Rabindranath Tagore |
Art thou abroad on this stormy night
on thy journey of love, my friend?
The sky groans like one in despair.
I have no sleep tonight.
Ever and again I open my door and look out on
the darkness, my friend!
I can see nothing before me.
I wonder where lies thy path!
By what dim shore of the ink-black river,
by what far edge of the frowning forest,
through what mazy depth of gloom art thou threading
thy course to come to me, my friend?
William Wordsworth |
An Evening Scene on the Same Subject
Up! up! my Friend, and quit your books;
Or surely you'll grow double:
Up! up! my Friend, and clear your looks;
Why all this toil and trouble?
The sun, above the mountain's head,
A freshening lustre mellow
Through all the long green fields has spread,
His first sweet evening yellow.
Books! 'tis a dull and endless strife:
Come, hear the woodland linnet,
How sweet his music! on my life,
There's more of wisdom in it.
And hark! how blithe the throstle sings!
He, too, is no mean preacher:
Come forth into the light of things,
Let Nature be your Teacher.
She has a world of ready wealth,
Our minds and hearts to bless—
Spontaneous wisdom breathed by health,
Truth breathed by cheerfulness.
One impulse from a vernal wood
May teach you more of man,
Of moral evil and of good,
Than all the sages can.
Sweet is the lore which Nature brings;
Our meddling intellect
Mis-shapes the beauteous forms of things:—
We murder to dissect.
Enough of Science and of Art;
Close up those barren leaves;
Come forth, and bring with you a heart
That watches and receives.
Tupac Shakur |
Sometimes when I'm alone
Cause I am on my own.
The tears I cry are bitter and warm.
They flow with life but take no form
I Cry because my heart is torn.
I find it difficult to carry on.
If I had an ear to confide in,
I would cry among my treasured friend,
but who do you know that stops that long,
to help another carry on.
The world moves fast and it would rather pass by.
Then to stop and see what makes one cry,
so painful and sad.
and no one cares about why.
Robert William Service |
Smith, great writer of stories, drank; found it immortalized his pen;
Fused in his brain-pan, else a blank, heavens of glory now and then;
Gave him the magical genius touch; God-given power to gouge out, fling
Flat in your face a soul-thought -- Bing!
Twiddle your heart-strings in his clutch.
"Bah!" said Smith, "let my body lie
stripped to the buff in swinish shame,
If I can blaze in the radiant sky out of adoring stars my name.
Sober am I nonentitized; drunk am I more than half a god.
Well, let the flesh be sacrificed; spirit shall speak and shame the clod.
Who would not gladly, gladly give Life to do one thing that will live?"
Smith had a friend, we'll call him Brown; dearer than brothers were those two.
When in the wassail Smith would drown, Brown would rescue and pull him through.
When Brown was needful Smith would lend; so it fell as the years went by,
Each on the other would depend: then at the last Smith came to die.
There Brown sat in the sick man's room, still as a stone in his despair;
Smith bent on him his eyes of doom, shook back his lion mane of hair;
Said: "Is there one in my chosen line, writer of forthright tales my peer?
Look in that little desk of mine; there is a package, bring it here.
Story of stories, gem of all; essence and triumph, key and clue;
Tale of a loving woman's fall; soul swept hell-ward, and God! it's true.
I was the man -- Oh, yes, I've paid, paid with mighty and mordant pain.
Look! here's the masterpiece I've made out of my sin, my manhood slain.
Art supreme! yet the world would stare, know my mistress and blaze my shame.
I have a wife and daughter -- there! take it and thrust it in the flame.
Brown answered: "Master, you have dipped pen in your heart, your phrases sear.
Ruthless, unflinching, you have stripped naked your soul and set it here.
Have I not loved you well and true? See! between us the shadows drift;
This bit of blood and tears means You -- oh, let me have it, a parting gift.
Sacred I'll hold it, a trust divine; sacred your honour, her dark despair;
Never shall it see printed line: here, by the living God I swear.
Brown on a Bible laid his hand; Smith, great writer of stories, sighed:
"Comrade, I trust you, and understand.
Keep my secret!" And so he died.
Smith was buried -- up soared his sales; lured you his books in every store;
Exquisite, whimsy, heart-wrung tales; men devoured them and craved for more.
So when it slyly got about Brown had a posthumous manuscript,
Jones, the publisher, sought him out, into his pocket deep he dipped.
"A thousand dollars?" Brown shook his head.
"The story is not for sale, " he said.
Jones went away, then others came.
