forgot to separate them into their component parts. This was true of his lectures, too, in which brilliant perceptions were scattered in a wilderness of words. As he wrote on another occasion, "The lake babbled not less, and the wind murmured not, nor the little fishes leaped for joy that their tormentor was not." This strangely contorted and convoluted style also characterizes his verses, most of which were appended as commentaries upon his paintings. Like Blake, whose prophetic books bring words and images in exalted combination, Turner wished to make a complete statement. Like Blake, he seemed to consider the poet's role as being in part prophetic. His was a voice calling in the wilderness, and, perhaps secretly, he had an elevated sense of his status and his vocation. And like Blake, too, he was often considered to be mad. He lacked, however, the poetic genius of Blake - compensated perhaps by the fact that by general agreement he is the greater artist.

Kretanje je duša svega što drhti.Započinje tako da se prvo dogodi trenutakonima koji žive trenutak,a onda se, onima koji žive vječnost,vječnost nametne kao bolest.

Hasn't anyone taken their time to love you in a while?

They miss the whisper that runsany day in your mind,"Who are you really, wanderer?"--and the answer you have to giveno matter how dark and coldthe world around you is:"Maybe I'm a king.

the bouquetBetween me and the worldyou are a bay, a sailthe faithful ends of a ropeyou are a fountain, a wind, a shrill childhood cry.Between me and the worldyou are a picture frame, a windowa field covered in wildflowersyou are a breath, a bed,a night that keeps the stars company.Between me and the world, you are a calendar, a compassa ray of light that slips through the gloomyou are a biographical sketch, a book marka preface that comes at the end.between me and the worldyou are a gauze curtain, a mista lamp shining in my dreamsyou are a bamboo flute, a song without wordsa closed eyelid carved in stone.Between me and the worldyou are a chasm, a poolan abyss plunging downyou are a balustrade, a walla shield’s eternal pattern.

The WeaverMy life is but a weavingbetween my Lord and me;I cannot choose the colorsHe worketh steadily.Oft times He weaveth sorrowAnd I, in foolish pride,Forget He sees the upper,And I the underside.Not til the loom is silentAnd the shuttles cease to fly,Shall God unroll the canvasAnd explain the reason why.The dark threads are as needfulIn the Weaver's skillful hand,As the threads of gold and silverIn the pattern He has planned.

The frequency of your heart receives love.

Poetry leads us to the unstructured sources of our beings, to the unknown, and returns us to our rational, structured selves refreshed. Having once experienced the mystery, plenitude, contradiction, and composure of a work of art, we afterward have a built-in resistance to the slogans and propaganda of oversimplification that have often contributed to the destruction of human life. Poetry is a verbal means to a nonverbal source. It is a motion to no-motion, to the still point of contemplation and deep realization.

ink marks the page/where you execute your will like a doe announcing an/ox-stern mate with a single, bleary blink.

The image of a wood has appeared often enough in English verse. It has indeed appeared so often that it has gathered a good deal of verse into itself; so that it has become a great forest where, with long leagues of changing green between them, strange episodes of poetry have taken place. Thus in one part there are lovers of a midsummer night, or by day a duke and his followers, and in another men behind branches so that the wood seems moving, and in another a girl separated from her two lordly young brothers, and in another a poet listening to a nightingale but rather dreaming richly of the grand art than there exploring it, and there are other inhabitants, belonging even more closely to the wood, dryads, fairies, an enchanter's rout. The forest itself has different names in different tongues- Westermain, Arden, Birnam, Broceliande; and in places there are separate trees named, such as that on the outskirts against which a young Northern poet saw a spectral wanderer leaning, or, in the unexplored centre of which only rumours reach even poetry, Igdrasil of one myth, or the Trees of Knowledge and Life of another. So that indeed the whole earth seems to become this one enormous forest, and our longest and most stable civilizations are only clearings in the midst of it.

The poet is the sayer, the namer, and represents beauty. He is a sovereign, and stands on the centre. For the world is not painted, or adorned, but is from the beginning beautiful; and God has not made some beautiful things, but Beauty is the creator of the universe. Therefore the poet is not any permissive potentate, but is emperor in his own right. Criticism is infested with a cant of materialism, which assumes that manual skill and activity is the first merit of all men, and disparages such as say and do not, overlooking the fact, that some men, namely, poets, are natural sayers, sent into the world to the end of expression, and confounds them with those whose province is action, but who quit it to imitate the sayers. The poet does not wait for the hero or the sage, but, as they act and think primarily, so he writes primarily what will and must be spoken, reckoning the others, though primaries also, yet, in respect to him, secondaries and servants; as sitters or models in the studio of a painter, or as assistants who bring building materials to an architect.

The poetic impulse is distinct from ideas about things or feelings about things, though it may use these. It's more like a desire to separate a piece of one's experience & set it up on its own, an isolated object never to trouble you again, at least not for a bit. In the absence of this impulse nothing stirs.

When Rachel Carson accepted the National Book Award, she said, 'if there is poetry in my book about the sea it is not because I deliberately put it there but because no one could write truthfully about the sea and leave out poetry.

To be content is to live without your wants.

Two things consistently bring me pleasure: hot sweet tea and writing. Which is not to say that either are particularly good for me…I use entirely too much sugar and so far don’t find sucralose to be a good alternative. Also, writing is not a practice that engenders confidence. Quite the opposite. It’s about making yourself deliberately insecure so that you can write the next thing and have it be worth reading.And that’s not even taking into consideration the business end of things, which can make you bitter if you’re not careful…But I’ve spent my the bulk of my life to date figuring out the right mix of fat and sugar in my tea and also, how to get incrementally better (I hope…) at the writing, so I’m not giving it/them up!

