As she bends for a Kleenex in the dark, I am thinking of other girls: the girl I loved who fell in love with a lion--she lost her head over it--we just necked a lot; of the girl who fell in love with the tightrope, got addicted to getting high wired and nothing else was enough; all the beautiful, damaged women who have come through my life and I wonder what would have happened if I'd met them sooner, what they were like before they were so badly wounded. All this time I thought I'd been kissing, but maybe I'm always doing mouth-to-mouth resuscitation, kissing dead girls in hopes that the heart will start again. Where there's breath, I've heard, there's hope.

On No Work of WordsOn no work of words now for three lean months in the bloodyBelly of the rich year and the big purse of my bodyI bitterly take to task my poverty and craft:To take to give is all, return what is hungrily givenPuffing the pounds of manna up through the dew to heaven,The lovely gift of the gab bangs back on a blind shaft.To lift to leave from the treasures of man is pleasing deathThat will rake at last all currencies of the marked breathAnd count the taken, forsaken mysteries in a bad dark.To surrender now is to pay the expensive ogre twice.Ancient woods of my blood, dash down to the nut of the seasIf I take to burn or return this world which is each man's work.

It was not death, for I stood up,And all the dead lie down;It was not night, for all the bellsPut out their tongues, for noon.It was not frost, for on my fleshI felt siroccos crawl,Nor fire, for just my marble feetCould keep a chancel cool.And yet it tasted like them all;The figures I have seenSet orderly, for burial,Reminded me of mine,As if my life were shavenAnd fitted to a frame,And could not breathe without a key;And I was like midnight, some,When everything that ticked has stopped,And space stares, all around,Or grisly frosts, first autumn morns,Repeal the beating ground.But most like chaos,--stopless, cool,Without a chance or spar,--Or even a report of landTo justify despair.

How crazy it would be if the moon did spin and the earth stood still and the sun went dim!How absolutely ludicrous if snakes could walk and kids could fly and mimes did talk!How silly it would be if the nights were tan and the mornings green and the sun cyan!How totally ridiculous if horses chirped and spiders sang and ladies burped!How shocking it would be if the dragons ruled and the knights were dopes but the fish were schooled!How utterly preposterous if rain were dry and snowflakes warm and real men cried!I love to just imagineall the lows as heights,and the salty, sweet,and our lefts as rights.Perhaps it is incredibleand off the hook,but it all makes sensein a storybook! 

You do not have to be good.You do not have to walk on your kneesfor a hundred miles through the desert, repenting.You only have to let the soft animal of your body love what it loves.Tell me about despair, yours, and I will tell you mine.Meanwhile the world goes on.Meanwhile the sun and the clear pebbles of the rainare moving across the landscapes,over the prairies and the deep trees,the mountains and the rivers.Meanwhile the wild geese, high in the clean blue air,are heading home again.Whoever you are, no matter how lonely,the world offers itself to your imagination,calls to you like the wild geese, harsh and exciting –over and over announcing your placein the family of things.

High FlightOh! I have slipped the surly bonds of EarthAnd danced the skies on laughter-silvered wings;Sunward I’ve climbed, and joined the tumbling mirthof sun-split clouds, — and done a hundred thingsYou have not dreamed of — wheeled and soared and swungHigh in the sunlit silence. Hov’ring there,I’ve chased the shouting wind along, and flungMy eager craft through footless halls of air....Up, up the long, delirious, burning blueI’ve topped the wind-swept heights with easy grace.Where never lark, or even eagle flew —And, while with silent, lifting mind I've trodThe high untrespassed sanctity of space,- Put out my hand, and touched the face of God.

The poet dreams of the mountainSometimes I grow weary of the days, with all their fits and starts.I want to climb some old gray mountains, slowly, takingThe rest of my lifetime to do it, resting often, sleepingUnder the pines or, above them, on the unclothed rocks.I want to see how many stars are still in the skyThat we have smothered for years now, a century at least.I want to look back at everything, forgiving it all,And peaceful, knowing the last thing there is to know.All that urgency! Not what the earth is about!How silent the trees, their poetry being of themselves only.I want to take slow steps, and think appropriate thoughts.In ten thousand years, maybe, a piece of the mountain will fall.

