Another Larkin for you.
Sky made me think of it, with the poem above.

Even as a teenager, who felt attractive and loved, the sheer desperation of this poem gripped me by the throat. Well, that and the lovely sounds of the words - read it out loud. Hear how the "love songs" are described in such drowsy dragging syllables and reality in sharp staccato sounds.

Knowing you had love - whatever that means - once, but now it is squandered, gone and nothing to take its place. Its horrible, but at the same time true and therefore beautiful in its starkness

Love Songs in Age

She kept her songs, they kept so little space,
The covers pleased her:
One bleached from lying in a sunny place,
One marked in circles by a vase of water,
One mended, when a tidy fit had seized her,
And coloured, by her daughter -
So they had waited, till, in widowhood
She found them, looking for something else, and stood

Relearning how each frank submissive chord
Had ushered in
Word after sprawling hyphenated word,
And the unfailing sense of being young
Spread out like a spring-woken tree, wherein
That hidden freshness sung,
That certainty of time laid up in store
As when she played them first. But, even more,

The glare of that much-mentioned brilliance, love,
Broke out, to show
Its bright incipience sailing above,
Still promising to solve, and satisfy,
And set unchangeably in order. So
To pile them back, to cry,
Was hard, without lamely admitting how
It had not done so then, and could not now.

Philip Larkin

Bertolt Brecht, The Interrogation of the Good.

Step foward: we hear
That you are a good man.
You cannot be bought, but the lightning
Which strikes the house, also
Cannot be bought.
You hold to what you said.
But what did you say?
You are honest, you say your opinion.
Which opinion?
You are brave.
Against whom?
You are wise.
For whom?
You do not consider personal advantages.
Whose advantages do you consider then?
You are a good friend
Are you also a good friend of the good people?

Hear us then: we know
You are our enemy. This is why we shall
Now put you in front of a wall.
But in consideration of
your merits and good qualities
We shall put you in front of a good wall and shoot you
With a good bullet from from a good gun and bury you
With a good shovel in the good earth.

I heart Rilke.:D I love his short stories and would love a copy of his "dreambook" in english but I am afraid that does not exist. I am not learning German just to read it either.

Requiem for a Friend Part I
(Paula Modersohn-Becker 1876-1907)



I have dead ones, and I have let them go,
and was astonished to see them so peaceful,

so quickly at home in being dead, so just,

so other than their reputation. Only you, you turn

back: you brush against me, and go by, you try

to knock against something, so that it resounds

and betrays you. O don’t take from me what I

am slowly learning. I’m sure you err

when you deign to be homesick at all

for any Thing. We change them round:

they are not present, we reflect them here

out of our being, as soon as we see them.

I thought you were much further on. It disturbs me

that you especially err and return, who have

changed more than any other woman.

That we were frightened when you died, no, that

your harsh death broke in on us darkly,

tearing the until-then from the since-that:

it concerns us: that it become a unique order

is the task we must always be about.

But that even you were frightened, and now too

are in terror, where terror is no longer valid:

that you lose a little of your eternity, my friend,

and that you appear here, where nothing

yet is: that you, scattered for the first time,

scattered and split in the universe,

that you did not grasp the rise of events,

as here you grasped every Thing:

that from the cycle that has already received you

the silent gravity of some unrest

pulls you down to measured time –

this often wakes me at night like a thief breaking in.

And if only I might say that you deign to come

out of magnanimity, out of over-fullness,

because so certain, so within yourself,

that you wander about like a child, not anxious

in the face of anything one might do –

but no: you are asking. This enters so

into my bones, and cuts like a saw.

A reproach, which you might offer me, as a ghost,

impose on me, when I withdraw at night,

into my lungs, into the innards,

into the last poor chamber of my heart –

such a reproach would not be as cruel

as this asking is. What do you ask?

Say, shall I travel? Have you left some Thing

behind somewhere, that torments itself

and yearns for you? Shall I enter a land

you never saw, though it was close to you

like the other side of your senses?

