After reading Ash Wednesday she looked once at the baked beans and fled. Luncheonless, poor girl, she observed a kind of poetic Lent— and I had thought I liked poetry better than she did.
I do. But to me its most endearing quality is its unsuitableness;
"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.
The craving of Samuel Rouse for clearance to create was surely as hot as the iron that buffeted him. His passion for freedom so strong that it molded the smouldering fashions he laced, for how also could a slave plot or counterplot such incomparable shapes,
form or reform, for house after house, the intricate Patio pattern, the delicate Rose and Lyre, the Debutante Settee,
Now that I, tying thy glass mask tightly, May gaze thro’ these faint smokes curling whitely, As thou pliest thy trade in this devil’s-smithy— Which is the poison to poison her, prithee?
He is with her, and they know that I know Where they are, what they do: they believe my tears flow While they laugh, laugh at me, at me fled to the drear Empty church, to pray God in, for them!—I am here.
Grind away, moisten and mash up thy paste, Pound at thy powder,—I am not in haste! Better sit thus and observe thy strange things, Than go where men wait me and dance at the King’s.
I have just seen a most beautiful thing Slim and still Against a gold, gold sky, A straight black cypress, Sensitive, Exquisite, A black finger Pointing upwards.
I came here, being stricken, stumbling out At last from streets; the sun, decreasing, took me For days, the time being the last of autumn, The thickets not yet stark, but quivering With tiny colors, like some brush strokes in The manner of the pointillists; small yellows Dart shaped, little reds in different pattern, Clicks and notches of color on threaded bushes,
Here, in the darkness, where this plaster saint Stands nearer than God stands to our distress, And one small candle shines, but not so faint As the far lights of everlastingness, I’d rather kneel than over there, in open day Where Christ is hanging, rather pray To something more like my own clay, Not too divine;
From the depth of the dreamy decline of the dawn through a notable nimbus of nebulous noonshine, Pallid and pink as the palm of the flag-flower that flickers with fear of the flies as they float, Are they looks of our lovers that lustrously lean from a marvel of mystic miraculous moonshine, These that we feel in the blood of our blushes that thicken and threaten with throbs through the throat? Thicken and thrill as a theatre thronged at appeal of an actor's appalled agitation, Fainter with fear of the fires of the future than pale with the promise of pride in the past; Flushed with the famishing fullness of fever that reddens with radiance of rathe recreation, Gaunt as the ghastliest of glimpses that gleam through the gloom of the gloaming when ghosts go aghast? Nay, for the nick of the tick of the time is a tremulous touch on the temples of terror, Strained as the sinews yet strenuous with strife of the dead who is dumb as the dust-heaps of death: Surely no soul is it, sweet as the spasm of erotic emotional exquisite error, Bathed in the balms of beatified bliss, beatific itself by beatitude's breath. Surely no spirit or sense of a soul that was soft to the spirit and soul of our senses Sweetens the stress of suspiring suspicion that sobs in the semblance and sound of a sigh; Only this oracle opens Olympian, in mystical moods and triangular tenses—
Into her mother’s bedroom to wash the ballooning body. “My mother is jelly-hearted and she has a brain of jelly: Sweet, quiver-soft, irrelevant. Not essential. Only a habit would cry if she should die. A pleasant sort of fool without the least iron. . . . Are you better, mother, do you think it will come today?” The stretched yellow rag that was Jessie Mitchell’s mother Reviewed her. Young, and so thin, and so straight.
I’ve carved a cave in the mountainside. I’ve drilled for water, stocked provisions to last a lifetime. The walls are smooth. We can live here, love, safe from elements. We’ll invent another love that can’t destroy. We’ll make exquisite reproductions of our selves, immortal on these walls.
A group of young men in Jacksonville, Florida, arranged to celebrate Lincoln’s birthday in 1900. My brother, J. Rosamond Johnson, and I decided to write a song to be sung at the exercises. I wrote the words and he wrote the music. Our New York publisher, Edward B. Marks, made mimeographed copies for us, and the song was taught to and sung by a chorus of five hundred colored school children. Shortly afterwards my brother and I moved away from Jacksonville to New York, and the song passed out of our minds. But the school children of Jacksonville kept singing it; they went off to other schools and sang it; they became teachers and taught it to other children. Within twenty years it was being sung over the South and in some other parts of the country. Today the song, popularly known as the Negro National Hymn, is quite generally used. The lines of this song repay me in an elation, almost of exquisite anguish, whenever I hear them sung by Negro children. Lift every voice and sing Till earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise
I don’t remember exactly when Budberg died, it was either two years ago or three. The same with Chen. Whether last year or the one before. Soon after our arrival, Budberg, gently pensive, Said that in the beginning it is hard to get accustomed, For here there is no spring or summer, no winter or fall.
“I kept dreaming of snow and birch forests. Where so little changes you hardly notice how time goes by.
While needles of the evergreen practice a windy chaos, heads of snarled hair; something in the tree longs for old age; bald brown knobs of skull without subterfuge; but it continues with its greedy
I sit in my sorrow a-weary, alone; I have nothing sweet to hope or remember, For the spring o’ th’ year and of life has flown; ’Tis the wildest night o’ the wild December, And dark in my spirit and dark in my chamber.
I sit and list to the steps in the street, Going and coming, and coming and going, And the winds at my shutter they blow and beat; ’Tis the middle of night and the clouds are snowing; And the winds are bitterly beating and blowing.
I list to the steps as they come and go, And list to the winds that are beating and blowing, And my heart sinks down so low, so low;
Every way ends, every road, every foot-path leads at last to the hill-crest— then you retrace your steps, or find the same slope on the other side, precipitate.
I have had enough— border-pinks, clove-pinks, wax-lilies, herbs, sweet-cress.
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