American poet (1905–1982)
Showing quotes in randomized order to avoid selection bias. Click Popular for most popular quotes.
The characteristic paranoias of youth — the attribution of intention and duplicity to almost all human behavior. The young suffer terribly from the belief that the people they encounter are most of them up to something and that something has some relation to themselves. Actually, of course, most people just bobble along like apples in a stream. Usually it takes many years of experience to realize this.
Prior to 1918 the word “communism” did not mean Left Social Democracy of the sort represented by the Russian Bolsheviks, a radical, revolutionary form of State socialism. Quite the contrary, it was used of those who wished in one way or another to abolish the State, who believed that socialism was not a matter of seizing power, but of doing away with power and returning society to an organic community of non-coercive human relations. They believed that this was what society was naturally, and that the State was only a morbid growth on the normal body of oeconomia, the housekeeping of the human family, grouped in voluntary association. Even the word “socialism” itself was originally applied to the free communist communities which were so common in America in the nineteenth century.
Do not talk any more. Do not speak.
Do not break silence until
We are weary of each other.
Let our fingers run like steel
Carving the contours of our bodies’ gold.
Do not speak. My face sinks
In the clotted summer of your hair.
The sound of the bees stops.
Stillness falls like a cloud.
Be still. Let your body fall away
Into the awe filled silence
Of the fulfilled summer — Back, back, infinitely away — Our lips weak, faint with stillness.
from “When We with Sappho
"Floating"
Our canoe idles in the idling current
Of the tree and vine and rush enclosed
Backwater of a torpid midwestern stream;
Revolves slowly, and lodges in the glutted
Waterlilies. We are tired of paddling.
All afternoon we have climbed the weak current,
Up dim meanders, through woods and pastures,
Past muddy fords where the strong smell of cattle
Lay thick across the water; singing the songs
Of perfect, habitual motion; ski songs,
Nightherding songs, songs of the capstan walk,
The levee, and the roll of the voyageurs.
Tired of motion, of the rhythms of motion,
Tired of the sweet play of our interwoven strength,
We lie in each other's arms and let the palps
Of waterlily leaf and petal hold back
All motion in the heat thickened, drowsing air.
Sing to me softly, Westron Wynde, Ah the Syghes,
Mon coeur se recommend à vous, Phoebi Claro;
Sing the wandering erotic melodies
Of men and women gone seven hundred years,
Softly, your mouth close to my cheek.
Let our thighs lie entangled on the cushions,
Let your breasts in their thin cover
Hang pendant against my naked arms and throat;
Let your odorous hair fall across our eyes;
Kiss me with those subtle, melodic lips.
As I undress you, your pupils are black, wet,
Immense, and your skin ivory and humid.
Move softly, move hardly at all, part your thighs,
Take me slowly while our gnawing lips
Fumble against the humming blood in our throats.
Move softly, do not move at all, but hold me,
Deep, still, deep within you, while time slides away,
As the river slides beyond this lily bed,
And the thieving moments fuse and disappear
In our mortal, timeless flesh.
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.
Give me your mouth.
Your grace is as beautiful as sleep.
You move against me like a wave
That moves in sleep.
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 — Kenneth Rexroth, from “ When We with Sappho,” The Phoenix and the Tortoise (New Directions, 1944)
Deep in the silent inner room
Every fiber of my soft heart
Turns to a thousand strands of sorrow.
I loved the Spring,
But the Spring is gone
As rain hastens the falling petals.
I lean on the balustrade,
Moving from one end to the other.
My emotions are still disordered.
Where is he?
Withered grass stretches to the horizon
And hides from sight
Any road by which he might return. — Li Ch'ing-Chao, from “Remorse,” Songs of Love, Moon, Wind: Poems from the Chinese (New Directions , 2009)
Tu Fu: Poems (p. 91)