____Ars Poetica & Other Ecstasies____

What are you thinking about? O, a tree....

Friday, January 11, 2013

How Poets Change the World

If you want to change the world, you have to change the metaphor. ~Joseph Campbell

Saturday, January 14, 2012

ordinary things

If daily life seems impoverished to you, don’t blame life. You yourself are to blame. You’re just not enough of a poet to perceive its wealth. ~Rainer Marie Rilke

Monday, November 7, 2011

but I am not so sure...






      Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.

      Jorge Luis Borges, The Divine Comedy


      Thank you for the Borges

Saturday, October 29, 2011

More important always that what you want to say...

Writing is the generosity of writing down whatever comes into your mind, in sequence, as true as you can, The diligence of working with that, in all the ways you can, to make it speak, to make it say more than you know. . . . The patience to know that what the writing is saying is more important, always, than what you want to say. . . . The moral discipline not to use the words to sell yourself or your ideas. The concentration to stay with the work under hand, stay inside it, thinking only with it and not beside it, letting all thinking and feeling come to focus in it, as it. The wisdom to know when you’re done. When it’s done. ~Robert Kelly

Monday, October 24, 2011

In defense of sadness



Without that depressive moment--without that sadness in the heart and weight that you feel--you can't be slow enough to hear and receive the beauty. ~James Hillman.

Saturday, October 22, 2011

And so it is...

I say I want to save the world but really
I want to write poems all day
I want to rise, write poems, go to sleep,
Write poems in my sleep
Make my dreams poems





Solace poetry is to serious poetry as pornography is to serious art. ~Daisy Fried




"I never turned anyone into a pig.
Some people are pigs; I make them
Look like pigs."
~Louise Gluck, Circe




Yes, absolutely

Saturday, April 30, 2011

For poems are not, as people think, simply emotions (one has emotions early enough) - they are experiences. ~Rainer Maria Rilke

Saturday, April 2, 2011

The Love Song, Nick Cave


To be invited to come here and teach, to lecture, to impart what knowledge I have collected about poetry, about song writing has left me with a whole host of conflicting feelings. The strongest, most insistent of these concerns my late father who was an English Literature teacher at the high school I attended back in Australia. I have very clear memories of being about twelve years old and sitting, as you are now, in a classroom or school hall, watching my father, who would be standing, up here, where I am standing, and thinking to myself, gloomily and miserably, for, in the main, I was a gloomy and miserable child, "It doesn´t really matter what I do with my life as long as I don´t end up like my father". At forty years old it would appear that there is virtually no action I can take that does not draw me closer to him, that does not make me more like him. At forty years old I have become my father, and here I am, teaching.

What I wanted to do here was to talk a bit about "the love song", to speak about my own personal approach to this genre of songwriting which I believe has been at the very heart of my particular artistic quest. I want look at some other works, that, for whatever reason, I think are sublime achievements in this most noble of artistic pursuits: the creation of the great love song.

Looking back at these twenty years a certain clarity prevails. Midst the madness and the mayhem, it would seem I have been banging on one particular drum. I see that my artistic life has centered around an attempt to articulate the nature of an almost palpable sense of loss that has laid claim to my life. A great gaping hole was blasted out of my world by the unexpected death of my father when I was nineteen years old. The way I learned to fill this hole, this void, was to write. My father taught me this as if to prepare me for his own passing. To write allowed me direct access to my imagination, to inspiration and ultimately to God. I found through the use of language, that I wrote god into existence. Language became the blanket that I threw over the invisible man, that gave him shape and form. Actualising of God through the medium of the love song remains my prime motivation as an artist. The love song is perhaps the truest and most distinctive human gift for recognising God and a gift that God himself needs. God gave us this gift in order that we speak and sing Him alive because God lives within communication. If the world was to suddenly fall silent God would deconstruct and die. Jesus Christ himself said, in one of His most beautiful quotes, "Where ever two or more are gathered together, I am in your midst." He said this because where ever two or more are gathered together there is language. I found that language became a poultice to the wounds incurred by the death of my father. Language became a salve to longing.

