Quotes by Poets - Page 60

To HelenI saw thee once-once only-years ago;I must not say how many-but not many.It was a july midnight; and from outA full-orbed moon, that, like thine own soul, soaring,Sought a precipitate pathway up through heaven,There fell a silvery-silken veil of light,With quietude, and sultriness, and slumberUpon the upturn'd faces of a thousandRoses that grew in an enchanted garden,Where no wind dared to stir, unless on tiptoe-Fell on the upturn'd faces of these rosesThat gave out, in return for the love-lightThier odorous souls in an ecstatic death-Fell on the upturn'd faces of these rosesThat smiled and died in this parterre, enchanted by thee, by the poetry of thy prescence.Clad all in white, upon a violet bank I saw thee half reclining; while the moonFell on the upturn'd faces of the rosesAnd on thine own, upturn'd-alas, in sorrow!Was it not Fate that, on this july midnight-Was it not Fate (whose name is also sorrow)That bade me pause before that garden-gate,To breathe the incense of those slumbering roses?No footstep stirred; the hated world all slept,Save only thee and me. (Oh Heaven- oh, God! How my heart beats in coupling those two worlds!)Save only thee and me. I paused- I looked-And in an instant all things disappeared.(Ah, bear in mind this garden was enchanted!)The pearly lustre of the moon went out;The mossy banks and the meandering paths,The happy flowers and the repining trees,Were seen no more: the very roses' odorsDied in the arms of the adoring airs.All- all expired save thee- save less than thou:Save only the divine light in thine eyes-Save but the soul in thine uplifted eyes.I saw but them- they were the world to me.I saw but them- saw only them for hours-Saw only them until the moon went down.What wild heart-histories seemed to lie enwrittenUpon those crystalline, celestial spheres!How dark a woe! yet how sublime a hope!How silently serene a sea of pride!How daring an ambition!yet how deep-How fathomless a capacity for love!But now, at length, dear Dian sank from sight,Into western couch of thunder-cloud;And thou, a ghost, amid the entombing treesDidst glide away. Only thine eyes remained.They would not go- they never yet have gone.Lighting my lonely pathway home that night,They have not left me (as my hopes have) since.They follow me- they lead me through the years.They are my ministers- yet I thier slaveThier office is to illumine and enkindle-My duty, to be saved by thier bright light,And purified in thier electric fire,And sanctified in thier Elysian fire.They fill my soul with Beauty (which is Hope),And are far up in heaven- the stars I kneel toIn the sad, silent watches of my night;While even in the meridian glare of dayI see them still- two sweetly scintillantVenuses, unextinguished by the sun!
I want you to tell me about every person you’ve ever been in love with.Tell me why you loved them,then tell me why they loved you.Tell me about a day in your life you didn’t think you’d live through.Tell me what the word home means to youand tell me in a way that I’ll know your mother’s namejust by the way you describe your bedroomwhen you were eight.See, I want to know the first time you felt the weight of hate,and if that day still trembles beneath your bones.Do you prefer to play in puddles of rainor bounce in the bellies of snow?And if you were to build a snowman,would you rip two branches from a tree to build your snowman armsor would leave your snowman armlessfor the sake of being harmless to the tree?And if you would,would you notice how that tree weeps for youbecause your snowman has no arms to hug youevery time you kiss him on the cheek?Do you kiss your friends on the cheek?Do you sleep beside them when they’re sadeven if it makes your lover mad?Do you think that anger is a sincere emotionor just the timid motion of a fragile heart trying to beat away its pain?See, I wanna know what you think of your first name,and if you often lie awake at night and imagine your mother’s joywhen she spoke it for the very first time.I want you to tell me all the ways you’ve been unkind.Tell me all the ways you’ve been cruel.Tell me, knowing I often picture Gandhi at ten years oldbeating up little boys at school.If you were walking by a chemical plantwhere smokestacks were filling the sky with dark black cloudswould you holler “Poison! Poison! Poison!” really loudor would you whisper“That cloud looks like a fish,and that cloud looks like a fairy!”Do you believe that Mary was really a virgin?Do you believe that Moses really parted the sea?And if you don’t believe in miracles, tell me —how would you explain the miracle of my life to me?See, I wanna know if you believe in any godor if you believe in many godsor better yetwhat gods believe in you.And for all the times that you’ve knelt before the temple of yourself,have the prayers you asked come true?And if they didn’t, did you feel denied?And if you felt denied,denied by who?I wanna know what you see when you look in the mirroron a day you’re feeling good.I wanna know what you see when you look in the mirroron a day you’re feeling bad.I wanna know the first person who taught you your beautycould ever be reflected on a lousy piece of glass.If you ever reach enlightenmentwill you remember how to laugh?Have you ever been a song?Would you think less of meif I told you I’ve lived my entire life a little off-key?And I’m not nearly as smart as my poetryI just plagiarize the thoughts of the people around mewho have learned the wisdom of silence.Do you believe that concrete perpetuates violence?And if you do —I want you to tell me of a meadowwhere my skateboard will soar.See, I wanna know more than what you do for a living.I wanna know how much of your life you spend just giving,and if you love yourself enough to also receive sometimes.I wanna know if you bleed sometimesfrom other people’s wounds,and if you dream sometimesthat this life is just a balloon —that if you wanted to, you could pop,but you never would‘cause you’d never want it to stop.If a tree fell in the forestand you were the only one there to hear —if its fall to the ground didn’t make a sound,would you panic in fear that you didn’t exist,or would you bask in the bliss of your nothingness?And lastly, let me ask you this:If you and I went for a walkand the entire walk, we didn’t talk —do you think eventually, we’d… kiss?No, wait.That’s asking too much —after all,this is only our first date.
