Morning by Mary Oliver

Salt shining behind its glass cylinder.
Milk in a blue bowl. The yellow linoleum.
The cat stretching her black body from the pillow.
The way she makes her curvaceous response to the small, kind gesture.
Then laps the bowl clean.
Then wants to go out into the world
where she leaps lightly and for no apparent reason across the lawn,
then sits, perfectly still, in the grass.
I watch her a little while, thinking:
what more could I do with wild words?
I stand in the cold kitchen, bowing down to her.
I stand in the cold kitchen, everything wonderful around me.

When Death Comes by Mary Oliver

When death comes 

like the hungry bear in autumn; 
when death comes and takes all the bright coins from his purse

to buy me, and snaps the purse shut; 
when death comes 
like the measle-pox;

when death comes 
like an iceberg between the shoulder blades,

I want to step through the door full of curiosity, wondering: 
what is it going to be like, that cottage of darkness?

And therefore I look upon everything 
as a brotherhood and a sisterhood, 
and I look upon time as no more than an idea, 
and I consider eternity as another possibility,

and I think of each life as a flower, as common 
as a field daisy, and as singular,

and each name a comfortable music in the mouth, 
tending, as all music does, toward silence,

and each body a lion of courage, and something 
precious to the earth.

When it's over, I want to say: all my life 
I was a bride married to amazement. 
I was the bridegroom, taking the world into my arms.

When it's over, I don't want to wonder 
if I have made of my life something particular, and real.
I don't want to find myself sighing and frightened, 
or full of argument.

I don't want to end up simply having visited this world.

Reckless Poem by Mary Oliver

Today again I am hardly myself.

It happens over and over.
It is heaven-sent.

It flows through me
like the blue wave.
Green leaves—you may believe this or not— 
have once or twice
emerged from the tips of my fingers

somewhere
deep in the woods,
in the reckless seizure of spring.

Though, of course, I also know that other song,
the sweet passion of one-ness.

Just yesterday I watched an ant crossing a path, through the
      tumbled pine needles she toiled.
And I thought: she will never live another life but this one.
And I thought: if she lives her life with all her strength
      is she not wonderful and wise?
And I continued this up the miraculous pyramid of everything
      until I came to myself.

And still, even in these northern woods, on these hills of sand,
I have flown from the other window of myself
to become white heron, blue whale,
      red fox, hedgehog.
Oh, sometimes already my body has felt like the body of a flower!
Sometimes already my heart is a red parrot, perched
      among strange, dark trees, flapping and screaming.

The Summer Day by Mary Oliver

Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean—
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down—
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don't know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn't everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?

Lucifer over lancashire

Skelmersdale is an interesting place as you have the full range of society plus a little bit extra.  Most people are quite negative about Skelmersdale saying that there’s nothing there, there’s nothing to do, there’s no jobs, no social life, it’s dangerous and drug riddled.  I would have to disagree.  There is even a suggestion; you’re going to love this one, that Skelmersdale was a government experiment in ADF, the Aspiration Dispersal Field.  In the sixties when Skelmersdale was being constructed it is claimed that professor Nathaniel Butler, the lead scientist for the controversial Mind Reader experiments, Placed an ADF generator in a disused mine shaft underneath Skelmersdale. 

Skelmersdale was then drenched in a sort of magnetic field which took away all aspiration from the inhabitants.  This was so that the government could control the population at any given time, turning the people into zombies almost.  There were large stone sculptures placed on the towns many roundabouts and it is claimed that the ADF was generated though these monoliths. One claim is that as the population of Skelmersdale was the dregs of society from the Liverpool slums that they had no aspiration in the first place.  These days most of the population, not just in Skelmersdale, are turned into brain dead zombies by watching utter tripe on the television such as the X Factor or Celebrities Cooking food while dancing on ice in a jungle.  It is even suggested that to this day, if you visit Skelmersdale, you will notice a low level background hum which is supposed to be the ADF still working away in its mine shaft.

https://celticillumination.wordpress.com/2014/01/16/celtic-illumination-part-282-the-hurdy-gurdy-man/

Euripides – Iphigenia In Tauris

The wisest men follow their own directions
And listen to no prophet guiding them.
None but the fools believe in oracles,
Forsaking their own judgement. Those who know,
Know that such men can only come to grief.                          

