They are not brave, the days when we are twenty-one. They are full of little cowardices, little fears without foundation, and one is so easily bruised, so swiftly wounded, one falls to the first barbed word. To-day, wrapped in the complacent armour of approaching middle age, the infinitesimal pricks of day by day brush one but lightly and are soon forgotten, but then—how a careless word would linger, becoming a fiery stigma, and how a look, a glance over a shoulder, branded themselves as things eternal.
THAT crazed girl improvising her music. Her poetry, dancing upon the shore, Her soul in division from itself Climbing, falling She knew not where, Hiding amid the cargo of a steamship, Her knee-cap broken, that girl I declare A beautiful lofty thing, or a thing Heroically lost, heroically found. No matter what disaster occurred She stood in desperate music wound, Wound, wound, and she made in her triumph Where the bales and the baskets lay No common intelligible sound But sang, 'O sea-starved, hungry sea
The world that seemed so various and new, well, it does contract. One's burning desire to investigate human behavior, and to make, or imply, statements about it, does fall off. And so one does find that early works are full of energy and also full of vulgarity, crudity, and incompetence, and later works are more carefully finished, and in that sense better literary products. But . . . there's often a freshness that is missing in later works--for every gain there's a loss. I think it evens out in that way.
Neil Shepard's (T)RAVEL/ UN(T)RAVEL takes us from the sublime -- Paris in Spring, sunset on Corfu -- to an unscheduled toilet stop in a Chinese desert as fellow passengers cheer. Yes, there's light at the heart of this book; but darkness too, as the world and the traveler unravel and re-ravel, fall together, come apart. Shepard proves the best sort of traveling companion -- lively, observant, incisive, eloquent, charmed by the strange and familiar, the old and new. Climb aboard these poems. Enjoy the ride.
The sky puts on the darkening blue coat held for it by a row of ancient trees; you watch: and the lands grow distant in your sight, one journeying to heaven, one that falls; and leave you, not at home in either one, not quite so still and dark as the darkened houses, not calling to eternity with the passion of what becomes a star each night, and rises; and leave you (inexpressibly to unravel) your life, with its immensity and fear, so that, now bounded, now immeasurable it is alternately stone in you and star.
You're crying?" he said. "No, I- " I tore my gaze away. "Just dust. From the path. Simon's that way." I tried to pass him, but he stooped, trying to get a loom of my face. When I wouldn't let him, he caught my chin. I jerked back, flinching at his touch, heart thudding at it, too. I told myself Simon was wrong. I'd never be dumb enough to fall for Derek. But I had. With him so close, my stomach kept doing weird flips. It wasn't fear. It hadn't been fear for awhile. "You have been crying," he said, voice softer.