American poet and writer (1932–1963)
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The woman is perfected
Her dead Body wears the smile of accomplishment,
The illusion of a Greek necessity Flows in the scrolls of her toga,
Her bare Feet seem to be saying:
We have come so far, it is over. Each dead child coiled, a white serpent,
One at each little Pitcher of milk, now empty.
She has folded Them back into her body as petals
Of a rose close when the garden Stiffens and odors bleed
From the sweet, deep throats of the night flower. The moon has nothing to be sad about,
Staring from her hood of bone. She is used to this sort of thing.
Her blacks crackle and drag.
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"I am afraid of getting older. I am afraid of getting married. Spare me from cooking three meals a day — spare me from the relentless cage of routine and rote. I want to be free. (...) I want, I think, to be omniscient… I think I would like to call myself "The girl who wanted to be God." Yet if I were not in this body, where would I be — perhaps I am destined to be classified and qualified. But, oh, I cry out against it. I am I — I am powerful — but to what extent? I am I."
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Now your head, excuse me, is empty.
I have the ticket for that.
Come here, sweetie, out of the closet.
Well, what do you think of that?
Naked as paper to start But in twenty-five years she'll be silver,
In fifty, gold.
A living doll, everywhere you look.
It can sew, it can cook,
It can talk, talk, talk. It works, there is nothing wrong with it.
You have a hole, it's a poultice.
You have an eye, it's an image.
My boy, it's your last resort.
Will you marry it, marry it, marry it.
At this rate, I'd be lucky if I wrote a page a day.
Then I knew what the problem was.
I needed experience.
How could I write about life when I'd never had a love affair or a baby or even seen anybody die? A girl I knew had just won a prize for a short story about her adventures among the pygmies in Africa. How could I compete with that sort of thing?