Euripides – Iphigenia In Tauris

Ancient History by Jamie McKendrick

The year began with baleful auguries:
comets, eclipses, tremors, forest fires, 
the waves lethargic under a coat of pitch 
the length of the coastline. And a cow spoke, 
which happened last year too, although last year 
no one believed cows spoke. Worse was to come. 
There was a bloody rain of lumps of meat 
which flocks of gulls snatched in mid-air 
while what they missed fell to the ground 
where it lay for days without festering. 
Then a wind tore up a forest of holm-oaks 
and jackdaws pecked the eyes from sheep. 
Officials construing the Sibylline Books 
told of helmeted aliens occupying 
the cross-roads, and high places of the city. 
Blood might be shed. Avoid, they warned, 
factions and in-fights. The tribunes claimed 
this was the usual con-trick 
trumped up to stonewall the new law 
about to be passed. Violence was only curbed 
by belief in a rumour that the tribes 
to the east had joined forces and forged 
weapons deadlier than the world has seen 
and that even then the hooves of their scouts 
had been heard in the southern hills. 
The year ended fraught with the fear of war. 
Next year began with baleful auguries. 

from The Utility of Terrorism, Considered with Respect to the Usage Made of It By Gianfranco Sanguinetti

Thanks to terrorism, the State and its political beneficiaries can, as if by magic, become “good” because – after sacrificing a small portion of the population – they can bravely, proudly and virtuously set themselves up as the protectors of the remaining people. Thus terrorism becomes the long-sought-after Philosopher’s Stone, something capable of sanctifying power, edifying politicians and whitewashing the Mafioso “protection” of their subjects, which is what all States hope to obtain.

http://www.notbored.org/utility.pdf

Bush's War by Robert Hass

I typed the brief phrase. "Bush's War,"
At the top of a sheet of white paper.
Having some dim intuition of a poem
Made luminous by reason that would,
Though I did not have them at hand,
Set the facts out in an orderly way.
Berlin is a northerly city. In May
At the end of the twentieth century
In the leafy precincts of Dahlem Dorf.
South of the Grunewald, near Krumme Lanke,
Spring is northerly, it begins before dawn
In a racket of bird song. The amsels
Shiver the sun up as if they were shaking
A liquid tangle of golden wire. There are two kinds
Of flowering chestnuts, red and white,
And the wet pavements are speckled
With petals from the incandescent spikes
Of their flowers and shoes at U-bahn stops
Are flecked with them. Green of holm oaks.
Birch tassels, the soft green of maples.
And the odor of lilacs is everywhere.
At Oscar Helene Heim station a farmer
Sells white asparagus from a heaped table.
In a month he'll be selling chanterelles;
In the month after that, strawberries
And small, rosy crawfish from the Spree.
The piles of stalks of the asparagus
Are startlingly phallic, phallic and tender
And deathly pale. Their seasonal appearance
Must be the remnant of some fertility ritual
Of the German tribes. Steamed, they are the color
Of old ivory. In May, in restaurants
They are served on heaped white platters
With boiled potatoes and parsley butter,
Or shavings of Parma ham and lemon juice
Or sorrel and smoked salmon. And,
Walking home in the slant, widening,
Brilliant northern light that falls
On the new-leaved birches and the elms,
Nightingales singing at the first, subtlest,
Darkening of dusk, it is a trick of the mind
That the past seems just ahead of us,
As if we were being shunted there
In the surge of a rattling funicular.
Flash forward: the firebombing of Hamburg,
Fifty thousand dead in a single night,
"The children's bodies the next day
Set in the street in rows like a market
In charred chicken." Flash forward:
Firebombing of Tokyo, a hundred thousand
In a night. Flash forward: forty-five
Thousand Polish officers slaughtered
By the Russian Army in the Katyn Woods.
The work of half a day. Flash forward:
Two million Russian prisoners of war
Murdered by the German army all across
The eastern front, supplies low,
Winter of 1943. Flash: Hiroshima.
And then Nagasaki, as if the sentence
Life is fire and flesh is ash needed
To be spoken twice. Flash: Auschwitz,
Dachau, Therienstadt, the train lurching,
The stomach woozy, past displays of falls
Of hair, piles of valises, spectacles
With frames designed to curl delicately
Around a human ear. Flash;
The gulags, seven million in Byelorussia
And Ukraine. In innocent Europe on a night
In spring, among the light-struck birches,
Students holding hands. One of them
Is carrying a novel, the German translation
Of a slim book by Marguerite Duras
About a love affair in old Saigon. (Flash:
Two million Vietnamese, fifty five thousand
Of the American young, whole races
Of tropical birds extinct from saturation bombing)
The kind of book the young love
To love, about love in time of war.
Forty five million, all told, in World War II.
In Berlin, pretty Berlin, in the spring time,
You are never not wondering how
It happened, and the people around you
In the station with chestnut petals on their shoes.
Children then, or unborn, never not
Wondering. Is it that we like the kissing
And bombing together, in prospect
At least, girls in their flowery dresses?
Someone will always want to mobilize
Death on a massive scale for economic
Domination or revenge. And the task, taken
As a task, appeals to the imagination.
The military is an engineering profession.
Look at boys playing: they love
To figure out the ways to blow things up.
But the rest of us have to go along.
Why do we do it? Certainly there's a rage
To injure what's injured us. Wars
Are always pitched to us that way.
The well-paid news readers read the reasons
On the air. And we who are injured,
Or have been convinced that we are injured,
Are always identified with virtue. It's that--
The rage to hurt mixed with self-righteousness
And fear--that's murderous.
The young Arab depilated himself
As an act of purification before he drove
The plane into the office building. It's not
Just violence, it's a taste for power
That amounts to loathing for the body.
Perhaps it's this that permits people to believe
That the dead women in the rubble of Baghdad
Who did not cast a vote for their deaths
Or the glimpse afforded them before they died
Of the raw white of the splintered bones
In the bodies of their men or their children
Are being given the gift of freedom
Which is the virtue of their injured killers.
It's hard to say which is worse about this,
The moral sloth of it or the intellectual disgrace.
And what good are our judgments to the dead?
And death the cleanser, Walt Whitman's
Sweet death, the scourer, the tender
Lover, shutter of eyelids, turns
The heaped bodies into summer fruit,
Magpies eating dark berries in the dusk
And birch pollen staining sidewalks
To the faintest gold. Bald nur--Goethe--no,
Warte nur, bald ruhest du auch. Just wait.
You will be quiet soon enough. In Dahlem,
Under the chestnuts, in the leafy spring.

