"Just the place for a Snark!" the Bellman cried, As he landed his crew with care; Supporting each man on the top of the tide By a finger entwined in his hair.
"Just the place for a Snark! I have said it twice: That alone should encourage the crew.
Last night I dreamed I ran through the streets of New York Looking for help for you, Nicanor. But my few friends who are rich or influential were temporarily absent from their penthouses or hotel suites. They had gone to the opera, or flown for the weekend to Bermuda. At last I found one or two of them at home, preparing for social engagements, absently smiling, as they tried on gown after gown
What shall I do with this absurdity — O heart, O troubled heart — this caricature, Decrepit age that has been tied to me As to a dog's tail? Never had I more Excited, passionate, fantastical Imagination, nor an ear and eye
A lot of water has passed under the bridge since 1963. Then, my concernwas particularly for my own people and this version was written especially for them. I am happy that it has done and is doing its job. However, I want it to be known, that I am not a proponent of the concept of cultural nationalism. I dearly love and am proud of my good, serious, sincere black people, yet at the same time, my concern is with all people of goodwill no matter the color. I make no mystique of blackness. I am a humanist. Indeed, I am auniversalist. This truth, I know. The liberation of black people in the United States is tightly linked with the liberation of black people in the far flungdiaspora. Further, and more important, the liberation of black and oppressed people all over the world, is linked with the struggles of the workers of the world of every nationality and color against the common oppressors, overlords, and exploiters of their labor.
Thus it was only natural that I should write "What Shall We Tell Our Children?" in 1973. I have tried to tell them the facts of life and the truth as I see it:
I hope I have succeeded.
What shall we tell our children who are black?
What shall we tell our children who are white?
What shall we tell children of every race and hue?
For all children are the children of all of us
When the world is reduced to a single dark wood for our two pairs of dazzled eyes—to a beach for two faithful children—to a musical house for our clear understanding—then I shall find you. When there is only one old man on earth, lonely, peaceful, handsome, living in unsurpassed luxury, then I am at your feet. When I have realized all your memories, —when I am the girl who can tie your hands,—then I will stifle you. When we are very strong, who draws back? or very happy, who collapses from ridicule? When we are very bad, what can they do to us.
If I am sentenced not to talk to you, and you are sentenced not to talk to me, then we wear the clothes of the desert serving that sentence, we are the leaves trampled underfoot, not even fit to be ground in for food, then we are the snow.
If you are not what I take you to be, and I am not what you take me to be,
My heart is a-breaking, dear Tittie, Some counsel unto me come len'; To anger them a' is a pity, But what will I do wi' Tam Glen?
I'm thinking, wi' sic a braw fellow, In poortith I might mak a fen': What care I in riches to wallow, If I mauna marry Tam Glen?
There's Lowrie, the laird o' Dumeller, "Guid-day to you,"—brute! he comes ben: He brags and he blaws o' his siller, But when will he dance like Tam Glen?
i tore down my thoughts roped in my nightmares remembered a thousand curses made blasphemous vows to demons choked on the blood of hosts ate my hat threw fits in the street got up bitchy each day
She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, fluttering Its empty sleeves; and yet its mimic motion Made constant cry, caused constantly a cry, That was not ours although we understood, Inhuman, of the veritable ocean.
Cervantes was asleep when he wrote Don Quixote. Joyce slept during the Wandering Rocks section of Ulysses. Homer nodded and occasionally slept during the greater part of the Iliad; he was awake however when he wrote the Odyssey. Proust snored his way through The Captive, as have legions of his readers after him. Melville was asleep at the wheel for much of Moby-Dick. Fitzgerald slept through Tender Is the Night, which is perhaps not so surprising, but the fact that Mann slumbered on the very slopes of The Magic Mountain is quite extraordinary—that he wrote it, even more so. Kafka, of course, never slept, even while not writing or on bank holidays.
It unfolds and ripples like a banner, downward. All the stories come folding out. The smells and flowers begin to come back, as the tapestry is brightly colored and brocaded. Rabbits and violets.
Who asked you to come over? She got her foot in the door and would not remove it, elbowing and talking swiftly. Gas leak? that sounds like a very existential position; perhaps you had better check with the landlord.
Never mind the pins And needles I am on. Let all the other instruments Of torture have their way. While air-conditioners Freeze my coffee I watch the toaster Eating my toast.
That afternoon the dream of the toads rang through the elms by Little River and affected the thoughts of men, though they were not conscious that they heard it.--Henry Thoreau The dream of toads: we rarely credit what we consider lesser life with emotions big as ours, but we are easily distracted,
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