I am working out the vocabulary of my silence. - Muriel Rukeyser

But planted in our flesh these valleys stand,
everywhere we begin to know the illness,
are forced up, and our times confirm us all.

The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent. . . . The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem. These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form. A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.

Lying in the grass
girl and boy
Eating oranges, exchanging kisses
like waves exchanging whiteness.

Lying on the beach
girl and boy.
Eating apples, exchanging kisses
like clouds exchanging whiteness.

Lying underground
girl and boy.
Saying nothing, never kissing
exchanging silence for silence.