All poets adore explosions, thunderstorms, tornadoes, conflagrations, ruins, scenes of spectacular carnage. The poetic imagination is not at all a desirable quality in a statesman. In a war or revolution, a poet may do very well as guerrilla fighter or a spy, but it is unlikely that he will make a good regular soldier, or, in peace time, a conscientious member of a parliamentary committee.

"GO TO THE LIMITS OF YOUR LONGING" BY RAINER MARIA RILKE

God speaks to each of us as he makes us,
then walks with us silently out of the night.

These are the words we dimly hear:

You, sent out beyond your recall,
go to the limits of your longing.
Embody me.

Flare up like a flame
and make big shadows I can move in.

Let everything happen to you: beauty and terror.
Just keep going. No feeling is final.
Don't let yourself lose me.

Nearby is the country they call life.
You will know it by its seriousness.

Give me your hand

“But that is who we are,
that is where we come from.
We are the offspring
of metropolitan annihilation
and destruction,
of the war of all against all,
of the conflict of each individual
with every other individual,
of a system governed by fear,
of the compulsion to produce,
of the profit of one to
the detriment of others,
of the division of people into men
and women, young and old,
sick and healthy,
foreigners and Germans,
and of the struggle for prestige.

Where do we come from?
From isolation in individual row-houses,
from the suburban concrete cities,
from prison cells,
from the asylums and special units,
from media brainwashing,
from consumerism,
from corporal punishment,
from the ideology of nonviolence,
from depression,
from illness,
from degradation,
from humiliation,
from the debasement
of human beings,
from all the people
exploited
by imperialism.”

Hymn to the Bankers by Erich Kastner

He may rejoice and be content 
Who does not know these men. 
They borrow gold at five per cent 
And lend it out at ten. 

They're never shocked by what they see. 
Their heart is never still. 
Their product is discrepancy 
(Interpret as you will.) 

Their appetite is fathoms deep. 
They feed and dominate. 
They never sow, they only reap 
And let their gold gestate. 

Sorcerers in human form 
They charm from empty hands. 
They make their fortunes on the phone 
And petrol from the sands. 

Whether gold is scarce or sure 
They still make what they need 
And slit the throats of others; for 
The paper makes them bleed. 

They swear by the rule of three 
So have no need to pray. 
For God they have some sympathy 
Though they love gold more easily. 
(But they all go bust one day.) 

Summer Solstice by Stacie Cassarino

I wanted to see where beauty comes from

without you in the world, hauling my heart

across sixty acres of northeast meadow,

my pockets filling with flowers.

Then I remembered,

it’s you I miss in the brightness

and body of every living name:

rattlebox, yarrow, wild vetch.