Though the love song comes in many guises – songs of exultation and praise, songs of rage and of despair, erotic songs, songs of abandonment and loss – they all address God, for it is the haunted premises of longing that the true love song inhabits. It is a howl in the void, for Love and for comfort and it lives on the lips of the child crying for his mother. It is the song of the lover in need of her loved one, the raving of the lunatic supplicant petitioning his God. It is the cry of one chained to the earth, to the ordinary and to the mundane, craving flight; a flight into inspiration and imagination and divinity. The love song is the sound of our endeavours to become God-like, to rise up and above the earthbound and the mediocre.

The loss of my father, I found, created in my life a vacuum, a space in which my words began to float and collect and find their purpose. The great W.H. Auden said "The so-called traumatic experience is not an accident, but the opportunity for which the child has been patiently waiting – had it not occurred, it would have found another- in order that its life come a serious matter." The death of my father was the "traumatic experience" Auden talks about that left the hole for God to fill. How beautiful the notion that we create our own personal catastrophes and that it is the creative forces within us that are instrumental in doing this. We each have a need to create and sorrow is a creative act. The love song is a sad song, it is the sound of sorrow itself. We all experience within us what the Portugese call Suadade, which translates as an inexplicable sense of longing, an unnamed and enigmatic yearning of the soul and it is this feeling that lives in the realms of imagination and inspiration and is the breeding ground for the sad song, for the Love song is the light of God, deep down, blasting through our wounds.

In his brilliant lecture entitled "The Theory and Function of Duende", Frederico Garcia Lorca attempts to shed some light on the eerie and inexplicable sadness that lives in the heart of certain works of art. "All that has dark sound has duende", he says, "that mysterious power that everyone feels but no philosopher can explain." In contemporary rock music, the area in which I operate, music seems less inclined to have its soul, restless and quivering, the sadness that Lorca talks about. Excitement, often; anger, sometimes: but true sadness, rarely, Bob Dylan has always had it. Leonard Cohen deals specifically in it. It pursues Van Morrison like a black dog and though he tries to he cannot escape it. Tom Waits and Neil Young can summon it. It haunts Polly Harvey. My friend and Dirty 3 have it by the bucket load. The band Spiritualised are excited by it. Tindersticks desperately want it, but all in all it would appear that duende is too fragile to survive the brutality of technology and the ever increasing acceleration of the music industry. Perhaps there is just no money in sadness, no dollars in duende. Sadness or duende needs space to breathe. Melancholy hates haste and floats in silence. It must be handled with care.

All love songs must contain duende. For the love song is never truly happy. It must first embrace the potential for pain. Those songs that speak of love without having within in their lines an ache or a sigh are not love songs at all but rather Hate Songs disguised as love songs, and are not to be trusted. These songs deny us our humanness and our God-given right to be sad and the air-waves are littered with them. The love song must resonate with the susurration of sorrow, the tintinnabulation of grief. The writer who refuses to explore the darker regions of the heart will never be able to write convincingly about the wonder, the magic and the joy of love for just as goodness cannot be trusted unless it has breathed the same air as evil – the enduring metaphor of Christ crucified between two criminals comes to mind here – so within the fabric of the love song, within its melody, its lyric, one must sense an acknowledgement of its capacity for suffering.

In Lou Reed´s remarkable song "Perfect Day" he writes in near diary form the events that combine to make a "Perfect Day". It is a day that resonates with the hold beauty of love, where he and his lover sit in the park and drink Sangria, feed animals in the zoo, go to a movie show etc., but it is the lines that darkly in the third verse, "I thought I was someone else, someone good" that transforms this otherwise sentimental song into the masterpiece of melancholia that it is. Not only do these lines ache with failure and shame, but they remind us in more general terms of the transient nature of love itself – that he will have his day "in the park" but, like Cinderella, who must return at midnight to the soot and ash of her disenchanted world, so must he return to his old self, his bad self. It is out of the void that this songs springs, clothed in loss and longing.

