Quotes of All Topics . Occasions . Authors
Sorrow is so woven through us, so much a part of our souls, or at least any understanding of our souls that we are able to attain, that every experience is dyed with its color. This is why, even in moments of joy, part of that joy is the seams of ore that are our sorrow. They burn darkly and beautifully in the midst of joy, and they make joy the complete experience that it is. But they still burn.
What is that which can never die It is that faithful force that is born into us that one that is greater than us that calls new seed to the open and battered and barren places so that we can be resown. It is this force in its insistence in its loyalty to us in its love of us in its most often mysterious ways that is far greater far more majestic and far more ancient than any heretofore ever known.
So passeth, in the passing of a day, Of mortal life, the leaf, the bud, the flower; No more doth flourish after first decay, That erst was sought to deck both bed and bower Of many a lady and many a paramour. Gather therefore the rose whilst yet in prime, For soon comes age that will her pride deflower. Gather the rose of love whilst yet in time, Whilst loving thou mayst loved be with equal crime.
Of all created things the source is one, Simple, single as love; remember The cell and seed of life, the sphere That is, of child, white bird, and small blue dragon-fly Green fern, and the gold four-petalled tormentilla The ultimate memory. Each latent cell puts out a future, Unfolds its differing complexity As a tree puts forth leaves, and spins a fate Fern-traced, bird feathered, or fish-scaled.
Your joy is your sorrow unmasked. And the same well from which your laughter rises was oftentimes filled with your tears. And how else can it be? The deeper that sorrow carves into your being, the more joy you can contain. Is not the cup that holds your wine the very cup that was burned in the potter's oven? And is not the lute that soothes your spirit, the very wood that was hollowed with knives?
Poetry is one of the ancient arts, and it began, as did all the fine arts, within the original wilderness of the earth. Also, it began through the process of seeing, and feeling, and hearing, and smelling, and touching, and then remembering--I mean remembering in words--what these perceptual experiences were like, while trying to describe the endless invisible fears and desires of our inner lives.
What an invaluable handbook! Lori A. May has done her research, knows her stuff, and, whats best, lets the programs speak for themselves through her extensive interviews. Theres a chorus of quotes from faculty, students, and graduates in The Low-Residency MFA Handbook. Anyone making the decision to apply for an MFA should consult this wise guide. Mays clarity and authority make it a gold standard.
If we reason, we would be understood; if we imagine, we would that the airy children of our brain were born anew within another's; if we feel, we would that another's nerves should vibrate to our own, that the beams of their eyes should kindle at once and mix and melt into our own, that lips of motionless ice should not reply to lips quivering and burning with the heart's best blood. This is Love.
Once I spoke the language of the flowers, Once I understood each word the caterpillar said, Once I smiled in secret at the gossip of the starlings, And shared a conversation with the housefly in my bed. Once I heard and answered all the questions of the crickets, And joined the crying of each falling dying flake of snow, Once I spoke the language of the flowers. . . . How did it go? How did it go?
The aim of all those who live in God is to please our Lord Jesus Christ and become reconciled with God the Father through receiving the Holy Spirit, thus securing their salvation, for in this consists the salvation of every soul. If this aim and this activity is lacking, all other labour is useless and all other striving is in vain. Every path of life which does not lead to this is without profit.
So much of what I love about poetry lies in the vast possibilities of voice, the spectacular range of idiosyncratic flavors that can be embedded in a particular human voice reporting from the field. One beautiful axis of voice is the one that runs between vulnerability and detachment, between 'It hurts to be alive' and 'I can see a million miles from here.' A good poetic voice can do both at once.
I exist," murmurs someone whose name is Everyone. "I'm young and in love; I am old and I want rest; I work, I prosper, I do good business, I have houses to rent, money in State Securities; I am happy, I have wife and children; I like all these things and I want to go on living, so leave me alone."... There are moments when all this casts a deep chill on the large-minded pioneers of the human race.