The strings in her mind grew flatter, calmer. The shapes in the hologrid had changed. She heard the man's words, and yet she didn't; the words were not what was really important. And wasn't that right? Words had never been important, only strings, and the strings had shapes like - but not like -the ones around the man. Only the man had disappeared, too, and that was alright, because she, Miri, Miranda Serena Sharifi, was disappearing, was sliding down a steep long chute and each meter she traveled she became smaller and smaller until she had disappeared and was invisible, a weightless transparent ghost that neither twitched nor stammered, in the corner of a room she had never seen before.

[H]e initially conceived of Olivier as a man of the greatest promise destroyed by a fatal flaw, the unreasoning passion for a woman dissolving into violence, desperately weakening everything he tried to do. For how could learning and poetry be defended when it produced such dreadful results and was advanced by such imperfect creatures? At least Julien did not see the desperate fate of the ruined lover as a nineteenth-century novelist or a poet might have done, recasting the tale to create some appealing romantic hero, dashed to pieces against the unyielding society that produced him. Rather, his initial opinion -- held almost to the last -- was of Olivier as a failure, ruined by a terible weakness.

I have seen it over and over, the same sea, the same,slightly, indifferently swinging above the stones,icily free above the stones,above the stones and then the world.If you should dip your hand in,your wrist would ache immediately,your bones would begin to ache and your hand would burnas if the water were a transmutation of firethat feeds on stones and burns with a dark gray flame.If you tasted it, it would first taste bitter,then briny, then surely burn your tongue.It is like what we imagine knowledge to be:dark, salt, clear, moving, utterly free,drawn form the cold hard mouthof the world, derived from the rocky breastsforever, flowing and drawn, and sinceour knowledge is historical, flowing, and flown.

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.

I surrendered my identity in your eyes.Now I'm just like everybody else, and it's so funny, the way monogamy is funny, the waysomeone falling down in the street is funny.I entered a revolving door and emergedas a human being. When you think of meis my face electronically blurred? I remember your collarbone, forming the tiniestsatellite dish in the universe, your smileas the place where parallel lines inevitably crossed.Now dinosaurs freeze to death on your shoulder.I remember your eyes: fifty attack dogs on a single leash, how I once held the soft audience of your hand.I've been ignored by prettier women than you, but none who carried the heavy pitchers of silenceso far, without spilling a drop.

Answer Professor Mandell’s letter when you get a chance and the patience. Ask him not to send me any more poetry books. I already have enough for 1 year anyway. I am quite sick of it anyway. A man walks along the beach and unfortunately gets hit in the head by a cocoanut. His head unfortunately cracks open in two halves. Then his wife comes along the beach singing a song and sees the 2 halves and recognizes them and cries heart breakingly. That is exactly where I am tired of poetry. Supposing the lady just picks up the 2 halves and shouts into them very angrily “Stop that!” Do not mention this when you answer his letter, however. It is quite controversial and Mrs. Mandell is a poet besides.

To be or not to be tethered to the sordid, sickly, stinking, sappy apron strings of Hollywood and its endless fondness for fu**ing your sh** up. If Shakespeare were alive today, I bet he’d write a scintillating soliloquy about the Broken Brood of Big Shots. I bet he’d help you out, Micky Affias, ol’ Will the Bard would. Listen, we’ll come visit you. Okay? I’ll dress up as William Shakespeare, Lucent as Emily Dickinson, and beautiful ‘Ray’ as someone dashing and manly like Jules Verne or Ernest Hemingway, and we’ll write on your white-room walls. We’ll write you out of your supposed insanity. I love you, Micky Affias.-James (from "Descendants of the Eminent")

Our two souls therefore, which are one, Though I must go, endure not yet A breach, but an expansion, Like gold to aery thinness beat. If they be two, they are two so As stiff twin compasses are two ; Thy soul, the fix'd foot, makes no show To move, but doth, if th' other do. And though it in the centre sit, Yet, when the other far doth roam, It leans, and hearkens after it, And grows erect, as that comes home. Such wilt thou be to me, who must, Like th' other foot, obliquely run ; Thy firmness makes my circle just, And makes me end where I begun.