Often one spends weeks trying to write a poem out of the conscious mind that never comes to anything - these are sort of 'ideal' poems that one feels ought to be written, but don't because (I fancy) they lack the vital spark of self-interest. A 'real' poem is a pleasure to write.

There is a master way with words which is not learned but is instead developed: a deaf man develops exceptional vision, a blind man exceptional hearing, a silent man, when given a piece of paper...

Any hand can condem, but it takes a helping hand to build.

When people talk about poetry as a project, they suggest that the road through a poem is a single line. When really the road through a poem is a series of lines, like a constellation, all interconnected. Poems take place in the realm of chance, where the self and the universal combine, where life exist. I can’t suggest to you that going through a line that is more like a constellation than a road is easy—or that the blurring of the self and the universal doesn’t shred a poet a little bit in the process. The terrain of a poem is unmapped (including the shapes of the trees along the constellation-road). A great poet knows never to expect sun or rain or cold or wind in the process of creating a poem. In a great poem all can come to the fore at once. It would be worse yet, if none are there at all.

I’ve come down from the skylike some damned ghost, delayedtoo long…To the abandoned fieldsthe trees returned and grew.They stand and grow. Time comesTo them, time goes, the treesStand; the only placeThey go is where they are.Those wholly patient ones…They do no wrong, and theyAre beautiful. What moreCould we have thought to ask?...I stand and wait for lightto open the dark night.I stand and wait for prayerto come and find me here.” Sabbaths 2000 IX

Men call you fayre, and you doe credit it,For that your self ye daily such doe see:But the trew fayre, that is the gentle wit,And vertuous mind, is much more praysd of me.For all the rest, how ever fayre it be,Shall turne to nought and loose that glorious hew:But onely that is permanent and freeFrom frayle corruption, that doth flesh ensew.That is true beautie: that doth argue youTo be divine and borne of heavenly seed:Deriv'd from that fayre Spirit, from whom al trueAnd perfect beauty did at first proceed.He onely fayre, and what he fayre hath made,All other fayre lyke flowres untymely fade.

How hard it is, to be forced to the conclusion that people should be, nine tenths of the time, left alone! - When there is that in me that longs for absolute commitment. One of the poem-ideas I had was that one could respect only the people who knew that cups had to be washed up and put away after drinking, and knew that a Monday of work follows a Sunday in the water meadows, and that old age with its distorting-mirror memories follows youth and its raw pleasures, but that it's quite impossible to love such people, for what we want in love is release from our beliefs, not confirmation in them. That is where the 'courage of love' comes in - to have the courage to commit yourself to something you don't believe, because it is what - for the moment, anyway - thrills your by its audacity. (Some of the phrasing of this is odd, but it would make a good poem if it had any words...)

This is what the past is for! Every experience God gives us, every person He puts in our lives is the perfect preparation for the future that only He can see.

How they are all about, these gentlemenIn chamberlains' apparel, stocked and laced,Like night around their order's star and gemAnd growing ever darker, stony-faced,And these, their ladies, fragile, wan, but proppedHigh by their bodice, one hand loosely dropped,Small like its collar, on the toy King-Charles:How they surround each one of these who stoppedTo read and contemplate the objects d'art,Of which some pieces still are theirs, not ours.Whit exquisite decorum they allow usA life of whose dimensions we seem sureAnd which they cannot grasp. They were aliveTo bloom, that is be fair; we, to mature,That is to be of darkness and to strive.

Rather a thousand times the county jail than to lie under this marble figure with wings and this granite pedestal bearing the words "pro patria." What do they mean anyway?

Poetry, if it is not to be a lifeless repetition of forms, must be constantly exploring "the frontiers of the spirit." But these frontiers are not like the surveys of geographical explorers, conquered once for all and settled. The frontiers of the spirit are more like the jungle which, unless continuously kept under control, is always ready to encroach and eventually obliterate the cultivated area.

The sole sacred duty is to fear God.

An artist is identical with an anarchist,' he cried. 'You might transpose the words anywhere. An anarchist is an artist. The man who throws a bomb is an artist, because he prefers a great moment to everything. He sees how much more valuable is one burst of blazing light, one peal of perfect thunder, than the mere common bodies of a few shapeless policemen. An artist disregards all governments, abolishes all conventions. The poet delights in disorder only. If it were not so, the most poetical thing in the world would be the Underground Railway.''So it is,' said Mr. Syme.'Nonsense!' said Gregory, who was very rational when any one else attempted paradox.

Лотова ЖенаИ праведник шел за посланником Бога,Огромный и светлый, по черной горе.Но громко жене говорила тревога:Не поздно, ты можешь еще посмотретьНа красные башни родного Содома,На площадь, где пела, на двор, где пряла,На окна пустые высокого дома,Где милому мужу детей родила.Взглянула - и, скованы смертною болью,Глаза ее больше смотреть не могли;И сделалось тело прозрачною солью,И быстрые ноги к земле приросли.Кто женщину эту оплакивать будет?Не меньшей ли мнится она из утрат?Лишь сердце мое никогда не забудетОтдавшую жизнь за единственный взгляд.

the inletour friend looks as he didwhen we first knew him,and until I wake I believeI will die of grief, for I knowthat this boy grew into a manwho was a faithful friendwho died.

Onwetend van dit alles maakte ik eind vorige eeuw mijn entree in dit discours door aan een tijdschrift te vertellen dat poëzie volgens mij entertainment is. Als iemand dat platvloers vindt, voegde ik er behulpzaam aan toe, had hij volgens mij een te lage dunk van entertainment.