Around the age of twenty, I stared reading the Bible and I found in the brutal prose of the Old Testament, in the feel of its words and its imagery, an endless source of inspiration. The Song of Solomon, perhaps the greatest love song ever written, had a massive impact upon me. Its openly erotic nature, the metaphoric journey taken around the lovers bodies – breasts compared to bunches of grapes and young deer, hair and teeth compared to flocks of goats and sheep, legs like pillars of marble, the navel- a round goblet, the belly- a heap of wheat – its staggering imagery rockets us into the world of pure imagination. Although the two lovers are physically separate – Solomon is excluded from the garden where his beloved sings – it is the wild, obsessive projections of one lover onto another that dissolve them into a single being, constructed from a series of rapturous love-metaphors.

The Song of Solomon is an extraordinary love song but it was the remarkable series of love song/poems known as the Psalms that truly held me. I found the Psalms, which deal directly with relationship between man and God, teeming with all the clamorous desperation, longing, exultation, erotic violence and brutality that I could hope for. The Psalms are soaked in suadade, drenched in duende and bathed in bloody-minded violence. In many ways these songs became the blue-print for much of my more sadistic love songs. Psalm 137, a particular favourite of mine and which was turned into a chart hit by the fab little band Boney M. is a perfect example of all I have been talking about.

The love song must be born into the realm of the irrational, absurd, the distracted, the melancholic, the obsessive, the insane for the love song is the noise of love itself and love is, of course, a form of madness. Whether it be the love of God, or romantic, erotic love – these are manifestations of our need to be torn away from the rational, to take leave of our senses, so to speak. Love songs come in many guises and are seemingly written for many reasons – as declarations or to wound – I have written songs for all of these reasons – but ultimately the love songs exist to fill, with language, the silence between ourselves and God, to decrease the distance between the temporal and the divine.

In Psalm 137 the poet finds himself captive in "a strange land" and is forced to sing a song of Zion. He swears his love to his homeland and dreams of revenge. The Psalm is ghastly in its violent sentiments, as he sings for love of his homeland and his God and that he may be made happy by murdering the children of his enemies. What I found, time and time again, in the Bible, especially the Old Testament, was that verses of rapture, of ecstasy and love could hold within them apparently opposite sentiments – hate, revenge, bloody mindedness etc. that they were not mutually exclusive. This idea has left an enduring impression on my songwriting.

Within the world of modern pop music, a world that deals ostensibly with the Love Song, but in actuality does little more that hurl dollops of warm, custard-coloured baby-vomit down the air waves, true sorrow is not welcome. But occasionally a song comes along that hides behind its disposable, plastic beat a love lyric of truly devastating proportions. "Better The Devil You Know" written by hitmakers Stock, Altkin and Waterman and sung by the Australian pop sensation Kylie Minogue is such a song. The disguising of the terror of Love in a piece of mindless, innocuous pop music is an intriguing concept. "Better The Devil You Know" is one of pop music's most violent and distressing love lyrics.

Say you wont leave me no more
I`ll take you back again
No more excuses, no no
Cause I´ve heard them all before
A hundred times or more
I´ll forgive and forget

If you say you´ll never go
Cause it's true what they say
Better the devil you know
I know, I think I know the score
You say you love me, O boy
I can´t ask for more
I´ll come if you should call

When Kylie Minogue sings these words there is an innocence to her voice that makes the horror of this chilling lyric all the more compelling. The idea presented within this song, dark and sinister and sad – that all love relationships are by nature abusive and that his abuse, be it physical or psychological, is welcomed and encouraged, shows how even the most innocuous of love songs has the potential to hide terrible human truths. Like Prometheus chained to his rock, so that the eagle can eat his liver each night, Kylie becomes love's sacrificial lamb bleating an earnest invitation to the drooling, ravenous wolf that he may devour her time and time again, all to a groovy techno beat. "I´ll take you back. I´ll take you back again". Indeed. Here the Love Songs becomes a vehicle for a harrowing portrait of humanity not dissimilar to that of the Old Testament Psalms. Both are messages to God that cry out into the yawning void, in anguish and self-loathing, for deliverance.