I will travel its rivers: go ashore

and ask about its ancient customs:

speak to women in their doorways

and watch when they call their children.

I’ll note how they wrap the landscape

round them, going about their ancient work

in meadow and field: I’ll demand

to be led before their king, and I’ll

win their priests with bribes to place me

in front of their most powerful statues,

and leave, and close the temple gates.

Only then when I know enough, will I

simply look at creatures, so that something

of their manner will glide over my limbs:

and I will possess a limited being

in their eyes, which hold me and slowly

release me, calmly, without judgment.

I’ll let the gardeners recite many flowers

to me, so that I might bring back

in the fragments of their lovely names

a remnant of their hundred perfumes.

And I’ll buy fruits, fruits in which that land

exists once more, as far as the heavens.

That is what you understood: the ripe fruits.

You placed them in bowls there in front of you

and weighed out their heaviness with pigments.

And so you saw women as fruits too,

and saw the children likewise, driven

from inside into the forms of their being.

And you saw yourself in the end as a fruit,

removed yourself from your clothes, brought

yourself in front of the mirror, allowed yourself

within, as far as your gaze that stayed huge outside

and did not say: ‘I am that’: no, rather: ‘this is.’

So your gaze was finally free of curiosity

and so un-possessive, of such real poverty,

it no longer desired self: was sacred.

So I’ll remember you, as you placed yourself

within the mirror, deep within and far

from all. Why do you appear otherwise?

What do you countermand in yourself? Why

do you want me to believe that in the amber beads

at your throat there was still some heaviness

of that heaviness that never exists in the other-side

calm of paintings: why do you show me

an evil presentiment in your stance:

what do the contours of your body mean,

laid out like the lines on a hand,

so that I no longer see them except as fate?

Come here, to the candlelight. I’m not afraid

to look on the dead. When they come

they too have the right to hold themselves out

to our gaze, like other Things.

Come here: we’ll be still for a while.

See this rose, close by on my desk:

isn’t the light around it precisely as hesitant

as that over you: it too shouldn’t be here.

Outside in the garden, unmixed with me,

it should have remained or passed –

now it lives, so: what is my consciousness to it?

Don’t be afraid if I understand now, ah,

it climbs in me: I can do no other,

I must understand, even if I die of it.

Understand, that you are here. I understand.

Just as a blind man understands a Thing,

I feel your fate and do not know its name

Let us grieve together that someone drew you

out of your mirror. Can you still weep?

You cannot. You turned the force and pressure

of your tears into your ripe gaze,

and every juice in you besides

you added into a heavy reality,

that climbed and spun in balance blindly.

Then chance tore at you, a final chance

tore you back from your furthest advance,

back into a world where juices have will.

Not tearing you wholly: tore only a piece at first,

but when around this piece, day after day

reality grew, so that it became heavy,

you needed your whole self: you went

and broke yourself, in pieces, out of its control,

painfully, out, because you needed yourself. Then

you lifted yourself out, and dug the still green seeds

out of the night-warmed earth of your heart,

from which your death would rise: yours,

your own death for your own life.

And ate them, the kernels of your death,

like all the others, ate the kernels,

and found an aftertaste of sweetness

you did not expect, found sweetness on the lips,

you: who were already sweet within your senses.

O let us grieve. Do you know how your blood

hesitated in its unequalled gyre, and reluctantly

returned, when you called it back?

How confused it was to take up once more

the body’s narrow circulation: how full of mistrust

and amazement, entering into the placenta,

and suddenly tired by the long way back.

You drove it on: you pushed it along,

you dragged it to the fireplace, as one

drags a herd-animal to the sacrifice:

and still wished that it would be happy too.

And you finally forced it: it was happy

and ran over to you and gave itself up. You thought

because you’d grown used to other rules,

it was only for a while: but

now you were within Time, and Time is long.

And Time runs on, and Time takes away, and Time

is like a relapse in a lengthy illness.

