Kenneth Rexroth Quotes

The modern sensibility attempts to drain the contents of experience; these Greek poets strive to state the fact so poignantly that it becomes an ever-flowing spring — as Sappho says, "More real than real, more gold than gold."

The free, creative, loving people who shine so brightly in my memory of studios and coffee shops have become models for a huge section of the population. If they in turn can just stay alive in the face of power and terror, they may become the decisive section.

With my own group I like to keep it loose. They have to counter rather than go with me. When they stop I like to be moving.

I was giving a reading at some university. Down in the front row of the auditorium was a young lady in a leather microskirt and a leather microbolero, tied with a leather bootlace, and nothing else whatever. I said, "I have an extremely wide repertory. What would you like — sex, revolution, or mysticism?" She looked up and said quietly, "What’s the difference?"

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 classics of Socialist and Anarchist literature seem at mid-century to speak a foolish and naïve language to minds hardened by two generations of realpolitik. It was not just the sophisticates and the reformers who had no belief in the validity or endurance of the system. Everybody in what they used to call the master class, from the Pope to William Howard Taft, believed in his bones that the days of his kind were strictly numbered and found wanting. What happened instead of apocalypse and judgment was a long-drawn-out apocalypse of counterrevolution against the promise and potential of a humane civilization. It began with the world economic crisis of 1912, and the First and Second World Wars and the Bolshevik Revolution have been episodes, always increasing in violence and plain immorality, in the struggle of our civilization to suppress its own potential.

Fires
Burn in my heart.
No smoke rises.
No one knows.

Suchness

In the theosophy of light,
The logical universal
Ceases to be anything more
Than the dead body of an angel.
What is substance? Our substance
Is whatever we feed our angel.
The perfect incense for worship
Is camphor, whose flames leave no ashes.

from Love is an Art of Time (1974)
in The Complete Poems of Kenneth Rexroth, 702

Perhaps this is what really happens in life to most good men. They are not crucified. They simply pass through life and then die, and their passing influences just a few people to make them just a little happy.

Poetry has ceased to be a public art and has become, as Whitehead said of religion, "What man does with his aloneness."

"The stars pass.
The moon passes.
Blue clouds pass above the mountains to the north.
The years go by." Empress Jito

Between Myself and Death

To Jimmy Blanton's Music:
Sophisticated Lady, Body and Soul

A fervor parches you sometimes,
And you hunch over it, silent,
Cruel, and timid; and sometimes
You are frightened with wantonness,
And give me your desperation.
Mostly we lurk in our coverts,
Protecting our spleens, pretending
That our bandages are our wounds.
But sometimes the wheel of change stops;
Illusion vanishes in peace;
And suddenly pride lights your flesh — Lucid as diamond, wise as pearl — And your face, remote, absolute,
Perfect and final like a beast's.
It is wonderful to watch you,
A living woman in a room
Full of frantic, sterile people,
And think of your arching buttocks
Under your velvet evening dress,
And the beautiful fire spreading
From your sex, burning flesh and bone,
The unbelievably complex
Tissues of your brain all alive
Under your coiling, splendid hair.

* * *
I like to think of you naked.
I put your naked body
Between myself alone and death.
If I go into my brain
And set fire to your sweet nipples,
To the tendons beneath your knees,
I Can see far before me.
It is empty there where I look,
But at least it is lighted.

I know how your shoulders glisten,
How your face sinks into trance,
And your eves like a sleepwalker's,
And your lips of a woman
Cruel to herself.
I like to
Think of you clothed, your body
Shut to the world and self contained,
Its wonderful arrogance
That makes all women envy you.
I can remember every dress,
Each more proud then a naked nun.
When I go to sleep my eves
Close in a mesh of memory.
Its cloud of intimate odor
Dreams instead of myself.

"Loneliness"

To think of you surcharged with
Loneliness. To hear your voice
Over the record say,
“Loneliness.” The word, the voice,
So full of it, and I, with
You away, so lost in it -
Lost in loneliness and pain.
Black and unendurable,
Thinking of you with every
Corpuscle of my flesh, in
Every instant of night
And day. O, my love, the times
We have forgotten love, and
Sat lonely beside each other.
We have eaten together,
Lonely behind our plates, we
Have hidden behind children,
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.
The word freedom. The word peace.

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