You are the green wonder of June,

root and quasar, the thirst for salt.

When I finally understand that people fail

at love, what is left but cinquefoil, thistle,

the paper wings of the dragonfly

aeroplaning the soul with a sudden blue hilarity?

If I get the story right, desire is continuous,

equatorial. There is still so much

I want to know: what you believe

can never be removed from us,

what you dreamed on Walnut Street

in the unanswerable dark of your childhood,

learning pleasure on your own.

Tell me our story: are we impetuous,

are we kind to each other, do we surrender

to what the mind cannot think past?

Where is the evidence I will learn

to be good at loving?

The black dog orbits the horseshoe pond

for treefrogs in their plangent emergencies.

There are violet hills,

there is the covenant of duskbirds.

The moon comes over the mountain

like a big peach, and I want to tell you

what I couldn’t say the night we rushed

North, how I love the seriousness of your fingers

and the way you go into yourself,

calling my half-name like a secret.

I stand between taproot and treespire.

Here is the compass rose

to help me live through this.

Here are twelve ways of knowing

what blooms even in the blindness

of such longing. Yellow oxeye,

viper’s bugloss with its set of pink arms

pleading do not forget me.

We hunger for eloquence.

We measure the isopleths.

I am visiting my life with reckless plenitude.

The air is fragrant with tiny strawberries.

Fireflies turn on their electric wills:

an effulgence. Let me come back

whole, let me remember how to touch you

before it is too late.

When we look into a mirror we think the image that confronts us is accurate. But move a millimetre and the image changes. We are actually looking at a never-ending range of reflections. But sometimes a writer has to smash the mirror - for it is on the other side of that mirror that the truth stares at us.

http://ourworldinbalance.blogspot.co.uk/2005/12/story-of-harold-pinter.html

Everything Is Going to Be All Right by Derek Mahon

How should I not be glad to contemplate
the clouds clearing beyond the dormer window
and a high tide reflected on the ceiling?
There will be dying, there will be dying,
but there is no need to go into that.
The poems flow from the hand unbidden
and the hidden source is the watchful heart.
The sun rises in spite of everything
and the far cities are beautiful and bright.
I lie here in a riot of sunlight
watching the day break and the clouds flying.
Everything is going to be all right.

In my Craft or Sullen Art by Dylan Thomas

In my craft or sullen art

Exercised in the still night

When only the moon rages

And the lovers lie abed

With all their griefs in their arms,

I labour by singing light

Not for ambition or bread

Or the strut and trade of charms

On the ivory stages

But for the common wages

Of their most secret heart.

Not for the proud man apart

From the raging moon I write

On these spindrift pages

Nor for the towering dead

With their nightingales and psalms

But for the lovers, their arms

Round the griefs of the ages,

Who pay no praise or wages

Nor heed my craft or art.

Not Ideas About the Thing but the Thing Itself by Wallace Stevens

At the earliest ending of winter,

In March, a scrawny cry from outside

Seemed like a sound in his mind.

He knew that he heard it,

A bird’s cry at daylight or before,

In the early March wind

The sun was rising at six,

No longer a battered panache above snow . . .

It would have been outside.

It was not from the vast ventriloquism

Of sleep’s faded papier mâché . . .

The sun was coming from outside.

That scrawny cry—it was

A chorister whose c preceded the choir.

It was part of the colossal sun,

Surrounded by its choral rings,

Still far away. It was like

A new knowledge of reality.

May by Johnathan Galassi

The backyard apple tree gets sad so soon,   

takes on a used-up, feather-duster look   

within a week.

The ivy’s spring reconnaissance campaign   

sends red feelers out and up and down   

to find the sun.

Ivy from last summer clogs the pool,   

brewing a loamy, wormy, tea-leaf mulch   

soft to the touch

and rank with interface of rut and rot.

The month after the month they say is cruel   

is and is not.

In Perpetual Spring by Amy Gerstler

Gardens are also good places
to sulk. You pass beds of
spiky voodoo lilies
and trip over the roots
of a sweet gum tree,
in search of medieval
plants whose leaves,
when they drop off
turn into birds
if they fall on land,
and colored carp if they
plop into water.

Suddenly the archetypal
human desire for peace
with every other species
wells up in you. The lion   
and the lamb cuddling up.
The snake and the snail, kissing.
Even the prick of the thistle,
queen of the weeds, revives
your secret belief
in perpetual spring,
your faith that for every hurt
there is a leaf to cure it.