As I said earlier, my artistic life has centered around desire or more accurately, the need, to articulate the various feelings of loss and longing that have whistled through my bones and hummed in my blood, throughout my life. In the process I have written about two hundred songs, the bulk of which I would say, were love songs. Love songs, and therefore, by my definition, sad songs. Out of this considerable mass of material, a handful of them rise above the others as true examples of all I have talked about. Sad Waters, Black Hair, I Let Love In, Deanna, From her to Eternity, Nobody's Baby Now, Into my Arms, Lime Tree Arbour, Lucy, Straight to You; I am proud of these songs. They are my gloomy, violent, dark-eyed children. They sit grimly on their own and do not play with the other songs. Mostly they were offspring of complicated pregnancies and difficult and painful births. Most of them are rooted in direct personal experience and were conceived for a variety of reasons but this rag-tag group of love songs are, at the death, all the same thing – life lines thrown into the galaxies of the divine by a drowning man.

The reasons why I feel compelled to sit down and write love songs are legion. Some of these came clearer to me when I sat down with a friend of mine, who for the sake of his anonymity I will refer to as J.J. and I admitted to each other that we both suffered from psychological disorder that the medical profession call erotographomania. Erotographomania is the obsessive desire to write love letters. My friend shared that he had written and sent, over the last five years, more than seven thousand love letters to his wife. My friend looked exhausted and his shame was almost palpable. I suffer from the same disease but happily have yet to reach such an advanced stage as my poor friend J. We discussed the power of the love letter and found that it was, not surprisingly, very similar to the love song. Both served as extended meditations on ones beloved. Both served to shorten the distance between the writer and the recipient. Both held within them a permanence and power that the spoken word did not. Both were erotic exercises, in themselves. Both had the potential to reinvent, through words, like Pygmalion with his self-created lover of stone, one's beloved. Alas, the most endearing form of correspondence, the love letter, like the love song has suffered at the hands of the cold speed of technology, at the carelessness and soullessness of our age. I would like to look, finally, at one of my own songs that I recorded for The Boatman's Call album. This song, I feel, exemplifies much of what I´ve been talking about today. The song is called Far From Me.

For your dear, I was born
For you I was raised up
For you I´ve lived and for you I will die
For you I am dying now
You were my mad little lover
In a world where everybody fucks everybody else over
You are so far from me
Far from me
Way across some cold neurotic sea
Far from me

I would talk to you of all matter of things
With a smile you would reply
Then the sun would leave your pretty face
And you´d retreat from the front of your eye
I keep hearing that you´re doing best
I hope your heart beats happy in your infant breast
You who are so far from me
Far from me
Far from me

There is no knowledge but I know it
There´s nothing to learn from that vacant voice
That sails to me across the line
From the ridiculous to the sublime
It´s good to hear you´re doing so well
But really can´t you find somebody else that you can ring and tell
Did you ever care for me?
Were you ever there for me?
So far from me

You told me you´d stick by me
Those were your very words
My fair-weather friend
You were my brave-hearted lover
At the first taste of trouble went running back to mother
So far from me
Far from me
Suspended in your bleak and fishless sea
Far from me
Far from me

Far From Me took four months to write, which was the duration of the relationship it describes. The first verse was written in the first week of the affair and is full of all the heroic drama of new love as it describes the totality of feeling whilst acknowledging the potential for pain – for you I'm dying now. It sets the two lovers it describes against an uncaring world – a world that fucks everybody over – and brings in the notion of the physical distance suggested in the title. Strangely, though, the song, as if awaiting the "traumatic experience" that I spoke of earlier to happen, would not allow itself to be completed until the catastrophe had occurred. Some songs are tricky like that and it is wise to keep your wits about you when dealing with them. I find quite often that the songs I write seem to know more about what is going on in my life than I do. I have pages and pages of fourth verses for this song written while the relationship was still sailing happily along. One such verse went:

