you told me onceabout how they usedto build whole city statesout of poemshow everything you see hereis made out ofthe bones of dreamshow having a stiffdrink with lorca meantyou had to writeeverything down right awaylately the words justwon’t come
Poetry most often communicates emotions, not directly, but by creating imaginatively the grounds for those emotions. It therefore communicates something more than the emotion; only by means of that something more does it communicate the emotion at all.
Nobody the dead man & Nobody the livingNobody is giving in & Nobody is givingNobody hears me but just Nobody caresNobody fears me but Nobody just staresNobody belongs to me & Nobody remainsNo Nobody knows nothingAll that remains are remains
HarlemWhat happens to a dream deferred?Does it dry up like a raisin in the sun? Or fester like a sore-- And then run? Does it stink like rotten meat? Or crust and sugar over-- like a syrupy sweet?Maybe it just sags like a heavy load.Or does it explode?
Ah, distinctly I remember it was in the bleak December And each separate dying ember wrought its ghost upon the floor.Eagerly I wished the morrow; — vainly I had sought to borrow From my books surcease of sorrow — sorrow for the lost Lenore.
The Ogre does what ogres can,Deeds quite impossible for Man,But one prize is beyond his reach:The Ogre cannot master speech.About a subjugated plain,Among it's desperate and slain,The Ogre stalks with hands on hips,While drivel gushes from his lips.
I dropped my hoe and ran into the house and started to write this poem, 'End of Summer.’ It began as a celebration of wild geese. Eventually the geese flew out of the poem, but I like to think they left behind the sound of their beating wings.
Try to be thoughtful, don't make the poor man say it;see how human he is,he has children of his own,it is your job to ask:Is she dead?And he will nod and say yesAnd now he can never not nod.And now he can never say no.And now he can never not sayyes.
If there has been one overriding change in poetic practice, it is that under the influence of free verse the poets have made a primary virtue out of exactitude and economy of meaning: this has replaced metrical skill as the first thing the poet tunes to.
That's what I want, that kind of recklessness where the poem is even ahead of you. It's like riding a horse that's a little too wild for you, so there's this tension between what you can do and what the horse decides it's going to do.
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.
Mineral cactai,quicksilver lizards in the adobe walls,the bird that punctures space,thirst, tedium, clouds of dust, impalpable epiphanies of wind.The pines taught me to talk to myself.In that garden I learnedto send myself off.Later there were no gardens.
By a route obscure and lonelyHaunted by ill angels only,Where an eidolon, named NIGHT,On a black throne reigns upright,I have reached these lands but newlyFrom an ultimate dim Thule --From a wild, weird clime that lieth, sublime,Out of SPACE, out of TIME.
No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.