April Midnight by Arthur Symons

Side by side through the streets at midnight,

Roaming together,

Through the tumultuous night of London,

In the miraculous April weather.

 

Roaming together under the gaslight,

Day’s work over,

How the Spring calls to us, here in the city,

Calls to the heart from the heart of a lover!

 

Cool to the wind blows, fresh in our faces,

Cleansing, entrancing,

After the heat and the fumes and the footlights,

Where you dance and I watch your dancing.

 

Good it is to be here together,

Good to be roaming,

Even in London, even at midnight,

Lover-like in a lover’s gloaming.

 

You the dancer and I the dreamer,

Children together,

Wandering lost in the night of London,

In the miraculous April weather.

“There is a gold light in certain old paintings” by Donald Justice

1

There is a gold light in certain old paintings

That represents a diffusion of sunlight.

It is like happiness, when we are happy.

It comes from everywhere and from nowhere at once, this light,

              And the poor soldiers sprawled at the foot of the cross

              Share in its charity equally with the cross.

       2

Orpheus hesitated beside the black river.

With so much to look  forward to he looked back.

We think he sang then, but the song is lost.

At  least he had seen once more the  beloved back.

              I say the song went this way: O prolong

             Now the sorrow if that is all there is to prolong.

      3

The world is very dusty, uncle. Let us work.

One day the sickness shall pass from the earth for good.

The orchard will bloom; someone will play the guitar.

Our work will be seen as strong and clean and good.

              And all that we suffered through having existed

              Shall be forgotten as though it had never existed.

The Evening of the Mind by Donald Justice

Now comes the evening of the mind.
Here are the fireflies twitching in the blood;
Here is the shadow moving down the page
Where you sit reading by the garden wall.
Now the dwarf peach trees, nailed to their trellises,
Shudder and droop. Your know their voices now,
Faintly the martyred peaches crying out
Your name, the name nobody knows but you.
It is the aura and the coming on.
It is the thing descending, circling, here.
And now it puts a claw out and you take it.
Thankfully in your lap you take it, so.

You said you would not go away again,
You did not want to go away—and yet,
It is as if you stood out on the dock
Watching a little boat drift out
Beyond the sawgrass shallows, the dead fish ...
And you were in it, skimming past old snags,
Beyond, beyond, under a brazen sky
As soundless as a gong before it’s struck—
Suspended how?—and now they strike it, now
The ether dream of five-years-old repeats, repeats,
And you must wake again to your own blood
And empty spaces in the throat.

“America is not a young land: it is old and dirty and evil before the settlers, before the Indians. The evil is there waiting.”

Moon by JH Prynne

The night is already quiet and I am
bound in the rise and fall: learning
to wish always for more. This is the
means, the extension to keep very steady

so that the culmination
will be silent too and flow
with no trace of devoutness.

Since I must hold to the gradual in
this, as no revolution but a slow change
like the image of snow. The challenge is
not a moral excitement, but the expanse,

the continuing patience
dilating into forms so
much more than compact.

I would probably not even choose to inhabit the
wish as delay: it really is dark and the knowledge
of the unseen is a warmth which spreads into
the level ceremony of diffusion. The quiet

suggests that the act taken
extends so much further, there
is this insurgence of form:

we are more pliant than the mercantile notion
of choice will determine-we go in this way
on and on and the unceasing image of hope
is our place in the world. We live there and now

at night I recognise the signs
of this, the calm is a
modesty about conduct in

the most ethical sense. We disperse into the ether
as waves, we slant down into a precluded notion
of choice which becomes the unlearned habit of
wish: where we live, as we more often are than

we know. If we expand
into this wide personal vacancy
we could become the extent

of all the wishes that are now too far beyond
us. A community of wish, as the steppe
on which the extension would sprinkle out
the ethic density, the compact modern home.

The consequence of this
pastoral desire is prolonged
as our condition, but

I know there is more than the mere wish to
wander at large, since the wish itself diffuses
beyond this and will never end: these are songs
to the night under no affliction, knowing that

the wish is gift to the
spirit, is where we may
dwell as we would

go over and over within the life of the heart
and the grace which is open to both east and west.
These are psalms for the harp and the shining
stone: the negligence and still passion of night.

reverie

2. Despite the skinny ties, rivers of booze, slightly-less-fat-January Joneses, and big houses in Connecticut–everyone one is deeply, irreparably unhappy. Life is so short as to be practically theoretical, and the wisdom of age that is supposed to ease the predations of body only serves to make one fact clearer: absolutely everything is meaningless.