The Camellia, The Magnolia
Have such a pretty flower
And the bells of St. Mary's
Inform us of the hour

Pretty words, Innocent words, unaware that any day the bottom would drop out of the whole thing. Love songs that attach themselves to actual experience, that are a poeticising of real events have a peculiar beauty unto themselves. They stay alive in the same way that memories do and being alive, they grow up and undergo changes and develop. A love song such as Far From Me has found a personality beyond the one that I originally gave it with the power to influence my own feelings around the actual event itself. This is an extraordinary thing and one of the truly wondrous benefits of song writing. The songs that I have written that deal with past relationships have become the relationships themselves. Through these songs I have been able to mythologize the ordinary events of my life, lifting them from the temporal plane and hurling them way into the stars. The relationship described in Far From Me has been and gone but the song itself lives on, keeping a pulse running through my past. Such is the singular beauty of song-writing.

Twenty years of song-writing has now past and still the void gapes wide. Still that inexplicable sadness, the duende, the saudade, the divine discontent persists and perhaps it will continue until I see the face of god himself. But when Moses desired to see the face of God, Exodus 33, 188, he was answered that he may not endure it, no man could see his face and live. Well, me, I don´t mind. I `m happy to be sad. For the residue, cast off in this search, the songs themselves, my crooked brood of sad eyed children, rally round and in their way, protect me, comfort me and keep me alive. They are the companions of the soul that lead it into exile, that safe the overpowering yearning for that which is not of this world. The imagination desires an alternate and through the writing of the love song, one sits and dines with loss and longing, madness and melancholy ecstasy, magic, joy and love with equal measures of respect and gratitude. The spiritual quest has many faces – religion, art, drugs, work, money, sex – but rarely does the search serve god so directly and rarely are the rewards so great in doing.

Nick Cave, Vienna, 21 October 2000

Tuesday, October 19, 2010

The Mysterious Wing

Poetry is the mysterious wing that glides at will in the whole world of the soul,in that infinite sphere, one part of which is colors, another sounds, another movements, another judgments, and so forth, all vibrating simultaneously, according to certain laws,that a vibration in one region communicates itself to another region. The privilege of art is to feel and express these relationships, which are deeply hidden in the very unity of life. From these vibrations of the diverse regions of the soul an accord results, and this accord is life; and when this accord is expressed, it constitutes art. ~Henri Dorra

Thursday, September 9, 2010

The only thing that makes sense

Shakespeare and Co. Bookstore, Paris
I suppose poetry is
Listening Out Loud

And what one listens to is language --

language in one's head

(only a fool would confuse that with himself thinking

only a fool would think the things that he hears languaging in him
are things that he himself is thinking)

Most poets are too smart to believe in their own intelligence.

Witless, clueless, we await a sign.

Pindar tells us a sign is never clear (at least a sign from Zeus) --
hence the poem veers towards a kind of

lucid incomprehensibility,

[Eventually after a few hundred or thousand years we begin to comprehend the incomprehensible -- Dante, Aeschylus, Milton -- and they become classics and become of great celebrity but diminished use. But till then the texts are of great power, startling, provoking, eliciting. Some grand provokers -- Pindar himself, Li shang-yin, Lycophron, Hoelderlin, Stein -- still wait their turn, still turn us towards the poem we must write, the poem they force us to write, to make sense of what they do to our heads.]

The incomprehensible provokes the reader to acts of preternatural awareness.

This incomprehensibility factor is what the ancient Greeks called Mousa, Muse. [The Spartans -- sturdy workmen, who would have liked the sacred gizmos of Elshtain's gnoetry -- called her Moha.] (I told her I would work her into this evening.)