Tempted and taunted, Brown was true.
Guarded at friendship's shrine the fame of the unpublished story grew and grew.
It's a long, long lane that has no end, but some lanes end in the Potter's field;
Smith to Brown had been more than friend: patron, protector, spur and shield.
Poor, loving-wistful, dreamy Brown, long and lean, with a smile askew,
Friendless he wandered up and down, gaunt as a wolf, as hungry too.
Brown with his lilt of saucy rhyme, Brown with his tilt of tender mirth
Garretless in the gloom and grime, singing his glad, mad songs of earth:
So at last with a faith divine, down and down to the Hunger-line.
There as he stood in a woeful plight, tears a-freeze on his sharp cheek-bones,
Who should chance to behold his plight, but the publisher, the plethoric Jones;
Peered at him for a little while, held out a bill: "NOW, will you sell?"
Brown scanned it with his twisted smile: "A thousand dollars! you go to hell!"
Brown enrolled in the homeless host, sleeping anywhere, anywhen;
Suffered, strove, became a ghost, slave of the lamp for other men;
For What's-his-name and So-and-so in the abyss his soul he stripped,
Yet in his want, his worst of woe, held he fast to the manuscript.
Then one day as he chewed his pen, half in hunger and half despair,
Creaked the door of his garret den; Dick, his brother, was standing there.
Down on the pallet bed he sank, ashen his face, his voice a wail:
"Save me, brother! I've robbed the bank; to-morrow it's ruin, capture, gaol.
Yet there's a chance: I could to-day pay back the money, save our name;
You have a manuscript, they say, worth a thousand -- think, man! the shame.
Brown with his heart pain-pierced the while, with his stern, starved face,
and his lips stone-pale,
Shuddered and smiled his twisted smile: "Brother, I guess you go to gaol.
While poor Brown in the leer of dawn wrestled with God for the sacred fire,
Came there a woman weak and wan, out of the mob, the murk, the mire;
Frail as a reed, a fellow ghost, weary with woe, with sorrowing;
Two pale souls in the legion lost; lo! Love bent with a tender wing,
Taught them a joy so deep, so true, it seemed that the whole-world fabric shook,
Thrilled and dissolved in radiant dew; then Brown made him a golden book,
Full of the faith that Life is good, that the earth is a dream divinely fair,
Lauding his gem of womanhood in many a lyric rich and rare;
Took it to Jones, who shook his head: "I will consider it," he said.
While he considered, Brown's wife lay clutched in the tentacles of pain;
Then came the doctor, grave and grey; spoke of decline, of nervous strain;
Hinted Egypt, the South of France -- Brown with terror was tiger-gripped.
Where was the money? What the chance? Pitiful God! .
A thousand dollars! his only hope! he gazed and gazed at the garret wall.
Reached at last for the envelope, turned to his wife and told her all.
Told of his friend, his promise true; told like his very heart would break:
"Oh, my dearest! what shall I do? shall I not sell it for your sake?"
Ghostlike she lay, as still as doom; turned to the wall her weary head;
Icy-cold in the pallid gloom, silent as death .
at last she said:
"Do! my husband? Keep your vow! Guard his secret and let me die.
Oh, my dear, I must tell you now -- the women he loved and wronged was I;
Darling! I haven't long to live: I never told you -- forgive, forgive!"
For a long, long time Brown did not speak; sat bleak-browed in the wretched room;
Slowly a tear stole down his cheek, and he kissed her hand in the dismal gloom.
To break his oath, to brand her shame; his well-loved friend, his worshipped wife;
To keep his vow, to save her name, yet at the cost of what? Her life!
A moment's space did he hesitate, a moment of pain and dread and doubt,
Then he broke the seals, and, stern as fate, unfolded the sheets and spread them out.
On his knees by her side he limply sank, peering amazed -- each page was blank.
(For oh, the supremest of our art are the stories we do not dare to tell,
Locked in the silence of the heart, for the awful records of Heav'n and Hell.
Yet those two in the silence there, seemed less weariful than before.
Hark! a step on the garret stair, a postman knocks at the flimsy door.
"Registered letter!" Brown thrills with fear; opens, and reads, then bends above:
"Glorious tidings! Egypt, dear! The book is accepted -- life and love.
Matthew Arnold |
Who prop, thou ask'st in these bad days, my mind?--
He much, the old man, who, clearest-souled of men,
Saw The Wide Prospect, and the Asian Fen,
And Tmolus hill, and Smyrna bay, though blind.