3. That’s what all the lovingly re-created sets and outfits and haircuts and suits and art and cars and booze and Linoleum and Magnavoxes and computers and sleek furniture and tacky furniture and endless plumes of smoke are supposed to tell us: This isn’t a nostalgic reverie. Our sense of being in the present, at the height of social, political, or cultural advancement is a fraud that allows us to live with ourselves (just barely), to wake up every day and light a smoke without anything ever really changing.

I Know No Better World by Ingeborg Bachmann

Who knows of a better world should step forward.
Alone, no longer out of bravery, not wiping away this saliva,
this saliva worn upon the cheek
as if to a coronation, as if redeemed, whether at communion
or among comrades. The weak rabbit,
the rat, and those fallen there, all of them,
no longer alone, but as one, though still afraid,
the dream of returning home
in the dream of armament, in the dream
of returning home.

Stay by Ingeborg Bachmann

Now the journey is ending,
the wind is losing heart.
Into your hands it's falling,
a rickety house of cards.

The cards are backed with pictures
displaying all the world.
You've stacked up all the images
and shuffled them with words.

And how profound the playing
that once again begins!
Stay, the card you're drawing
is the only world you'll win. 

Every Day Poem by Ingeborg Bachmann

War is no longer declared,
only continued. The monstrous
has become everyday. The hero
stays away from battle. The weak
have gone to the front.
The uniform of the day is patience,
its medal the pitiful star of hope above the heart.

The medal is awarded
when nothing more happens,
when the artillery falls silent,
when the enemy has grown invisible
and the shadow of eternal armament
covers the sky.

It is awarded
for desertion of the flag,
for bravery in the face of friends,
for the betrayal of unworthy secrets
and the disregard
of every command.

In The Storm Of Roses Poem by Ingeborg Bachmann

Wherever we turn in the storm of roses,
the night is lit up by thorns, and the thunder
of leaves, once so quiet within the bushes,
rumbling at our heels.

from Those Who Leave and Those Who Stay by Elena Ferrante

At 29 years old, encouraged by her sister-in-law, Lenù reads for the first time Carla Lonzi’s 1970 feminist pamphlet, Let’s Spit on Hegel:

Every sentence struck me, every word, and above all the bold freedom of thought. I forcefully underlined many of the sentences, I made exclamation points, vertical strokes. Spit on Hegel. Spit on the culture of men, spit on Marx, on Engels, on Lenin. And on historical materialism. And on Freud. And on psychoanalysis and penis envy. And on marriage, on family. And on Nazism, on Stalinism, on terrorism. And on war. And on the class struggle. And on the dictatorship of the proletariat. And on socialism. And on Communism. And on the trap of equality. And on all the manifestations of patriarchal culture. And on all its institutional forms. Resist the waste of female intelligence. . . . Restore women to themselves. . . . How is it possible, I wondered, that a woman knows how to think like that. I worked so hard on books, but I endured them, I never actually used them, I never turned them against themselves. This is thinking. This is thinking against. I — after so much exertion — don’t know how to think. . . . Lila, on the other hand, knows. It’s her nature. If she had studied, she would know how to think like this.

from Days of Abandonment by Elena Ferrante

I made an arrogant statement: these women are stupid. Cultured women, in comfortable circumstances, they broke like knick-knacks in the hands of their straying men. They seemed to me sentimental fools: I wanted to be different, I wanted to write stories about women with resources, women of invincible words, not a manual for the abandoned wife with her lost love at the top of her thoughts. I was young, I had pretensions. I didn’t like the impenetrable page, like a lowered blind. I liked light, air between the slats. I wanted to write stories full of breezes, of filtered rays where dust motes danced. And then I loved the writers who made you look through every line, to gaze downward and feel the vertigo of the depths, the blackness of inferno. I said it breathlessly, all in one gulp, which was something I never did, and my teacher smiled ironically, a little bitterly. She, too, must have lost someone, something. And now, more than twenty years later, the same thing was happening to me.

streets of dreams

I have had a recurrent New York dream for the past 20 years. In it, I'm not there in flesh and blood: I'm more a bundle of perceptions and sensations. I'm inside the familiar dream bubble; all sound is magnified, as when your ear presses against the pillow. It's 4 A.M. between time zones. The pavement is damp, glowing yellow-pink from the street lamps. I'm in the weary, worn-down groaning part of town -- Crosby Street, Howard, Walker. The loading docks are waiting for the action to begin.

I'm definitely alone, but there's no urban anguish, no loneliness in my solitude. I am off the hook, luxuriously disembodied, hovering slyly above eye level. I'm out of reach. I swoop and skulk with impunity. The quiet is reverent. No event takes place.

