“The air was soft, the stars so fine, the promise of every cobbled alley so great, that I thought I was in a dream.”
Jack Kerouac
Read Morereading
What Work Is
We stand in the rain in a long line
waiting at Ford Highland Park. For work
You know what work is — if you’re
old enough to read this you know what
work is, although you may not do it.
Forget you. This is about waiting,
shifting from one foot to another.
Feeling the light rain falling like mist
into your hair, blurring your vision
until you think you see your own brother
ahead of you, maybe ten places.
You rub your glasses with your fingers,
and of course it’s someone else’s brother,
narrower across the shoulders than
yours but with the same sad slouch, the grin
that does not hide the stubbornness,
the sad refusal to give in to
rain, to the hours wasted waiting,
to the knowledge that somewhere ahead
a man is waiting who will say, “No,
we’re not hiring today,” for any
reason he wants. You love your brother,
now suddenly you can hardly stand
the love flooding you for your brother,
who’s not beside you or behind or
ahead because he’s home trying to
sleep off a miserable night shift
at Cadillac so he can get up
before noon to study his German.
Works eight hours a night so he can sing
Wagner, the opera you hate most,
the worst music ever invented.
How long has it been since you told him
you loved him, held his wide shoulders,
opened your eyes wide and said those words,
and maybe kissed his cheek? You’ve never
done something so simple, so obvious,
not because you’re too young or too dumb,
not because you’re jealous or even mean
or incapable of crying in
the presence of another man, no,
just because you don’t know what work is.
We enter
the green river,
heron harbor,
mud-basin lined
with snagheaps, where turtles
sun themselves–we push
through the falling
silky weight
striped warm and cold
bounding down
through the black flanks
of wet rocks–we wade
under hemlock
and white pine–climb
stone steps into
the timeless castles
of emerald eddies,
swirls, channels
cold as ice tumbling
out of a white flow–
sheer sheets
flying off rocks,
frivolous and lustrous,
skirting the secret pools–
cradles
full of the yellow hair
of last year’s leaves
where grizzled fish
hang halfway down,
like tarnished swords,
while around them
fingerlings sparkle
and descend,
nails of light
in the loose
racing waters.
© Mary Oliver.
Read MoreIf the moon smiled, she would resemble you.
You leave the same impression
Of something beautiful, but annihilating.
Both of you are great light borrowers.
Her O-mouth grieves at the world; yours is unaffected,
And your first gift is making stone out of everything.
I wake to a mausoleum; you are here,
Ticking your fingers on the marble table, looking for cigarettes,
Spiteful as a woman, but not so nervous,
And dying to say something unanswerable.
The moon, too, abuses her subjects,
But in the daytime she is ridiculous.
Your dissatisfactions, on the other hand,
Arrive through the mailslot with loving regularity,
White and blank, expansive as carbon monoxide.
No day is safe from news of you,
Walking about in Africa maybe, but thinking of me.
— Sylvia Plath
Read MoreI bring myself back from the streets that open like long
Silent laughs, and the others
Spilled into in the way of rivers breaking up, littered with words,
Crossed by cats and that sort of thing,
From the knowing wires and the aimed windows,
Well this is nice, on the third floor, in back of the billboard
Which says Now Improved and I know what they mean,
I thread my way in and I sew myself in like money.
Well this is nice with my shoes moored by the bed
And the lights around the billboard ticking on and off like a beacon,
I have brought myself back like many another crusty
Unbarbered vessel launched with a bottle,
From the bare regions of pure hope where
For a great part of the year it scarcely sets at all,
And from the night skies regularly filled with old movies of my fingers,
Weightless as shadows, groping in the sluices,
And from the visions of veins like arteries, and
From the months of plying
Between can and can, vacant as a pint in the morning,
While my sex grew into the only tree, a joyless evergreen,
And the winds played hell with it at night, coming as they did
Over at least one thousand miles of emptiness,
Thumping as though there were nothing but doors, insisting
“Come out,” and of course I would have frozen.
We will call you “Agua” like the rivers and cool jugs.
We will persuade the clouds to nestle around your neck
so you may sleep late.
We would be happy if you slept forever.
We will tend the slopes we plant, singing the songs
our grandfathers taught us before we inherited their fear.
We will try not to argue among ourselves.
When the widow demands extra flour, we will provide it,
remembering the smell of incense on the day of our Lord.
Please think of us as we are, tiny, with skins that burn easily.
Please notice how we have watered the shrubs around our houses
and transplanted the peppers into neat tin cans.
Forgive any anger we feel toward the earth,
when the rains do not come, or they come too much,
and swallow our corn.
It is not easy to be this small and live in your shadow.
Often while we are eating our evening meal
you cross our rooms like a thief,
touching first the radio and then the loom.
Later our dreams begin catching fire around the edges,
they burn like paper, we wake with our hands full of ash.
How can we live like this?
We need to wake and find our shelves intact,
our children slumbering in their quilts.
We need dreams the shape of lakes,
with mornings in them thick as fish.
Shade us while we cast and hook—
but nothing else, nothing else.
Making a Fist
For the first time, on the road north of Tampico,
I felt the life sliding out of me,
a drum in the desert, harder and harder to hear.
I was seven, I lay in the car
watching palm trees swirl a sickening pattern past the glass.
My stomach was a melon split wide inside my skin.
“How do you know if you are going to die?“
I begged my mother.
We had been traveling for days.
With strange confidence she answered,
“When you can no longer make a fist.”
Years later I smile to think of that journey,
the borders we must cross separately,
stamped with our unanswerable woes.
I who did not die, who am still living,
still lying in the backseat behind all my questions,
clenching and opening one small hand.
Neither my father nor my mother knew
the names of the trees
where I was born
what is that
I asked and my
father and mother did not
hear they did not look where I pointed
surfaces of furniture held
the attention of their fingers
and across the room they could watch
walls they had forgotten
where there were no questions
no voices and no shade
Were there trees
where they were children
where I had not been
I asked
were there trees in those places
where my father and my mother were born
and in that time did
my father and my mother see them
and when they said yes it meant
they did not remember
What were they I asked what were they
but both my father and my mother
said they never knewW. S. Merwin, “Native Trees” from The Rain in the Trees (New York: Alfred A. Knopf, 1988). Copyright © 1988 by W. S. Merwin. Reprinted with the permission of The Wylie Agency, Inc.
but both my father and my mother
said they never knewW. S. Merwin, “Native Trees” from The Rain in the Trees (New York: Alfred A. Knopf, 1988). Copyright © 1988 by W. S. Merwin. Reprinted with the permission of The Wylie Agency, Inc.
Source: The Rain in the Trees (Alfred A. Knopf, 1988)
The purpose of our life needs to be positive. We weren’t born with the purpose of causing trouble, harming others. For our life to be of value, I think we must develop basic good human qualities – warmth, kindness, compassion. Then our life becomes meaningful and more peaceful – happier.
dali lama
Read Morei wanted a perfect ending. now i’ve learned, the hard way, that some poems don’t rhyme, and some stories don’t have a clear beginning, middle and end. life is about not knowing, having to change, taking the moment and making the best of it, without knowing what’s going to happen next. delicious ambiguity.
— gilda radner
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