The incomprehensible is the only thing that makes sense. That is, it creates sense -- the sense of something happening to you as you read.

And that's the only happening poetry has?

The luster of listening.

Or what we hear in poetry is groans from the battlefield where time struggles against space.

Robert Kelly, STATEMENT FOR THE MODERN POETRY CONFERENCE AT CUNY

Wednesday, July 21, 2010

American Poetics: Ezra Pound, Walt Whitman & the Great Stench



He Is America. His crudity is an exceeding great stench, but it is America .... He is disgusting. He is an exceedingly nauseating pill, but he accomplishes his mission.

I honor him for he prophesied me while I can only recognize him as a forebear of whom I ought to be proud.

As for Whitman, I read him (in many parts) with acute pain, but when I write of certain things I find myself using his rhythms.

Mentally I am a Whitman who has learned to wear a collar and a dress shirt (although at times inimical to both) .... And, to be frank, Whitman is to my fatherland ... what Dante is to Italy.

~Ezra Pound, What I Feel About Walt Whitman

Also: The ABC of Influence: Ezra Pound and the Remaking of American Poetic Tradition

Art: John Bauer: King of Troll Mountain

Friday, July 16, 2010

On The Collective Narcissism that is Lyric Poetry



In the tropics, I am told, evening twilight is brief and shadowless, bathing forms in a divine golden light that leaves as suddenly as it came. I think Apollo. Not so in the Northwest summer, where daylight lingers until the last possible moment. We are different, he and I.

But it was in the Northwest that, on the Ides of July, the nice man and I made our way across town and bridge to hear Oregon's poet laureate read in the artsy area of St. Johns, near the University of Portland. The occasion was the release of the fifth edition of The Grove, the most pleasant surprise of a literary journal.

Perhaps it is the magic of our twilight, or the culture of the Northwest, but it is possible to arrive late her and still be early. We were greeted and welcomed and welcomed again, offered wine and vegan petits fours, invited to look through the newest edition -- people-watching and lit fashion won out. Lit fashion is timeless, and full of ghosts. The nice man murmured something about "the collective narcissism that is lyric poetry", a line he used in one of his reviews, but grown beyond itself into another context.

One auburn-haired wraith floated in and out of conversations in a pale Louise Brooks | Carol Tinker dress. A few minutes later, I would know her name: Hannah Louise Poston, who would read first. She was introduced by Matt Barry, The Grove's publisher, a large man with an even larger personal space, who repeated himself and others and knew it. Yet one didn't mind this tropical sunset of a man, newly five years in Portland, bathing us in golden light. I almost felt comfortable in my own skin.

I like Ms. Poston, who shared that she had been accused of being "elusive" for not answering her phone and had then gone on to create a character, and poem for the character. I liked that, and her poem inspired by the ghost ship, Mary Celeste, very much.

A bit of what she chose to read was tinged with young woman wailing wall, a poetic sub-genre I myself indulged well past youth. As intense and full of imagery as any of the best wailing wall poetry, it is not, I think, her best voice. This is:

It may yet frost. I tell the apple trees,
which bloom too readily,
wait for the ground to thaw,
the loam to loose; wait
to begin building fruit—

they are as heedless
as Lincoln was of Booth.

April Fourteenth

She is interested in forms and devices and uses them freely, often well and sometimes not. In listening to her read, I realized how many of the subtle internal rhymes and enjambment in my own poetry would seem harsh and immature if read in another context than waltzing through the house. I like Hannah as a person, just from her reading. She, along with Primus St. John, discoveries of a decade and and I look forward to reading more of her work.

Mary Gloss, a fourth generation Portland native, read a short story, with many Portland details. I am not familiar with most of the landmarks that are so familiar to her, but still felt the richness. Although her story invoked my inner editor, always alert to the preposition circus, and hunting adjectival phrases, I had only to plaster two minutes of polite attentiveness at the beginning of her reading before I was enthralled by the inner dialog of her character.