Jeannie Hutchins, writer and performance artist, Carroll Gardens, Brooklyn

http://www.nytimes.com/1998/07/05/nyregion/streets-of-dreams-when-you-re-asleep-new-york-becomes-another-world.html?pagewanted=all&src=longreads

Mutability by Percy Shelley

We are as clouds that veil the midnight moon;
How restlessly they speed, and gleam, and quiver,
Streaking the darkness radiantly!—yet soon
Night closes round, and they are lost forever:

Or like forgotten lyres, whose dissonant strings
Give various response to each varying blast,
To whose frail frame no second motion brings
One mood or modulation like the last.

We rest.—A dream has power to poison sleep;
We rise.—One wandering thought pollutes the day;
We feel, conceive or reason, laugh or weep;
Embrace fond woe, or cast our cares away:

It is the same!—For, be it joy or sorrow,
The path of its departure still is free:
Man's yesterday may ne'er be like his morrow;
Nought may endure but mutability!

Gravity's Rainbow

It means this War was never political at all, the politics was all theatre, all just to keep the people distracted...secretly, it was being dictated instead by the needs of technology...by a conspiracy between human beings and techniques, by something that needed the energy-burst of war.

Get Drunk by Charles Baudelaire

Always be drunk.
That's it!
The great imperative!
In order not to feel
Time's horrid fardel
bruise your shoulders,
grinding you into the earth,
Get drunk and stay that way.
On what?
On wine, poetry, virtue, whatever.
But get drunk.
And if you sometimes happen to wake up
on the porches of a palace,
in the green grass of a ditch,
in the dismal loneliness of your own room,
your drunkenness gone or disappearing,
ask the wind,
the wave,
the star,
the bird,
the clock,
ask everything that flees,
everything that groans
or rolls
or sings,
everything that speaks,
ask what time it is;
and the wind,
the wave,
the star,
the bird,
the clock
will answer you:
"Time to get drunk!
Don't be martyred slaves of Time,
Get drunk!
Stay drunk!
On wine, virtue, poetry, whatever!"

The Moment by Margaret Atwood

The moment when, after many years
of hard work and a long voyage
you stand in the centre of your room,
house, half-acre, square mile, island, country,
knowing at last how you got there,
and say, I own this,

is the same moment when the trees unloose
their soft arms from around you,
the birds take back their language,
the cliffs fissure and collapse,
the air moves back from you like a wave
and you can't breathe.

No, they whisper. You own nothing.
You were a visitor, time after time
climbing the hill, planting the flag, proclaiming.
We never belonged to you.
You never found us.
It was always the other way round.

Larksong by Douglas Dunn

A laverock in its house of air is singing
May morning, May morning, and its trills drift
High on the flatland's abstract hill
In the down-below of England.
I am the aerial photograph it takes of me
On a sonar landscape
And it notates my sorrow
In Holderness, where summer frost
Melts from the green like her departing ghost

Anniversaries by Douglas Dunn

Day by nomadic day
Our anniversaries go by,
Dates anchored in an inner sky,
To utmost ground, interior clay.
It was September blue
When I walked with you first, my love,
In Roukenglen and Kelvingrove,
Inchinnan's beech-wood avenue.
That day will still exist
Long after I have joined you where
Rings radiate the dusty air
And bangles bind each powdered wrist.
Here comes that day again.
What shall I do? Instruct me, dear,
Longanimous encourager,
Sweet soul in the athletic rain
And wife now to the weather.

How should we meditate?

Buddha replied, “Whatsoever you do, do it with awareness; this is meditation. Walking, walk attentively, as if walking is everything; eating, eat with awareness, as if eating is everything; rising, rise with awareness; sitting, sit with awareness. All your actions become conscious, your mind does not travel beyond this moment, it remains in the moment, settles in the moment – this is meditation.

Neruda

"I love you straightforwardly, without complexities or pride; so I love you because I know no other way than this: where I does not exist, nor you, so close that your hand on my chest is my hand, so close that your eyes close as I fall asleep."

Friendship by Octavio Paz

It is the awaited hour
Over the table falls
Interminably
The lamp’s spread hair
Night turns the window to immensity
There is no one here
Presence without name surrounds me

portnoys complaint

He had learned the worst lesson that life can teach - that it makes no sense. And when that happens the happiness is never spontaneous again. It is artificial and, even then, bought at the price of an obstinate estrangement from oneself and one's history.

