Kenneth Rexroth Quotes

Your body spreads across my brain
Like a bird filled summer;
Not like a body, not like a separate thing,
But like a nimbus that hovers
Over every other thing in all the world.

from “When We with Sappho,

We have slept together in
A lonely bed. Now my heart
Turns towards you, awake at last,
Penitent, lost in the last
Loneliness. Speak to me. Talk
To me. Break the black silence.
Speak of a tree full of leaves,
Of a flying bird, the new
Moon in the sunset, a poem,
A book, a person - all the
Casual healing speech
Of your resonant, quiet voice. — Kenneth Rexroth, from “Loneliness,” The Collected Shorter Poems of Kenneth Rexroth, (New Directions January 17, 1966)

I write for one and only one purpose, to overcome the invincible ignorance of the traduced heart. […] I wish to speak to and for those who have had enough of the Social Lie, the Economics of Mass Murder, the Sexual Hoax, and the Domestication of Conspicuous Consumption.

The poet, says Baudelaire, is a decipherer, a Kabbalist of reality, a decoder. Ordinary life, if it is not a message in code, a system of symbols for something else, is unacceptable. It must be a cryptogram; it can't be what it seems. The poet's task is to decode the incomprehensible obvious. His life becomes a deliberately constructed paranoia, as Rimbaud, Breton, Artaud were to say generations later.
As we read him, we discover that Baudelaire believes in the charm, the incantation, the cryptogram, but he ceases to believe in the secret. The spirits have not risen. The code says nothing. This is the mystery concealed by the disorder of the world. The visionary experience ends in itself; the light of the illuminated comes only from and falls only on himself.

Any talented decadent can make unreality believable. To make reality convincing is another matter, a matter for only the greatest masters.

"Marthe Away (She Is Away)"

All night I lay awake beside you,
Leaning on my elbow, watching your
Sleeping face, that face whose purity
Never ceases to astonish me.
I could not sleep. But I did not want
Sleep nor miss it. Against my body,
Your body lay like a warm soft star.
How many nights I have waked and watched
You, in how many places. Who knows?
This night might be the last one of all.
As on so many nights, once more I
Drank from your sleeping flesh the deep still
Communion I am not always strong
Enough to take from you waking, the peace of love.
Foggy lights moved over the ceiling
Of our room, so like the rooms of France
And Italy, rooms of honeymoon,
And gave your face an ever changing
Speech, the secret communication
Of untellable love. I knew then,
As your secret spoke, my secret self,
The blind bird, hardly visible in
An endless web of lies. And I knew
The web too, its every knot and strand,
The hidden crippled bird, the terrible web.
Towards the end of the night, as trucks rumbled
In the streets, you stirred, cuddled to me,
And spoke my name. Your voice was the voice
Of a girl who had never known loss
Of love, betrayal, mistrust, or lie.
And later you turned again and clutched
My hand and pressed it to your body.
Now I know surely and forever,
However much I have blotted our
Waking love, its memory is still
there. And I know the web, the net,
The blind and crippled bird. For then, for
One brief instant it was not blind, nor
Trapped, not crippled. For one heart beat the
Heart was free and moved itself. O love,
I who am lost and damned with words,
Whose words are a business and an art,
I have no words. These words, this poem, this
Is all confusion and ignorance.
But I know that coached by your sweet heart,
My heart beat one free beat and sent
Through all my flesh the blood of truth.

Today we hear a great deal about Organizational Men, Mass Culture, Conformity, the Lonely Crowd, the Power Elite and its Conspiracy of Mediocrity. We forget that the very volume of this criticism is an indication that our society is still radically pluralistic. Not only are there plenty of exceptionalists who take exception to the stereotyping of the mass culture — but that very string of epithets comes from a series of books that have been recent best-sellers, symptoms of a popular, living tradition of dissent from things as they are.

Simone Weil was one of the most remarkable women of the twentieth, or indeed of any other century. I have great sympathy for her, but sympathy is not necessarily congeniality. It would be easier to write of her if I liked what she had to say, which I strongly do not. …I think Simone Weil had both over- and under-equipped herself for the crisis which overwhelmed her — along, we forget, immersed in her tragedy, with all the rest of us. She was almost the perfectly typical passionate, revolutionary, intellectual woman — a frailer, even more highly strung Rosa Luxemburg. … She made up her own revolution out of her vitals, like a spider or silkworm. She could introject all the ill of the world into her own heart, but she could not project herself in sympathy to others. Her letters read like the more distraught signals of John of the Cross in the dark night.

The mature man lives quietly, does good privately, takes responsibility for his actions, treats others with friendliness and courtesy, finds mischief boring and avoids it. Without the hidden conspiracy of goodwill, society would not endure an hour.

I remember the first time I ever saw otter play and slide down a slippery bank into the water. Old Billy knew where they were and took me to them. We sat down silently behind some bushes on the bank of an Indiana stream and pretty soon out came a family of otter and climbed up on the bank and slid down the mud slide over and over again like little children. Nothing looks funnier than an otter having a good time, unless it’s a sea otter, which looks even more cherubic.

You learn nothing if you carry with you a journalistic system of values, which is invented to save reporters from experience.

All my life I have been attracted by Catholicism. But what attracted me was not its Christianity, but its paganism. The Scholastic Philosophers entertained me not because they were apologists for Jesus but because they were refinements of Aristotle. The liturgical life of the Church moved me because it echoes the most ancient responses to the turning of the year and the changing seasons, and the rhythms of animal and human life. For me the Sacraments transfigured the rites of passage, the physical facts of the human condition — birth, adolescence, sexual intercourse, vocation, sickness and death, communion, penance. Catholicism still provides a structure of acts, individual and at the same time communal, physical responses to life.

Against the ruin of the world, there is only one defense: The creative act.

As we turn over the pages of nineteenth century literature, we are constantly confronted with the question of alienation. Baudelaire, Marx, Kierkegaard, Chateaubriand, Cardinal Newman — it does not matter whether the voice comes from the Left or the Right; all are agreed in their rejection of the values of the prevailing ethic. Yet we never get a clear definition of alienation: what is man alienated from, and why? Perhaps it is precisely the democratic society, the growing affluence and education, that have revealed the natural state of man — much as the development of medicine has enabled greater accuracy of diagnosis, with the resultant tremendous increase in the record of certain diseases. Perhaps the discovery of human self-alienation was simply a statistical refinement made possible by the spread of the privileges of culture to the middle classes.

Late at night the horses stumble
Around the camp and I awake.
I lie on my elbow watching
Your beautiful sleeping face
Like a jewel in the moonlight.
If you are lucky and the
Nations let you, you will live
Far into the twenty-first
Century. I pick up the glass
And watch the Great Nebula
Of Andromeda swim like
A phosphorescent amoeba
Slowly around the Pole. Far
Away in distant cities
Fat-hearted men are planning
To murder you while you sleep.