the strength of necessity

'But I must bear my destiny as best I can, knowing well that there is no resisting the strength of necessity.

Aeschylus (525-456 B.C.),  Prometheus Bound, l. 103.

love (variations)

Variations on the Word Love

This is a word we use to plug
holes with. It's the right size for those warm
blanks in speech, for those red heart-
shaped vacancies on the page that look nothing
like real hearts. Add lace
and you can sell
it. We insert it also in the one empty
space on the printed form
that comes with no instructions. There are whole
magazines with not much in them
but the word love, you can
rub it all over your body and you
can cook with it too. How do we know
it isn't what goes on at the cool
debaucheries of slugs under damp
pieces of cardboard? As for the weed-
seedlings nosing their tough snouts up
among the lettuces, they shout it.
Love! Love! sing the soldiers, raising
their glittering knives in salute.

Then there's the two
of us. This word
is far too short for us, it has only
four letters, too sparse
to fill those deep bare
vacuums between the stars
that press on us with their deafness.
It's not love we don't wish
to fall into, but that fear.
this word is not enough but it will
have to do. It's a single
vowel in this metallic
silence, a mouth that says
O again and again in wonder
and pain, a breath, a finger
grip on a cliffside. You can
hold on or let go.

Margaret Atwood

The Dream Keeper

 

The Dream Keeper

Bring me all of your dreams,
You dreamer,
Bring me all your
Heart melodies
That I may wrap them
In a blue cloud-cloth
Away from the too-rough fingers
Of the world.

Langston Hughes

Stories

 

 Why We Tell Stories

For Linda Foster


I
Because we used to have leaves
and on damp days
our muscles feel a tug,
painful now, from when roots
pulled us into the ground

and because our children believe
they can fly, an instinct retained
from when the bones in our arms
were shaped like zithers and broke
neatly under their feathers

and because before we had lungs
we knew how far it was to the bottom
as we floated open-eyed
like painted scarves through the scenery
of dreams, and because we awakened

and learned to speak

2
We sat by the fire in our caves,
and because we were poor, we made up a tale
about a treasure mountain
that would open only for us

and because we were always defeated,
we invented impossible riddles
only we could solve,
monsters only we could kill,
women who could love no one else
and because we had survived
sisters and brothers, daughters and sons,
we discovered bones that rose
from the dark earth and sang
as white birds in the trees

3
Because the story of our life
becomes our life

Because each of us tells
the same story
but tells it differently

and none of us tells it
the same way twice

Because grandmothers looking like spiders
want to enchant the children
and grandfathers need to convince us
what happened happened because of them

and though we listen only
haphazardly, with one ear,
we will begin our story
with the word and
 

Lisel Mueller

Art, life & alienation

 

'I also make you witness to a process which has changed my lens on the world. But this process of change has only just begun, and I feel keenly the tension between the artistic forms within which we have agreed to abide and the living material, borne to me by my senses, my psychic apparatus, and my thought, which has resisted these forms. If I may formulate a poetological problem so soon, let it be this: There is and there can be no poetics which prevents the living experience of countless perceiving subjects from being killed and buried in art objects. So, does that mean that art objects ("works") are products of the alienation of our culture, whose other finished products are produced for self-annihilation?'

Wolf, Christa, 1984. Conditions of a narrative. In: Wolf, Christa, 1984. Cassandra: a novel and four essays. Translated from German by Jan van Heurck. London: Virago, p.142

If

If I should die to-night,
My friends would look upon my quiet face
Before they laid it in its resting-place,
And deem that death had left it almost fair;
And, laying snow-white flowers against my hair,
Would smooth it down with tearful tenderness,
And fold my hands with lingering caress, --
Poor hands, so empty and so cold to-night!

If I should die to-night,
My friends would call to mind with loving thought
Some kindly deed the icy hands had wrought,
Some gentle word the frozen lips had said,
Errands on which the willing feet had sped;
The memory of my selfishness and pride,
My hasty words would all be put aside,
And so I should be loved and mourned to-night.

If I should die to-night,
Even hearts estranged would turn once more to me,
Recalling other days remorsefully;
The eyes that chill me with averted glance
Would look upon me as of yore, perchance,
And soften in the old familiar way,
For who could war with dumb, unconscious clay?
So I might rest, forgiven of all to-night.

Oh, friends! I pray to-night,
Keep not your kisses for my dead, cold brow:
The way is lonely, let me feel them now.
Think gently of me; I am travelworn;
My faltering feet are pierced with many a thorn.
Forgive, oh, hearts estranged, forgive, I plead!
When dreamless rest is mine I shall not need
The tenderness for which I long to-night.

 

Arabella Eugenia Smith