It is not certain whether the effects of totalitarianism upon verse need be so deadly as its effects on prose. There is a whole series of converging reasons why it is somewhat easier for a poet than a prose writer to feel at home in an authoritarian society.[...]what the poet is saying- that is, what his poem "means" if translated into prose- is relatively unimportant, even to himself. The thought contained in a poem is always simple, and is no more the primary purpose of the poem than the anecdote is the primary purpose of the picture. A poem is an arrangement of sounds and associations, as a painting is an arrangement of brushmarks. For short snatches, indeed, as in the refrain of a song, poetry can even dispense with meaning altogether.

Man would not be man if his dreams did not exceed his grasp. ... Like John Donne, man lies in a close prison, yet it is dear to him. Like Donne's, his thoughts at times overleap the sun and pace beyond the body. If I term humanity a slime mold organism it is because our present environment suggest it. If I remember the sunflower forest it is because from its hidden reaches man arose. The green world is his sacred center. In moments of sanity he must still seek refuge there. ... If I dream by contrast of the eventual drift of the star voyagers through the dilated time of the universe, it is because I have seen thistledown off to new worlds and am at heart a voyager who, in this modern time, still yearns for the lost country of his birth.

…be awake to the Life that is loving you andsing your prayer, laugh your prayer, dance your prayer, runand weep and sweat your prayer,sleep your prayer, eat your prayer, paint, sculpt, hammer, and read your prayer, sweep, dig, rake, drive and hoe your prayer,garden and farm and build and clean your prayer,wash, iron, vacuum, sew, embroider and pickle your prayer,compute, touch, bend and fold but never deleteor mutilate your prayer.Learn and play your prayer, work and rest your prayer,fast and feast your prayer, argue, talk, whisper, listen and shout your prayer,groan and moan and spit and sneeze your prayer,swim and hunt and cook your prayer,digest and become your prayer,release and recover your prayer,breathe your prayer, be your praye

The House Was Quiet and the World Was CalmThe 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.

Poetry can unleash a terrible fear. I suppose it is the fear of possibilities, too many possibilities, each with its own endless set of variations. It's like looking too closely and too long into a mirror; soon your features distort, then erupt. You look too closely into your poems, or listen too closely to them as they arrive in whispers, and the features inside you - call it heart, call it mind, call it soul - accelerate out of control. They distort and they erupt, and it is one strange pain. You realize, then, that you can't attempt breaking down too many barriers in too short a time, because there are as many horrors waiting to get in at you as there are parts of yourself pushing to break out, and with the same, or more, fevered determination.

How to be a Poet (to remind myself)Make a place to sit down. Sit down. Be quiet. You must depend upon affection, reading, knowledge, skill-more of each than you have-inspiration work, growing older, patience, for patience joins time to eternity… Breathe with unconditional breath the unconditioned air. Shun electric wire. Communicate slowly. Live a three-dimensional life; stay away from screens. Stay away from anything that obscures the place it is in. There are so unsacred places; there are only sacred places and desecrated places. Accept what comes from silence. Make the best you can of it. Of the little words that come out of the silence, like prayers prayed back to the one who prays, make a poem that does not disturb the silence from which it came.

They went forth to battle, but they always fell; Their eyes were fixed above the sullen shields;Nobly they fought and bravely, but not well,And sank heart-wounded by a subtle spell. They knew not fear that to the foeman yields, They were not weak, as one who vainly wieldsA futile weapon; yet the sad scrolls tellHow on the hard-fought field they always fell.It was a secret music that they heard, A sad sweet plea for pity and for peace; And that which pierced the heart was but a word,Though the white breast was red-lipped where the sword Pressed a fierce cruel kiss, to put surcease On its hot thirst, but drank a hot increase.Ah, they by some strange troubling doubt were stirred, And died for hearing what no foeman heard.