Much he, whose friendship I not long since won,
That halting slave, who in Nicopolis
Taught Arrian, when Vespasian's brutal son
Cleared Rome of what most shamed him.
But be his
My special thanks, whose even-balanced soul,
From first youth tested up to extreme old age,
Business could not make dull, nor passion wild;
Who saw life steadily, and saw it whole;
The mellow glory of the Attic stage,
Singer of sweet Colonus, and its child.
Robert Pinsky |
to Robert Hass and in memory of Elliot Gilbert
Slow dulcimer, gavotte and bow, in autumn,
Bashõ and his friends go out to view the moon;
In summer, gasoline rainbow in the gutter,
The secret courtesy that courses like ichor
Through the old form of the rude, full-scale joke,
Impossible to tell in writing.
He named himself, "Banana Tree": banana
After the plant some grateful students gave him,
Maybe in appreciation of his guidance
Threading a long night through the rules and channels
Of their collaborative linking-poem
Scored in their teacher's heart: live, rigid, fluid
Like passages etched in a microscopic cicuit.
Elliot had in his memory so many jokes
They seemed to breed like microbes in a culture
Inside his brain, one so much making another
It was impossible to tell them all:
In the court-culture of jokes, a top banana.
Imagine a court of one: the queen a young mother,
Unhappy, alone all day with her firstborn child
And her new baby in a squalid apartment
Of too few rooms, a different race from her neighbors.
She tells the child she's going to kill herself.
She broods, she rages.
Hoping to distract her,
The child cuts capers, he sings, he does imitations
Of different people in the building, he jokes,
He feels if he keeps her alive until the father
Gets home from work, they'll be okay till morning.
It's laughter versus the bedroom and the pills.
What is he in his efforts but a courtier?
Impossible to tell his whole delusion.
In the first months when I had moved back East
From California and had to leave a message
On Bob's machine, I used to make a habit
Of telling the tape a joke; and part-way through,
I would pretend that I forgot the punchline,
Or make believe that I was interrupted--
As though he'd be so eager to hear the end
He'd have to call me back.
The joke was Elliot's,
More often than not.
The doctors made the blunder
That killed him some time later that same year.
One day when I got home I found a message
On my machine from Bob.
He had a story
About two rabbis, one of them tall, one short,
One day while walking along the street together
They see the corpse of a Chinese man before them,
And Bob said, sorry, he forgot the rest.
Of course he thought that his joke was a dummy,
Impossible to tell--a dead-end challenge.
But here it is, as Elliot told it to me:
The dead man's widow came to the rabbis weeping,
Begging them, if they could, to resurrect him.
Shocked, the tall rabbi said absolutely not.
But the short rabbi told her to bring the body
Into the study house, and ordered the shutters
Closed so the room was night-dark.
Then he prayed
Over the body, chanting a secret blessing
Out of Kabala.
"Arise and breathe," he shouted;
But nothing happened.
The body lay still.
The little rabbi called for hundreds of candles
And danced around the body, chanting and praying
In Hebrew, then Yiddish, then Aramaic.
In Turkish and Egyptian and Old Galician
For nearly three hours, leaping about the coffin
In the candlelight so that his tiny black shoes
Seemed not to touch the floor.
With one last prayer
Sobbed in the Spanish of before the Inquisition
He stopped, exhausted, and looked in the dead man's face.
Panting, he raised both arms in a mystic gesture
And said, "Arise and breathe!" And still the body
Lay as before.
Impossible to tell
In words how Elliot's eyebrows flailed and snorted
Like shaggy mammoths as--the Chinese widow
Granting permission--the little rabbi sang
The blessing for performing a circumcision
And removed the dead man's foreskin, chanting blessings
In Finnish and Swahili, and bathed the corpse
From head to foot, and with a final prayer
In Babylonian, gasping with exhaustion,
He seized the dead man's head and kissed the lips
And dropped it again and leaping back commanded,
"Arise and breathe!" The corpse lay still as ever.
At this, as when Bashõ's disciples wind
Along the curving spine that links the renga
Across the different voices, each one adding
A transformation according to the rules
Of stasis and repetition, all in order
And yet impossible to tell beforehand,
Elliot changes for the punchline: the wee
Rabbi, still panting, like a startled boxer,
Looks at the dead one, then up at all those watching,
A kind of Mel Brooks gesture: "Hoo boy!" he says,
"Now that's what I call really dead.
