The word was born in the blood, grew in the dark body, beating, and took flight through the lips and the mouth. Farther away and nearer still, still it came from dead fathers and from wondering races, from lands which had turned to stone, lands weary of their poor tribes, for when grief took to the roads the people set out and arrived and married new land and water to grow their words again. And so this is the inheritance; this is the wavelength which connects us with dead men and the dawning of new beings not yet come to light.
|
In the bleak midwinter Frosty wind made moan, Earth stood hard as iron, Water like a stone; Snow had fallen, snow on snow, Snow on snow, In the bleak midwinter, Long ago.
|
Morning Is Yellow Like A Desk Is Square
He always wanted to explain things. But no one cared. So he drew. Sometimes he would draw and it wasn't anything. He wanted to carve it in stone or write it in the sky. He would lie out on the grass and look up in the sky. And it would be only him and the sky and the things inside him that needed saying. And it was after that he drew the picture. It was a beautiful picture. He kept it under his pillow and would let no one see it. And he would look at it every night and think about it. And when it was dark, and his eyes were closed, he could still see it. And it was all of him. And he loved it. When he started school he brought it with him. Not to show anyone, but just to have with him like a friend. It was funny about school. He sat in a square brown desk Like all the other square brown desks And he thought it should be red And his room was a square brown room. Like all the other rooms. And it was tight and close. And stiff. He hated to hold the pencil and chalk, With his arm stiff and his feet flat on the floor. Stiff. With the teacher watching and watching. The teacher came and spoke to him. She told him to wear a tie like all the other boys. He said he didn't like them. And she said it didn't matter. After that they drew. And he drew all yellow and it was the way he felt about morning. And it was beautiful. The teacher came and smiled at him. 'What's this?' she said. 'Why don't you draw something like Ken's drawing? Isn't it beatiful?' After that his mother bought him a tie. And he always drew airplanes and rocket ships like everyone else. And he threw the old picture away. And when he lay alone looking at the sky, It was big and blue and all of everything, But he wasn't anymore. He was square inside. And brown. And his hands were stiff. And he was like everyone else. And the things inside him that needed saying didn't need it anymore. It had stopped pushing. It was crushed. Stiff. Like everything else.
|
And were an epitaph to be my story I'd have a short one ready for my own. I would have written of me on my stone: I had a lover's quarrel with the world.
|
'In the bad old days reference to Blacks/women/Jews/others were in negative language which perpetuated poor treatment/ abuse/ exploitation of these people. Animals have suffered more from negative language stereotyping than all the others, and demeans them so constantly that they created an environment that allows all sorts of cruelties, many too horrendous to describe! An animal is 'it' instead of 'he' or 'she', this perpetuates our view of them as 'things' rather than individuals and is a major first step towards cutting them up for meat and leather, testing drugs/cosmetics/ household products on their bodies, and tearing off their coats for furs!!! Those who have pets are referred to as 'owners' rather than guardians/care givers/companions, reinforcing the idea that they are property much as slaves were considered property. Let's avoid these references: Dirty rat; filthy pig; acting like an ass; dirty dog; she's a bitch; ugly duckling; there's more than one way to skin a cat; behaving like an animal; making a monkey out of someone; killing 2 birds with one stone; working like a horse, you're chicken ... There are many more! Please think before uttering them and tell others. Thank you!'
|
Out of the closets and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief... Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louver! A bas l Originality, the sterile and assertive ego that imprisons us as it creates. Vive le sol -- pure, shameless, total. We are not responsible. Steal anything in sight.
|
Ah, to build, to build! That is the noblest art of all the arts. Painting and sculpture are but images, are merely shadows cast by outward things on stone or canvas, having in themselves no separate existence. Architecture, existing in itself, and not in seeming a something it is not, surpasses them as substance shadow.
|
As a huge stone is sometimes seen to lie/ Couched on the bald top of an eminence.
|
For those who believe in God, most of the big questions are answered. But for those of us who can't readily accept the God formula, the big answers don't remain stone-written. We adjust to new conditions and discoveries. We are pliable. Love need not be a command or faith a dictum. I am my own God. We are here to unlearn the teachings of the church, state, and our educational system. We are here to drink beer. We are here to kill war. We are here to laugh at the odds and live our lives so well that Death will tremble to take us.
|
God is seen God In the star, in the stone, in the flesh, in the soul and the clod
|
After the bare requisites of living and reproducing, man wants most to leave some record of himself, a proof, perhaps, that he has really existed. He leaves his proof on wood, on stone, or on the lives of other people. This deep desire exists in everyone, from the boy who scribbles on a wall to the Buddha who etches his image in the race mind. Life is so unreal. I think that we seriously doubt that we exist and go about trying to prove that we do.
|
In the park I did dwell, I met a boy I didn't know so well. He came and stole my heart from me, And now that boy has set me free. I ran and cried on my bed, Not a word to mom I had said. My father came home late the night, And searched for me from left to right. He came to my door which he had broke, And found me hanging from a rope. He got a knife and cut me down, And upon my legs a note he found. 'Dig my grave and dig it deep, marble stone from head to feet. Upon my grave place a dove to show the world I died for love.'