Loves Exquisite Freedom by Maya Angelou

We, unaccustomed to courage
exiles from delight
live coiled in shells of loneliness
until love leaves its high holy temple
and comes into our sight
to liberate us into life.

Love arrives
and in its train come ecstasies
old memories of pleasure
ancient histories of pain.
Yet if we are bold,
love strikes away the chains of fear
from our souls.

We are weaned from our timidity
In the flush of love's light
we dare be brave
And suddenly we see
that love costs all we are
and will ever be.
Yet it is only love
which sets us free.

Gratefulness by Dale Biron

Each day the engine of my gratefulness
must be coaxed and primed into action.
Of course like any old clunker,
it would just as soon stay put.
For even after the labored start beats the inertia,
and the plume of white smoke struggles upward,
the same hills always appear,
soaring daily—tall and ominous as before.
There is the long slow hill of “aging”
so gradual and smooth at first.
And then that steep grade called “the news.”
Yes, and always some mountain of a war
looming out there, never too far in the distance.
Even an old idea or a feeling long abandoned
might conspire to halt this fragile progress –
valves sputtering, tires flattening, clutch slipping.
But the old “potato, potato, potato” sound
of the engine, and all its mysterious fuel,
for which I am truly grateful
somehow
keeps stumbling along.

Ah Ah by Joy Harjo

Ah, ah cries the crow arching toward the heavy sky over the marina.
Lands on the crown of the palm tree.

Ah, ah slaps the urgent cove of ocean swimming through the slips.
We carry canoes to the edge of the salt.

Ah, ah groans the crew with the weight, the winds cutting skin.
We claim our seats. Pelicans perch in the draft for fish.

Ah, ah beats our lungs and we are racing into the waves.
Though there are worlds below us and above us, we are straight ahead.

Ah, ah tatttoos the engines of your plane against the sky—away from these
       waters.
Each paddle stroke follows the curve from reach to loss.

Ah, ah calls the sun from a fishing boat with a pale, yellow sail. We fly by
on our return, over the net of eternity thrown out for stars.

Pray for Peace by Ellen Bass

Pray to whomever you kneel down to:
Jesus nailed to his wooden or plastic cross,
his suffering face bent to kiss you,
Buddha still under the bo tree in scorching heat,
Adonai, Allah. Raise your arms to Mary
that she may lay her palm on our brows,
to Shekhina, Queen of Heaven and Earth,
to Inanna in her stripped descent.

Then pray to the bus driver who takes you to work.
On the bus, pray for everyone riding that bus,
for everyone riding buses all over the world.
Drop some silver and pray.

Waiting in line for the movies, for the ATM,
for your latte and croissant, offer your plea.
Make your eating and drinking a supplication.
Make your slicing of carrots a holy act,
each translucent layer of the onion, a deeper prayer.

To Hawk or Wolf, or the Great Whale, pray.
Bow down to terriers and shepherds and Siamese cats.
Fields of artichokes and elegant strawberries.

Make the brushing of your hair
a prayer, every strand its own voice,
singing in the choir on your head.
As you wash your face, the water slipping
through your fingers, a prayer: Water,
softest thing on earth, gentleness
that wears away rock.

Making love, of course, is already prayer.
Skin, and open mouths worshipping that skin,
the fragile cases we are poured into.

If you’re hungry, pray. If you’re tired.
Pray to Gandhi and Dorothy Day.
Shakespeare. Sappho. Sojourner Truth.

When you walk to your car, to the mailbox,
to the video store, let each step
be a prayer that we all keep our legs,
that we do not blow off anyone else’s legs.
Or crush their skulls.
And if you are riding on a bicycle
or a skateboard, in a wheelchair, each revolution
of the wheels a prayer as the earth revolves:
less harm, less harm, less harm.

And as you work, typing with a new manicure,
a tiny palm tree painted on one pearlescent nail
or delivering soda or drawing good blood
into rubber-capped vials, writing on a blackboard
with yellow chalk, twirling pizzas—

With each breath in, take in the faith of those
who have believed when belief seemed foolish,
who persevered. With each breath out, cherish.

Pull weeds for peace, turn over in your sleep for peace,
feed the birds, each shiny seed
that spills onto the earth, another second of peace.
Wash your dishes, call your mother, drink wine.

Shovel leaves or snow or trash from your sidewalk.
Make a path. Fold a photo of a dead child
around your VISA card. Scoop your holy water
from the gutter. Gnaw your crust.
Mumble along like a crazy person, stumbling
your prayer through the streets.