" O mortal
Powers and princes of earth, and you immortal
Lords of the underground and afterlife,
Jehovah, Raa, Bol-Morah, Hecate, Pluto,
What has a brilliant, living soul to do with
Your harps and fires and boats, your bric-a-brac
And troughs of smoking blood? Provincial stinkers,
Our languages don't touch you, you're like that mother
Whose small child entertained her to beg her life.
Possibly he grew up to be the tall rabbi,
The one who washed his hands of all those capers
Right at the outset.
Or maybe he became
The author of these lines, a one-man renga
The one for whom it seems to be impossible
To tell a story straight.
It was a routine
When it was finished the physicians
Told Sandra and the kids it had succeeded,
But Elliot wouldn't wake up for maybe an hour,
They should go eat.
The two of them loved to bicker
In a way that on his side went back to Yiddish,
On Sandra's to some Sicilian dialect.
He used to scold her endlessly for smoking.
When she got back from dinner with their children
The doctors had to tell them about the mistake.
Oh swirling petals, falling leaves! The movement
Of linking renga coursing from moment to moment
Is meaning, Bob says in his Haiku book.
Oh swirling petals, all living things are contingent,
Falling leaves, and transient, and they suffer.
But the Universal is the goal of jokes,
Especially certain ethnic jokes, which taper
Down through the swirling funnel of tongues and gestures
Toward their preposterous Ithaca.
A journalist told me.
He heard it while a hero
Of the South African freedom movement was speaking
To elderly Jews.
The speaker's own right arm
Had been blown off by right-wing letter-bombers.
He told his listeners they had to cast their ballots
For the ANC--a group the old Jews feared
As "in with the Arabs.
" But they started weeping
As the old one-armed fighter told them their country
Needed them to vote for what was right, their vote
Could make a country their children could return to
From London and Chicago.
The moved old people
Applauded wildly, and the speaker's friend
Whispered to the journalist, "It's the Belgian Army
Joke come to life.
" I wish I could tell it
In the Belgian Army, the feud
Between the Flemings and Walloons grew vicious,
So out of hand the army could barely function.
Finally one commander assembled his men
In one great room, to deal with things directly.
They stood before him at attention.
He ordered, "to the left wall.
" Half the men
Clustered to the left.
"Now all Walloons," he ordered,
"Move to the right.
" An equal number crowded
Against the right wall.
Only one man remained
At attention in the middle: "What are you, soldier?"
Saluting, the man said, "Sir, I am a Belgian.
"Why, that's astonishing, Corporal--what's your name?"
Saluting again, "Rabinowitz," he answered:
A joke that seems at first to be a story
About the Jews.
But as the renga describes
Religious meaning by moving in drifting petals
And brittle leaves that touch and die and suffer
The changing winds that riffle the gutter swirl,
So in the joke, just under the raucous music
Of Fleming, Jew, Walloon, a courtly allegiance
Moves to the dulcimer, gavotte and bow,
Over the banana tree the moon in autumn--
Allegiance to a state impossible to tell.
Raymond Carver |
So early it's still almost dark out.
I'm near the window with coffee,
and the usual early morning stuff
that passes for thought.
When I see the boy and his friend
walking up the road
to deliver the newspaper.
They wear caps and sweaters,
and one boy has a bag over his shoulder.
They are so happy
they aren't saying anything, these boys.
I think if they could, they would take
each other's arm.
It's early in the morning,
and they are doing this thing together.
They come on, slowly.
The sky is taking on light,
though the moon still hangs pale over the water.
Such beauty that for a minute
death and ambition, even love,
doesn't enter into this.
It comes on
And goes beyond, really,
any early morning talk about it.
Walt Whitman |
TO think of time—of all that retrospection!
To think of to-day, and the ages continued henceforward!
Have you guess’d you yourself would not continue?
Have you dreaded these earth-beetles?
Have you fear’d the future would be nothing to you?
Is to-day nothing? Is the beginningless past nothing?
If the future is nothing, they are just as surely nothing.
To think that the sun rose in the east! that men and women were flexible, real, alive!
everything was alive!
To think that you and I did not see, feel, think, nor bear our part!
To think that we are now here, and bear our part!
Not a day passes—not a minute or second, without an accouchement!
Not a day passes—not a minute or second, without a corpse!
The dull nights go over, and the dull days also,
The soreness of lying so much in bed goes over,
The physician, after long putting off, gives the silent and terrible look for an answer,
The children come hurried and weeping, and the brothers and sisters are sent for,
Medicines stand unused on the shelf—(the camphor-smell has long pervaded the rooms,)
The faithful hand of the living does not desert the hand of the dying,
The twitching lips press lightly on the forehead of the dying,
The breath ceases, and the pulse of the heart ceases,
The corpse stretches on the bed, and the living look upon it,
It is palpable as the living are palpable.