Requiem for a Friend Part II.

How short your life was, if you compare it

with those hours where you sat and bent

the varied powers of your varied future

silently into the bud of the child,

that was fate once more. O painful task.

O task beyond all strength. You did it

from day to day, you dragged yourself to it,

and drew the lovely weft through the loom,

and used up all the threads in another way.

And finally you still had courage to celebrate.

When it was done, you wanted to be rewarded,

like a child when it has drunk the bittersweet

tea that might perhaps make it well.

So you rewarded yourself: you were still so far

from other people, even then: no one was able

to think through, what gift would please you.

You knew. You sat up in childbed,

and in front of you stood a mirror, that returned

the whole thing to you. This everything was you,

and wholly before, and within was only illusion,

the sweet illusion of every woman, who gladly

takes up her jewelry, and combs, and alters her hair.

So you died, as women used to die, you died,

in the old-fashioned way, in the warm house,

the death of women who have given birth, who wish

to shut themselves again and no longer can,

because that darkness, that they have borne,

returns once more, and thrusts, and enters.

Still, shouldn’t a wailing of women have been raised?

Where women would have lamented, for gold,

and one could pay for them to howl

through the night, when all becomes silent.

A custom once! We have too few customs.

They all vanish and become disowned.

So you had to come, in death, and, here with me,

retrieve the lament. Can you hear that I lament?

I wish that my voice were a cloth thrown down

over the broken fragments of your death

and pulled about until it were torn to pieces,

and all that I say would have to walk around,

ragged, in that voice, and shiver:

what remains belongs to lament. But now I lament,

not the man who pulled you back out of yourself,

(I don’t discover him: he’s like everyone)

but I lament all in him: mankind.

When, somewhere, from deep within me, a sense

of having been a child rises, which I still don’t understand,

perhaps the pure being-a-child of my childhood:

I don’t wish to understand. I wish to form

an angel from it, without addition,

and wish to hurl him into the front rank

of the screaming angels who remind God.

Because this suffering’s lasted far too long,

and no one can bear it: it’s too heavy for us,

this confused suffering of false love,

that builds on limitation, like a custom,

calls itself right and makes profit out of wrong.

Where is the man who has the right of possession?

Who can possess what cannot hold its own self,

what only from time to time catches itself happily,

and throws itself down again, as a child does a ball.

No more than the captain of the ship can grasp

the Nike jutting outwards from the prow

when the secret lightness of her divinity

lifts her suddenly into the bright ocean-wind:

no more can one of us call back the woman

who walks on, no longer seeing us,

along a small strip of her being

as if by a miracle, without disaster:

unless his desire and trade is in crime.

For this is a crime, if anything’s a crime:

not to increase the freedom of a Love

with all the freedom we can summon in ourselves.

We have, indeed, when we love, only this one thing:

to loose one another: because holding on to ourselves

comes easily to us, and does not first have to be learned.



Are you still there? Are you in some corner? –

You understood all of this so well

and used it so well, as you passed through

open to everything, like the dawn of a day.

Women do suffer: love means being alone,

and artists sometimes suspect in their work

that they must transform where they love.

You began both: both are in that

which now fame disfigures, and takes from you.

Oh you were far beyond any fame. You were

barely apparent: you’d withdrawn your beauty

as a man takes down a flag

on the grey morning of a working day,

and wished for nothing, except the long work –

which is unfinished: and yet is not finished.

If you are still here, if in this darkness

there is still a place where your sensitive spirit

resonates on the shallow waves

of a voice, isolated in the night,

vibrating in the high room’s current:

then hear me: help me. See, we can slip back so

unknowingly, out of our forward stride,

into something we didn’t intend: find

that we’re trapped there as if in dream

and we die there, without waking.

No one is far from it. Anyone who has fired

their blood through work that endures,

may find that they can no longer sustain it

and that it falls according to its weight, worthless.

For somewhere there is an ancient enmity

between life and the great work.