Those who every morning plan the transactions of the day and follow out that plan carry a thread that will guide them through the labyrinth of the most busy life. The orderly arrangement of their time is like a ray of light which darts itself through all their occupations. But where no plan is laid, where the disposal of time is surrendered merely to the chance of incidents, chaos will soon reign.
I saw battle-corpses, myriads of them, And the white skeletons of young men-I saw them; I saw the debris and debris of all the dead soldiers of the war; But I saw they were not as was thought; They themselves were fully at rest-they suffer'd not; The living remain'd and suffer'd-the mother suffer'd, And the wife and the child, and the musing comrade suffer'd, And the armies that remain'd suffer'd.
Blow, winds, and crack your cheeks! Rage! Blow! You cataracts and hurricanoes, spout Till you have drenched our teeples, drowned the cocks! You sulphurour and thought-executing fires, Vaunt-couriers to oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o' the world! Crack nature's molds, all germens spill at once That make ingrateful man!
Loveliest of trees, the cherry now Is hung with bloom along the bough, And stands about the woodland ride Wearing white for Eastertide. Now, of my threescore years and ten, Twenty will not come again, And take from seventy springs a score, It only leaves me fifty more. And since to look at things in bloom Fifty springs are little room, About the woodlands I will go To see the cherry hung with snow.
And the reason I am writing this on the back of a manila envelope now that they have left the train together is to tell you that when she turned to lift the large, delicate cello onto the overhead rack, I saw him looking up at her and what she was doing the way the eyes of saints are painted when they are looking up at God when he is doing something remarkable, something that identifies him as God.
There is an art in taking the whiplash of suffering full in the face, an art you must learn. Let each single attack exhaust itself; pain always makes single attacks, so that its bite may be more intense, more concentrated. And you, while its fangs are implanted and injecting their venom at one spot, do not forget to offer it another place where it can bite you, and so relieve the pain of the first.
There is nothing more difficult to outgrow than anxieties that have become useful to us, whether as explanations for a life that never quite finds its true force or direction, or as fuel for ambition, or as a kind of reflexive secular religion that, paradoxically, unites us with others in a shared sense of complete isolation: you feel at home in the world only by never feeling at home in the world.
After her came jolly June, arrayed All in green leaves, as he a player were; Yet in his time he wrought as well as played, That by his plough-irons mote right well appear. Upon a crab he rode, that did him bear, With crooked crawling steps, an uncouth pace, And backward rode, as bargemen wont to fare, Bending their force contrary to their face; Like that ungracious crew which feigns demurest grace.
Evolution tells us how to survive; art tells us how it's possible still to live even while knowing that we and all we love will someday vanish. It says there's beauty even in grief, freedom even inside the strictures of form and of life. What's liberating isn't what's simplest; it's the ability to include more and more shadows, colors and possibilities inside any moment's meeting of self and world.
In two weeks, despite these notes, I shall no longer believe in what I am experiencing now. One must leave behind a trace of this journey which memory forgets. One must, when this is impossible, write or draw without responding to the romantic solicitations of pain, without enjoying suffering like music, tieing a pen to one's foot if need be, helping the doctors who can learn nothing from laziness.
These are crystalline - oftentimes incandescent - translations of Juarroz's powerful metaphysical poems where eternity and silence jut up against a world where “writing infects the landscape” and there are “more letters than leaves” - The kind of match one hopes for where both the translator and the poet are in luck; new poems which don't leak and yet old poems in which the original passion shines.
It's dark out, Jack, the stations out there don't identify themselves, we're in it raw-blind like burned rats, it's running out all around us, the footprints of the beast, one nobody has any notion of. The white and vacant eyes of something above there, something that doesn't know we exist. I smell heartbreak up there, Jack, a heartbreak at the center of things, and in which we don't figure at all.
You cannot teach somebody to write a masterpiece, but you can certainly teach them how to improve their writing skills. And you can teach them that they can make their own voices more effective by being able to communicate more clearly and forcefully. It makes people feel more capable when they can write - for instance to make a request - of a politician - and when they are able to receive a reply.