The living look upon the corpse with their eye-sight,
But without eye-sight lingers a different living, and looks curiously on the corpse.
To think the thought of Death, merged in the thought of materials!
To think that the rivers will flow, and the snow fall, and fruits ripen, and act upon
upon us now—yet not act upon us!
To think of all these wonders of city and country, and others taking great interest in
them—and we taking no interest in them!
To think how eager we are in building our houses!
To think others shall be just as eager, and we quite indifferent!
(I see one building the house that serves him a few years, or seventy or eighty years at
I see one building the house that serves him longer than that.
Slow-moving and black lines creep over the whole earth—they never cease—they are
He that was President was buried, and he that is now President shall surely be buried.
A reminiscence of the vulgar fate,
A frequent sample of the life and death of workmen,
Each after his kind:
Cold dash of waves at the ferry-wharf—posh and ice in the river, half-frozen mud in
streets, a gray, discouraged sky overhead, the short, last daylight of Twelfth-month,
A hearse and stages—other vehicles give place—the funeral of an old Broadway
stage-driver, the cortege mostly drivers.
Steady the trot to the cemetery, duly rattles the death-bell, the gate is pass’d, the
new-dug grave is halted at, the living alight, the hearse uncloses,
The coffin is pass’d out, lower’d and settled, the whip is laid on the coffin,
earth is swiftly shovel’d in,
The mound above is flatted with the spades—silence,
A minute—no one moves or speaks—it is done,
He is decently put away—is there anything more?
He was a good fellow, free-mouth’d, quick-temper’d, not bad-looking, able to
own part, witty, sensitive to a slight, ready with life or death for a friend, fond of
gambled, ate hearty, drank hearty, had known what it was to be flush, grew low-spirited
the last, sicken’d, was help’d by a contribution, died, aged forty-one
that was his funeral.
Thumb extended, finger uplifted, apron, cape, gloves, strap, wet-weather clothes, whip
carefully chosen, boss, spotter, starter, hostler, somebody loafing on you, you loafing
somebody, headway, man before and man behind, good day’s work, bad day’s work,
stock, mean stock, first out, last out, turning-in at night;
To think that these are so much and so nigh to other drivers—and he there takes no
interest in them!
The markets, the government, the working-man’s wages—to think what account they
through our nights and days!
To think that other working-men will make just as great account of them—yet we make
or no account!
The vulgar and the refined—what you call sin, and what you call goodness—to
wide a difference!
To think the difference will still continue to others, yet we lie beyond the difference.
To think how much pleasure there is!
Have you pleasure from looking at the sky? have you pleasure from poems?
Do you enjoy yourself in the city? or engaged in business? or planning a nomination and
election? or with your wife and family?
Or with your mother and sisters? or in womanly housework? or the beautiful maternal cares?
—These also flow onward to others—you and I flow onward,
But in due time, you and I shall take less interest in them.
Your farm, profits, crops,—to think how engross’d you are!
To think there will still be farms, profits, crops—yet for you, of what avail?
What will be, will be well—for what is, is well,
To take interest is well, and not to take interest shall be well.
The sky continues beautiful,
The pleasure of men with women shall never be sated, nor the pleasure of women with men,
the pleasure from poems,
The domestic joys, the daily housework or business, the building of houses—these are
phantasms—they have weight, form, location;
Farms, profits, crops, markets, wages, government, are none of them phantasms,
The difference between sin and goodness is no delusion,
The earth is not an echo—man and his life, and all the things of his life, are
You are not thrown to the winds—you gather certainly and safely around yourself;
Yourself! Yourself! Yourself, forever and ever!
It is not to diffuse you that you were born of your mother and father—it is to
It is not that you should be undecided, but that you should be decided;
Something long preparing and formless is arrived and form’d in you,
You are henceforth secure, whatever comes or goes.
The threads that were spun are gather’d, the weft crosses the warp, the pattern is
The preparations have every one been justified,
The orchestra have sufficiently tuned their instruments—the baton has given the
The guest that was coming—he waited long, for reasons—he is now housed,
He is one of those who are beautiful and happy—he is one of those that to look upon
with is enough.
The law of the past cannot be eluded,
The law of the present and future cannot be eluded,
The law of the living cannot be eluded—it is eternal,
The law of promotion and transformation cannot be eluded,
The law of heroes and good-doers cannot be eluded,
The law of drunkards, informers, mean persons—not one iota thereof can be eluded.