I wanted to see what makes a poet laureate a poet laureate. I was not disappointed. As expected, Oregon's poet laureate, Paulann Petersen, is the incarnation of down home natural religion; Blake, be damned. She read three poems, all of which I had read on the net and while one had inspired me to a morning of repeating the word "duff" in a Zen-like chant, but not enough to make a special trek to Powell's to buy her books.

But oh how she read those poems. Paced exactly right, each word given its full due -- you could taste the vowels. It was the sound, the wave that carried you from beginning to end, that makes you want to read it yourself quietly, then again louder, read it to someone else in a soft shower of kisses, then even slower letting each word blossom in your mouth -- "the spinning of language on and into itself", as it were. Guilty as charged.

I put my hand on my seat next to the nice man, half-wishing he would take it, knowing that he wouldn't, wishing we could bridge the emotional and spiritual wasteland between us. Because this is poetry, that thing I love, bigger than I but at the core of me, the path and the destination, an end-in-itself rather than a mere means. But maybe I was just caught up in the spirit of the evening, the stuff of day dreams across an ocean.

We rose to leave. I wanted my book signed by the priestess and he said he would meet me at the door. I would ask Paulann to sign my chocolate smeared issue of The Grove, telling her that I liked her reading in a somewhat more reserved way than I did here. She says poetry is meant to be read aloud and performed -- I think In Memoriam and D.A. Powell but she is sparkling in the summer sky and this is not the place. Rexroth and Sam Hamill would have said as much, but I am not so sure.

And we were off, I and the nice man. The resting moon tinged with yellow. Venus moved off.

Art: William De Morgan: Peacock Tile

Thursday, March 18, 2010

For the sake of a single poem

Edmund Dulac Daughters of the Stars
For the sake of a single poem, you must see many cities, many people and Things, you must understand animals, must feel how birds fly, and know the gesture which small flowers make when they open in the morning. You must be able to think back to streets in unknown neighborhoods, to unexpected encounters, and to partings you had long seen coming; to days of childhood whose mystery is still unexplained, to parents who you had to hurt when they brought in a joy and you didn’t pick it up (it was a joy meant for somebody else —); to childhood illnesses that began so strangely with so many profound and difficult transformations, to days in quiet, restrained rooms and to mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along high overhead and went flying with all the stars, — and it is still not enough to be able to think of all that. You must have memories of many nights of love, each one different from all the others, memories of women screaming in labor, and of light, pale, sleeping girls who have just given birth and are closing again. But you must also have been beside the dying, must have sat beside the dead in the room with the open window and the scattered noises. And it is not yet enough to have memories. You must be able to forget them when they are many, and you must have the immense patience to wait until they return. For the memories themselves are not important. Only when they have changed into our very blood, into glance and gesture, and are nameless, no longer to be distinguished from ourselves — only then can it happen that in some very rare hour the first word of a poem arises in their midst and goes forth from them.

~ Rainer Maria Rilke

Art: Daughters of the Stars by Edmund Dulac

Friday, April 24, 2009

The Lightest Touch




Good poetry begins with the lightest touch, a breeze arriving from nowhere, a whispered healing arrival, a word in your ear, a settling into things, then like a hand in the dark it arrests the whole body, steeling you for revelation. In the silence that follows a great line you can feel Lazarus deep inside even the laziest, most deathly afraid part of you, lift up his hands and walk toward the light.



David H. Whyte

Wednesday, April 15, 2009

Where are the cats, you ask?




I have come to the frightening conclusion...
That I am the decisive element.
It is my personal approach that creates the climate.
It is my daily mood that makes the weather.
I possess tremendous power to make life miserable or joyous.
I can be a tool of torture or an instrument of inspiration,
I can humiliate or humor, hurt or heal.
In all situations, it is my response that decides
whether a crisis is escalated or de-escalated,
and a person is humanized or de-humanized.
If we treat people as they are, we make them worse.
If we treat people as they ought to be,
we help them become
what they are capable of becoming.

~J.W.Goethe