The Road Not TakenTwo roads diverged in a yellow wood,And sorry I could not travel bothAnd be one traveler, long I stoodAnd looked down one as far as I couldTo where it bent in the undergrowth; Then took the other, as just as fair,And having perhaps the better claim,Because it was grassy and wanted wear;Though as for that the passing thereHad worn them really about the same, And both that morning equally layIn leaves no step had trodden black.Oh, I kept the first for another day!Yet knowing how way leads on to way,I doubted if I should ever come back. I shall be telling this with a sighSomewhere ages and ages hence:Two roads diverged in a wood, and I—I took the one less traveled by,And that has made all the difference.

The life spills over, some days.She cannot be at rest,Wishes she could explodeLike that red tree—The one that bursts into fireAll this week.Senses her infinite smallnessBut can’t seize it,Recognizes the folly of desire,The folly of withdrawal—Kicks at the curb, the pavement,If only she could, at this moment,When what she’s doing is ploddingTo the bus stop, to go to school,Passing that fiery tree—if only she couldBe making love,Be making a painting,Be exploding, be speeding through the universeLike a photon, like a showerOf yellow flames—She believes if she could only catch upWith the riding rhythm of things, of her own electrons,Then she would be at rest—If she could forget school,Climb the tree,Be the tree,burn like that.

Gretel in Darkness:This is the world we wanted.All who would have seen us deadare dead. I hear the witch's crybreak in the moonlight through a sheetof sugar: God rewards.Her tongue shrivels into gas....Now, far from women's armsAnd memory of women, in our father's hutwe sleep, are never hungry.Why do I not forget?My father bars the door, bars harmfrom this house, and it is years.No one remembers. Even you, my brother,summer afternoons you look at me as thoughyou meant to leave,as though it never happened.But I killed for you. I see armed firs,the spires of that gleaming kiln--Nights I turn to you to hold mebut you are not there.Am I alone? Spieshiss in the stillness, Hanselwe are there still, and it is real, real,that black forest, and the fire in earnest.

Sea-feverI must down to the seas again, to the lonely sea and the sky,And all I ask is a tall ship and a star to steer her by,And the wheel's kick and the wind's song and the white sail's shaking,And a grey mist on the sea's face, and a grey dawn breaking.I must down to the seas again, for the call of the running tideIs a wild call and a clear call that may not be denied;And all I ask is a windy day with the white clouds flying,And the flung spray and the blown spume, and the sea-gulls crying.I must down to the seas again, to the vagrant gypsy life,To the gull's way and the whale's way where the wind's like a whetted knife;And all I ask is a merry yarn from a laughing fellow-roverAnd quiet sleep and a sweet dream when the long trick's ove

Aegean Islands 1940-41Where white stares, smokes or breaks,Thread white, white of plaster and of foam,Where sea like a wall falls;Ribbed, lionish coast,The stony islands which blow into my mindMore often than I imagine my grassy home;To sun one's bones beside theExplosive, crushed-blue, nostril-opening sea(The weaving sea, splintered with sails and foam,Familiar of famous and deserted harbours,Of coins with dolphins on and fallen pillars.)To know the gear and skill of sailing,The drenching race for home and the sail-white houses,Stories of Turks and smoky ikons,Cry of the bagpipe, treadingOf the peasant dancers;The dark breadThe island wine and the sweet dishes;All these were elements in a happinessMore distant now than any date like '40,A. D. or B. C., ever can express.

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!

The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time.

I Am!I am—yet what I am none cares or knows; My friends forsake me like a memory lost: I am the self-consumer of my woes— They rise and vanish in oblivious host, Like shadows in love’s frenzied stifled throes And yet I am, and live—like vapours tossed Into the nothingness of scorn and noise, Into the living sea of waking dreams, Where there is neither sense of life or joys, But the vast shipwreck of my life’s esteems; Even the dearest that I loved the best Are strange—nay, rather, stranger than the rest. I long for scenes where man hath never trod A place where woman never smiled or wept There to abide with my Creator, God, And sleep as I in childhood sweetly slept, Untroubling and untroubled where I lie The grass below—above the vaulted sky.