One of the best gifts you can give a poet is to present them with field guides - to rocks, to stars, to birds, to wildflowers, to trees and bushes, to butterflies, to reptiles and amphibians. Because when you look at anything long enough to be able to identify it, you see far more clearly and you make a tiny beginning at understanding the life, the place, the history of that bird or rock or mammal.
Cultural wisdom says 'Don't quit your day job.' Yet I think these desires represent our psyche's stretch toward wholeness. And to be whole, as many religious tranditions teach, is to make manifest a unique face of God in the world. We don't want to be irresponsible, yet for every accountant who deserts his family and sails for Tahiti, ten American men have heart attacks at their desks, after hours.
Go into yourself and test the deeps in which your life takes rise; at its source you will find the answer to the question whether you must create. Accept it, just as it sounds, without inquiring into it. Perhaps it will turn out that you are called to be an artist. Then take that destiny upon yourself and bear it, its burden and its greatness, without ever asking what reward might come from outside
I stop writing the poem to fold the clothes. No matter who lives or who dies, I'm still a woman. I'll always have plenty to do. I bring the arms of his shirt together. Nothing can stop our tenderness. I'll get back to the poem. I'll get back to being a woman. But for now there's a shirt, a giant shirt in my hands, and somewhere a small girl standing next to her mother watching to see how it's done.
I see the President almost every day. I see very plainly Abraham Lincoln's dark brown face with its deep-cut lines, the eyes always to me with a deep latent sadness in the expression. None of the artists or pictures has caught the deep, though subtle and indirect expression of this man's face. There is something else there. One of the great portrait painters of two or three centuries ago is needed.
He reads much; He is a great observer and he looks Quite through the deeds of men: he loves no plays, As thou dost, Antony; he hears no music; Seldom he smiles, and smiles in such a sort As if he mock'd himself and scorn'd his spirit That could be moved to smile at any thing. Such men as he be never at heart's ease Whiles they behold a greater than themselves, And therefore are they very dangerous.
Speak the speech, I pray you, as I pronounced it to you-trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and as I may say, the whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.
Sweet is true love though given in vain, in vain; And sweet is death who puts an end to pain: I know not which is sweeter, no, not I. Love, art thou sweet? then bitter death must be: Love, thou art bitter; sweet is death to me. O Love, if death be sweeter, let me die. ... 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.
In the hollow tree, in the old gray tower, The spectral Owl doth dwell; Dull, hated, despised, in the sunshine hour, But at the dusk--he's abroad and well! Not a bird of the forest e'er mates with him-- All mock him outright, by day: But at night, when the woods grow still and dim, The boldest will shrink away! O, when the night falls, and roosts the fowl, Then, then, is the reign of the Horned Owl!
Obstacles can arise from good as well as bad circumstances, but they should never deter or overpower you. Be like the earth, which supports all living creatures indiscriminately, without distinguishing good from bad. The earth is simply there. Your practice should be strengthened by the difficult situations you encounter, just as a bonfire in a strong wind is not blown out, but blazes even brighter.
A feller's glad to be a friend, Out fishin'. A helpin' hand he'll always lend, Out fishin' The brotherhood of rod and line An' sky an' stream is always fine; Men come real close to God's design, Out fishin'. A feller isn't plotting schemes, Out fishin'. He's only busy with his dreams, Out fishin' His livery is a coat of tan; His creed, to do the best he can; A feller's always mostly man Out fishin'.
A kiss, when all is told, what is it? An oath taken a little closer, a promise more exact. A wish that longs to be confirmed, a rosy circle drawn around the verb 'to love'. A kiss is a secret which takes the lips for the ear, a moment of infinity humming like a bee, a communion tasting of flowers, a way of breathing in a little of the heart and tasting a little of the soul with the edge of the lips!
