This is not a small voice you hear this is a large voice coming out of these cities. This is the voice of LaTanya. Kadesha. Shaniqua. This is the voice of Antoine. Darryl. Shaquille. Running over waters
As I was going down impassive Rivers, I no longer felt myself guided by haulers: Yelping redskins had taken them as targets And had nailed them naked to colored stakes.
Unlike the ashes that make their home with hot coals, snails prefer moist earth. Go on: they advance while gluing themselves to it with their entire bodies. They carry it, they eat it, they shit it. They go through it, it goes through them. It’s the best kind of interpenetration, as between tones, one passive and one active. The passive bathes and nourishes the active, which overturns the other while it eats.
(There is more to be said about snails. First of all their immaculate clamminess. Their sangfroid. Their stretchiness.)
One can scarcely conceive of a snail outside its shell and unmoving. The moment it rests it sinks down deep into itself. In fact, its modesty obliges it to move as soon as it has shown its nakedness and revealed its vulnerable shape. The moment it’s exposed, it moves on.
During periods of dryness they withdraw into ditches where it seems their bodies are enough to maintain their dampness. No doubt their neighbors there are toads and frogs and other ectothermic animals. But when they come out again they don’t move as quickly. You have to admire their willingness to go into the ditch, given how hard it is for them to come out again.
Note also that though snails like moist soil, they have no affection for places that are too wet such as marshes or ponds. Most assuredly they prefer firm earth, as long as it’s fertile and damp.
They are fond as well of moisture-rich vegetables and green leafy plants. They know how to feed on them leaving only the veins, cutting free the most tender leaves. They are hell on salads.
What are these beings from the depths of the ditches? Though snails love many of their trenches’ qualities they have every intention of leaving. They are in their element but they are also wanderers. And when they emerge into the daylight onto firm ground their shells will preserve their vagabond’s hauteur.
It must be a pain to have to haul that trailer around with them everywhere, but they never complain and in the end they are happy about it. How valuable, after all, to be able to go home any time, no matter where you may find yourself, eluding all intruders. It must be worth it.
My sister! my sweet sister! if a name Dearer and purer were, it should be thine. Mountains and seas divide us, but I claim No tears, but tenderness to answer mine: Go where I will, to me thou art the same A lov'd regret which I would not resign. There yet are two things in my destiny— A world to roam through, and a home with thee.
Beholde, o man! lyft up thyn eye and see What mortall peyne I suffre for thi trespace. With pietous voys I crye and sey to the: Beholde my woundes, behold my blody face, Beholde the rebukes that do me so manace, Beholde my enemyes that do me so despice, And how that I, to reforme the to grace, Was like a lambe offred in sacryfice.
...
And geyn thi pryde behold my gret mekenesse; Geyn thyn envie behold my charité; Geyn thi leccherye behold my chast clennesse; Geyn thi covetyse behold my poverté.
I have always aspired to a more spacious form that would be free from the claims of poetry or prose and would let us understand each other without exposing the author or reader to sublime agonies.
In the very essence of poetry there is something indecent: a thing is brought forth which we didn’t know we had in us, so we blink our eyes, as if a tiger had sprung out and stood in the light, lashing his tail.
I tell thee, Dick, where I have been, Where I the rarest things have seen; Oh, things without compare! Such sights again cannot be found In any place on English ground, Be it at wake, or fair.
Dim vales—and shadowy floods— And cloudy-looking woods, Whose forms we can’t discover For the tears that drip all over: Huge moons there wax and wane— Again—again—again— Every moment of the night— Forever changing places— And they put out the star-light With the breath from their pale faces. About twelve by the moon-dial, One more filmy than the rest (A kind which, upon trial, They have found to be the best) Comes down—still down—and down
As I drew nearer to the end of all desire, I brought my longing's ardor to a final height, Just as I ought. My vision, becoming pure,
Entered more and more the beam of that high light That shines on its own truth. From then, my seeing Became too large for speech, which fails at a sight
Beyond all boundaries, at memory's undoing— As when the dreamer sees and after the dream
For God's sake hold your tongue, and let me love, Or chide my palsy, or my gout, My five gray hairs, or ruined fortune flout, With wealth your state, your mind with arts improve, Take you a course, get you a place, Observe his honor, or his grace, Or the king's real, or his stampèd face Contemplate; what you will, approve, So you will let me love.
Alas, alas, who's injured by my love? What merchant's ships have my sighs drowned? Who says my tears have overflowed his ground? When did my colds a forward spring remove? When did the heats which my veins fill
Earth has not any thing to show more fair: Dull would he be of soul who could pass by A sight so touching in its majesty: This City now doth, like a garment, wear The beauty of the morning; silent, bare, Ships, towers, domes, theatres, and temples lie Open unto the fields, and to the sky; All bright and glittering in the smokeless air.
St. Agnes' Eve—Ah, bitter chill it was! The owl, for all his feathers, was a-cold; The hare limp'd trembling through the frozen grass, And silent was the flock in woolly fold: Numb were the Beadsman's fingers, while he told His rosary, and while his frosted breath, Like pious incense from a censer old, Seem'd taking flight for heaven, without a death, Past the sweet Virgin's picture, while his prayer he saith.
His prayer he saith, this patient, holy man; Then takes his lamp, and riseth from his knees, And back returneth, meagre, barefoot, wan, Along the chapel aisle by slow degrees: The sculptur'd dead, on each side, seem to freeze,
Twice or thrice had I lov'd thee, Before I knew thy face or name; So in a voice, so in a shapeless flame Angels affect us oft, and worshipp'd be; Still when, to where thou wert, I came, Some lovely glorious nothing I did see. But since my soul, whose child love is, Takes limbs of flesh, and else could nothing do, More subtle than the parent is Love must not be, but take a body too; And therefore what thou wert, and who, I bid Love ask, and now That it assume thy body, I allow, And fix itself in thy lip, eye, and brow.
Ugliest little boy that everyone ever saw. That is what everyone said.
Even to his mother it was apparent— when the blue-aproned nurse came into the northeast end of the maternity ward bearing his squeals and plump bottom looped up in a scant receiving blanket,
Poor soul, the centre of my sinful earth, [......] these rebel powers that thee array, Why dost thou pine within and suffer dearth, Painting thy outward walls so costly gay? Why so large cost, having so short a lease, Dost thou upon thy fading mansion spend? Shall worms, inheritors of this excess, Eat up thy charge? Is this thy body's end? Then soul, live thou upon thy servant's loss And let that pine to aggravate thy store; Buy terms divine in selling hours of dross; Within be fed, without be rich no more. So shalt thou feed on Death, that feeds on men, And, Death once dead, there's no more dying then.
Are you content, you pretty three-years’ wife? Are you content and satisfied to live On what your loving husband loves to give, And give to him your life?
Are you content with work, — to toil alone, To clean things dirty and to soil things clean; To be a kitchen-maid, be called a queen, —
Ah blessed absence of God, How lovingly I am bound to you! You strengthen my will in its pain And make dear to me The long hard wait in my poor body. The nearer I come to you, The more wonderfully and abundantly God comes upon me,
My hair is grey, but not with years, Nor grew it white In a single night, As men's have grown from sudden fears: My limbs are bow'd, though not with toil, But rusted with a vile repose, For they have been a dungeon's spoil, And mine has been the fate of those
One face looks out from all his canvases, One selfsame figure sits or walks or leans: We found her hidden just behind those screens, That mirror gave back all her loveliness. A queen in opal or in ruby dress, A nameless girl in freshest summer-greens, A saint, an angel — every canvas means The same one meaning, neither more or less.
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