For JennAt 12 years old I started bleeding with the moonand beating up boys who dreamed of becoming astronauts.I fought with my knuckles white as stars,and left bruises the shape of Salem.There are things we know by heart,and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke.I'd watch the nicotine rising from her lips like halos,but I could never make dying beautiful.The sky didn't fill with colors the night I convinced myselfveins are kite strings you can only cut free.I suppose I love this life,in spite of my clenched fist.I open my palm and my lifelines look like branches from an Aspen tree,and there are songbirds perched on the tips of my fingers,and I wonder if Beethoven held his breaththe first time his fingers touched the keysthe same way a soldier holds his breaththe first time his finger clicks the trigger.We all have different reasons for forgetting to breathe.But my lungs rememberthe day my mother took my hand and placed it on her bellyand told me the symphony beneath was my baby sister's heartbeat.And I knew life would tremblelike the first tear on a prison guard's hardened cheek,like a prayer on a dying man's lips,like a vet holding a full bottle of whisky like an empty gun in a war zone…just take me just take meSometimes the scales themselves weigh far too much,the heaviness of forever balancing blue sky with red blood.We were all born on days when too many people died in terrible ways,but you still have to call it a birthday.You still have to fall for the prettiest girl on the playground at recessand hope she knows you can hit a baseballfurther than any boy in the whole third gradeand I've been running for homethrough the windpipe of a man who singswhile his hands playing washboard with a spoonon a street corner in New Orleanswhere every boarded up window is still painted with the wordsWe're Coming Backlike a promise to the oceanthat we will always keep moving towards the music,the way Basquait slept in a cardboard box to be closer to the rain.Beauty, catch me on your tongue. Thunder, clap us open.The pupils in our eyes were not born to hide beneath their desks.Tonight lay us down to rest in the Arizona desert,then wake us washing the feet of pregnant womenwho climbed across the border with their bellies aimed towards the sun.I know a thousand things louder than a soldier's gun.I know the heartbeat of his mother.Don't cover your ears, Love.Don't cover your ears, Life.There is a boy writing poems in Central Parkand as he writes he movesand his bones become the bars of Mandela's jail cell stretching apart,and there are men playing chess in the December coldwho can't tell if the breath rising from the boardis their opponents or their own,and there's a woman on the stairwell of the subwayswearing she can hear Niagara Falls from her rooftop in Brooklyn,and I'm remembering how Niagara Falls is a city overrunwith strip malls and traffic and vendorsand one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect.I am not the type to mistake a streetlight for the moon.I know our wounds are deep as the Atlantic.But every ocean has a shorelineand every shoreline has a tidethat is constantly returningto wake the songbirds in our hands, to wake the music in our bones,to place one fearless kiss on the mouth of that brave riverthat has to run through the center of our heartsto find its way home.
As I finished my rice, I sketched out the plot of a pornographic adventure film called The Massage Room. Sirien, a young girl from northern Thailand, falls hopelessly in love with Bob, an American student who winds up in the massage parlor by accident, dragged there by his buddies after a fatefully boozy evening. Bob doesn't touch her, he's happy just to look at her with his lovely, pale-blue eyes and tell her about his hometown - in North Carolina, or somewhere like that. They see each other several more times, whenever Sirien isn't working, but, sadly, Bob must leave to finish his senior year at Yale. Ellipsis. Sirien waits expectantly while continuing to satisfy the needs of her numerous clients. Though pure at heart, she fervently jerks off and sucks paunchy, mustached Frenchmen (supporting role for Gerard Jugnot), corpulent, bald Germans (supporting role for some German actor). Finally, Bob returns and tries to free her from her hell - but the Chinese mafia doesn't see things in quite the same light. Bob persuades the American ambassador and the president of some humanitarian organization opposed to the exploitation of young girls to intervene (supporting role for Jane Fonda). What with the Chinese mafia (hint at the Triads) and the collusion of Thai generals (political angle, appeal to democratic values), there would be a lot of fight scenes and chase sequences through the streets of Bangkok. At the end of the day, Bob carries her off. But in the penultimate scene, Sirien gives, for the first time, an honest account of the extent of her sexual experience. All the cocks she has sucked as a humble massage parlor employee, she has sucked in the anticipation, in the hope of sucking Bob's cock, into which all the others were subsumed - well, I'd have to work on the dialogue. Cross fade between the two rivers (the Chao Phraya, the Delaware). Closing credits. For the European market, I already had line in mind, along the lines of "If you liked The Music Room, you'll love The Massage Room.