Slow moving and black lines go ceaselessly over the earth,
Northerner goes carried, and Southerner goes carried, and they on the Atlantic side, and
on the Pacific, and they between, and all through the Mississippi country, and all over
The great masters and kosmos are well as they go—the heroes and good-doers are well,
The known leaders and inventors, and the rich owners and pious and distinguish’d, may
But there is more account than that—there is strict account of all.
The interminable hordes of the ignorant and wicked are not nothing,
The barbarians of Africa and Asia are not nothing,
The common people of Europe are not nothing—the American aborigines are not nothing,
The infected in the immigrant hospital are not nothing—the murderer or mean person is
The perpetual successions of shallow people are not nothing as they go,
The lowest prostitute is not nothing—the mocker of religion is not nothing as he
Of and in all these things,
I have dream’d that we are not to be changed so much, nor the law of us changed,
I have dream’d that heroes and good-doers shall be under the present and past law,
And that murderers, drunkards, liars, shall be under the present and past law,
For I have dream’d that the law they are under now is enough.
If otherwise, all came but to ashes of dung,
If maggots and rats ended us, then Alarum! for we are betray’d!
Then indeed suspicion of death.
Do you suspect death? If I were to suspect death, I should die now,
Do you think I could walk pleasantly and well-suited toward annihilation?
Pleasantly and well-suited I walk,
Whither I walk I cannot define, but I know it is good,
The whole universe indicates that it is good,
The past and the present indicate that it is good.
How beautiful and perfect are the animals!
How perfect the earth, and the minutest thing upon it!
What is called good is perfect, and what is called bad is just as perfect,
The vegetables and minerals are all perfect, and the imponderable fluids are perfect;
Slowly and surely they have pass’d on to this, and slowly and surely they yet pass
I swear I think now that everything without exception has an eternal Soul!
The trees have, rooted in the ground! the weeds of the sea have! the animals!
I swear I think there is nothing but immortality!
That the exquisite scheme is for it, and the nebulous float is for it, and the cohering is
And all preparation is for it! and identity is for it! and life and materials are
Henry David Thoreau |
I think awhile of Love, and while I think,
Love is to me a world,
Sole meat and sweetest drink,
And close connecting link
Tween heaven and earth.
I only know it is, not how or why,
My greatest happiness;
However hard I try,
Not if I were to die,
Can I explain.
I fain would ask my friend how it can be,
But when the time arrives,
Then Love is more lovely
Than anything to me,
And so I'm dumb.
For if the truth were known, Love cannot speak,
But only thinks and does;
Though surely out 'twill leak
Without the help of Greek,
Or any tongue.
A man may love the truth and practise it,
Beauty he may admire,
And goodness not omit,
As much as may befit
But only when these three together meet,
As they always incline,
And make one soul the seat,
And favorite retreat,
When under kindred shape, like loves and hates
And a kindred nature,
Proclaim us to be mates,
Exposed to equal fates
And each may other help, and service do,
Drawing Love's bands more tight,
Service he ne'er shall rue
While one and one make two,
And two are one;
In such case only doth man fully prove
Fully as man can do,
What power there is in Love
His inmost soul to move
Two sturdy oaks I mean, which side by side,
Withstand the winter's storm,
And spite of wind and tide,
Grow up the meadow's pride,
For both are strong
Above they barely touch, but undermined
Down to their deepest source,
Admiring you shall find
Their roots are intertwined
Raymond Carver |
Fear of seeing a police car pull into the drive.
Fear of falling asleep at night.
Fear of not falling asleep.
Fear of the past rising up.
Fear of the present taking flight.
Fear of the telephone that rings in the dead of night.
Fear of electrical storms.
Fear of the cleaning woman who has a spot on her cheek!
Fear of dogs I've been told won't bite.
Fear of anxiety!
Fear of having to identify the body of a dead friend.
Fear of running out of money.
Fear of having too much, though people will not believe this.
Fear of psychological profiles.
Fear of being late and fear of arriving before anyone else.
Fear of my children's handwriting on envelopes.
Fear they'll die before I do, and I'll feel guilty.
Fear of having to live with my mother in her old age, and mine.
Fear of confusion.
Fear this day will end on an unhappy note.
Fear of waking up to find you gone.
Fear of not loving and fear of not loving enough.
Fear that what I love will prove lethal to those I love.
Fear of death.
Fear of living too long.
Fear of death.
I've said that.