|
Through all these new, imaginative, and creative approaches to the problem of sharing our earth with other creatures there runs a constant theme, the awareness that we are dealing with life with living populations and all their pressures and counter pressures, their surges and recessions. Only by taking account of such life forces and by cautiously seeking to guide them into channels favorable to ourselves can we hope to achieve a reasonable accommodation between the insect hordes and ourselves. The current vogue for poisons has failed utterly to take into account these most fundamental considerations. As crude a weapon as the cave man's club, the chemical barrage has been hurled against the fabric of life a fabric on the one hand delicate and destructible, on the other miraculously tough and resilient, and capable of striking back in unexpected ways. These extraordinary capacities of life have been ignored by the practitioners of chemical control who have brought to their task no high-minded orientation, no humility before the vast forces with which they tamper. The control of nature is a phrase conceived in arrogance, born of the Neanderthal age of biology and philosophy, when it was supposed that nature exists for the convenience of man. The concepts and practices of applied entomology for the most part date from that Stone Age of science. It is our alarming misfortune that so primitive a science has armed itself with the most modem and terrible weapons, and that in turning them against the insects it has also turned them against the earth.
|
'A medical myth is an aggressive defensive device used by orthodox medicine to retain the status quo and impede progress in the introduction of new and valuable therapies. ....The myth originates in some inadequate sloppy in vitro or animal experimental work from which unwarranted broad conclusions are drawn as to possible effects on man. There is never any hard human evidence involved, just pure speculation. The second step is that the news media pick it up and being more interested in sensationalism than in facts, magnify these speculations and terrify a gullible public. Further repetition of these unwarranted conclusions by the medical press gives them the status of medical dogma to be quoted and requoted.'--
|
Human memory is a marvelous but fallacious instrument. The memories which lie within us are not carved in stone; not only do they tend to become erased as the years go by, but often they change, or even increase by incorporating extraneous features.
|
From the moment of birth, when the stone-age baby confronts the twentieth-century mother, the baby is subjected to these forces of violence, called love, as its mother and father have been, and their parents and their parents before them. These forces are mainly concerned with destroying most of its potentialities. This enterprise is on the whole successful.
|
A lonely man is a lonesome thing, a stone, a bone, a stick, a receptacle for Gilbey's gin, a stooped figure sitting at the edge of a hotel bed, heaving copious sighs like the autumn wind.
|
Delores breezed along the surface of her life like a flat stone forever skipping along smooth water, rippling reality sporadically but oblivious to it consistently, until she finally lost momentum, sank, and due to an over- dose of flouride as a child which caused her to suffer from chronic apathy, doomed herself to lie forever on the floor of her life as useless as an appendix and as lonely as a five-hundred pound barbell in a steroid-free fitness center.
|
Night, Night. Tellmetale of stem or stone. Beside the rivering waters of hitherandthithering waters of the Night!
|
Leave no stone unturned.
|
This royal throne of kings, this sceptred isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by Nature for herself Against infection and the hand of war, This happy breed of men, this little world, This precious stone set in the silver sea, Which serves it in the office of a wall Or as a moat defensive to a house, Against the envy of less happier lands,-- This blessed plot, this earth, this realm, this England.
|
A Haiku is just like a normal American poem except that it doesn't rhyme and it's totally stupid.
|
A nickname is the heaviest stone that the devil can throw at a man. It is a bugbear to the imagination, and, though we do not believe in it, it still haunts our apprehensions.
|
With aching hands and bleeding feet We dig and heap, lay stone on stone; We bear the burden and the heat Of the long day, and wish 'twere done. Not till the hours of light return All we have built as we discern.
|
Nothing is built on stone; all is built on sand, but we must build as if the sand were stone.
|
We may be through with the past, but the past is not through with us. Ideas of the Stone Age exist side by side with the latest scientific thought. Only a fraction of mankind has emerged from the Dark Ages, and in the most lucid brains, as Logan Pearsall Smith has said, we come upon nests of woolly caterpillars. Seemingly sane men entrust their wealth to stargazers and their health to witch doctors. Giant planes throb through the stratosphere, but half their passengers are wearing magic amulets and are protected from harm by voodoo incantations. Hotels boast of express elevators and a telephone in every room, but omit thirteen from all floor and room numbers lest their guests be ill at ease.
|
Feminist art is not some tiny creek running off the great river of real art. It is not some crack in an otherwise flawless stone. It is, quite spectacularly I think, art which is not based on the subjugation of one half of the species. It is art which will take the great human themes --love, death, heroism, suffering, history itself --and render them fully human. It may also, though perhaps our imaginations are so mutilated now that we are incapable even of the ambition, introduce a new theme, one as great and as rich as those others --should we call it joy?
|
These funeral-cakes of sweet and sculptured stone.
|
Stone walls do not a prison make, Nor iron bars a cage;...
|
Nothing is built on stone all is built on sand, but we must build as if the sand were stone.
|