The Buddha taught that all life is suffering. We might also say that life, being both attractive and constantly dangerous, is intoxicating and ultimately toxic. 'Toxic' comes from toxicon, Pendell tells us, with a root meaning of 'a poisoned arrow.' All organic life is struck by the arrows of real and psychic poisons. This is understood by any true, that is to say, not self-deluding, spiritual path.
But, Lord Crist! whan that it remembreth me Upon my yowthe, and on my jolitee, It tickleth me aboute myn herte roote. Unto this day it dooth myn herte boote That I have had my world as in my tyme. But age, alias! that al wole envenyme, Hath me biraft my beautee and my pith. Lat go, farewel! the devel go therwith! The flour is goon, ther is namoore to telle; The bren, as I best kan, now most I selle.
You could be attached to merely a description of a plant or a flower. Or a narrative of an event. Or rage at injustice. Isaiah and the other Hebrew prophets, in their rage, were being altogether attached - not at all detached, although as I think of the word "detachment," I also think of a sheet of paper, loose from its notebook, fluttering around somewhere in the wind trying to find its home again.
Speaking of people I had to exclude: Hank Williams. which is to say, songs are part of lyric poetry in my book, my thinking. In fact they are the urgent element of poetry in our time, they carry the most emotion for the most people in our culture. everyone LOVES poetry, because we all love (one form or another) of rock and roll (be it folk to emo to rap). It's all rock and roll and all lyric poetry.
A home isn't just a roof over our heads. A home is a place where we feel loved and where we love others. It's a place we belong. Love is what makes a home, not the contents inside the house or the number on the door. It's the people waiting for us across the threshold, the people who will take us in their arms after a ad day and kiss us good night and good morning everyday for the rest of our lives.
Reading Bicycling beyond the Divide was the best vacation I took all year-in a year I traveled to Mexico, France, and Italy. Even if you have never ridden a bike or set foot in the West, this book will make both a part of your life as vivid as any trip you have taken. Daryl Farmer's journey-into the heart of a land, of a time, into the very nature of memory and experience-is one I will never forget.
All mankind is one volume. When one man dies, a chapter is not torn out of the book, but translated into a better language. And every chapter must be translated. God employs several translators; some pieces are translated by age, some by sickness, some by war, some by justice. But God's hand shall bind up all our scattered leaves again for that library where every book shall live open to one another
I cannot love evergreens - they are the misanthropes of nature. To them the spring brings no promise, the autumn no decline; they are cut off from the sweetest of all ties with their kind - sympathy. ... I will have no evergreens in my garden; when the inevitable winter comes, every beloved plant and favorite tree shall drop together - no solitary fir left to triumph over the companionship of decay.
The first thing that strikes you about Timothy Murphys verse is the palpable texture of his line - that sound of sense practised by that other American poet-farmer, Robert Frost. And just as Murphys ear is trained on the rhythms of local speech and classical epigram, his eye holds fast on the image. This is an undeluded vision, sometimes bleak, often funny, and never less than painstakingly crafted.
Sometimes I come here just to be a lost mariner but I am never lost: there are the snowflakes frozen to the porthole of a jewelry store, here is the treasure chest open to a single pearl laid on a velvet slab, there is the plashing of faces in the aisles and the row of lockers stuffed with the coats and hats of the drowned and it is night, and the moon rows over the gentle waters of the parking lot.
There's a Polar Bear In our Frigidaire-- He likes it 'cause it's cold in there. With his seat in the meat And his face in the fish And his big hairy paws In the buttery dish, He's nibbling the noodles, And munching the rice, He's slurping the soda, He's licking the ice. And he lets out a roar If you open the door. And it gives me a scare To know he's in there-- That Polary Bear In our Fridgitydaire.
There whil'st the world prov'd prodigal of breath, the headless trunks lay prostrated in heaps; this field of funerals sacred unto death, did paint out horror in most hideous shapes: whil'st men unhors'd, horses unmast'red, stray'd, some call'd on those whom they most dearly lov'd, some rag'd, some groan'd, some sigh'd, roar'd, promis'd, pray'd, as blows, falls, faintness, pain, hope, anguish mov'd.
It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.