Help me, so that I might see it and know it.

Come no more. If you can bear it so, be

dead among the dead. The dead are occupied.

But help me like this, so you are not scattered,

as the furthest things sometimes help me: within.


This poem was great solace to me in grief. A couple of times.

ELDORADO
by Poe

Gaily bedight,
A gallant knight,
In sunshine and in shadow,
Had journeyed long,
Singing a song,
In search of Eldorado.

But he grew old -
This knight so bold -
And o'er his heart a shadow
Fell, as he found
No spot of ground
That looked like Eldorado.

And, as his strength
Failed him at length,
He met a pilgrim shadow -
'Shadow,' said he,
'Where can it be -
This land of Eldorado?'

'Over the Mountains
Of the Moon,
Down the Valley of the Shadow,
Ride, boldly ride,'
The shade replied, -
'If you seek for Eldorado!'

I got a ranch in downtown Dallas,
I buy diamonds by the ton.
Chase cuties in my Cadillac,
and drill oil wells just for fun.

But when it comes to boots, I need a deal
that'll fit me right--toe to heel.

So I get my boots at W e s t e r n W a r e h o u s e

Flint, that's, that's...so beautiful. *sniffles*

Popped into my head today: I always thought this was one of the better recent teeny-bopper movies, loosely based on The Taming of the Shrew. *shrugs* I've said I'm sappy; I know it's not particularly "good."

10 Things I Hate About You

I hate the way you talk to me,
and the way you cut your hair.

I hate the way you drive my car,
I hate it when you stare.

I hate your big dumb combat boots
and the way you read my mind.

I hate you so much it makes me sick,
it even makes me rhyme.

I hate the way you’re always right,
I hate it when you lie.

I hate it when you make me laugh,
even worse when you make me cry.

I hate it when you’re not around,
and the fact that you didn’t call.

But mostly I hate the way I don’t hate you,

not even close

not even a little bit

not even at all.

If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or, being hated, don't give way to hating,
And yet don't look too good, nor talk too wise;

If you can dream - and not make dreams your master;
If you can think - and not make thoughts your aim;
If you can meet with triumph and disaster
And treat those two imposters just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to broken,
And stoop and build 'em up with wornout tools;

If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on";

If you can talk with crowds and keep your virtue,
Or walk with kings - nor lose the common touch;
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run -
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man my son!

-- Rudyard Kipling

The Most Beautiful Poem Ever
 

by George Carlin

Rat shit, bat shit
Dirty old twat,
Sixty-nine assholes
Tied in a knot,
Hooray,
Lizard shit,
Fuck!

The RW who usually performs the Masonic Funeral service for my one lodge adds this poem -

In My Father's Mansion

It is not cold beneath the grasses,
Nor close-walled within the tomb;
Rather, in my Father's mansion,
Living, in another room.

Nearer than the one who loves me,
Like yon child with cheeks abloom,
Out of sight, at desk or Schoolbook,
Busy, in another room.

Nearer than the youth whom fortune
Beckons where the strange lands loom;
Just behind the hanging curtain,
Serving, in another room.

Shall I doubt my Father's mercy?
Shall I think of death as doom,
Or the stepping o'er the threshold
To a bigger, brighter room?

Shall I blame my Father's wisdom?
Shall I sit enswathed in gloom,
When I know my Love is happy
Waiting, in another room?

Robert Freeman

Crow Blacker Than Ever: Ted Hughes

When God, disgusted with man,
Turned towards heaven,
And man, disgusted with God,
Turned towards Eve,
Things looked like falling apart.


But Crow Crow
Crow nailed them together,
Nailing heaven and earth together-


So man cried, but with God's voice.
And God bled, but with man's blood.


Then heaven and earth creaked at the joint
Which became gangrenous and stank-
A horror beyond redemption.


The agony did not diminish.


Man could not be man nor God God.


The agony


Grew.


Crow


Grinned


Crying: "This is my Creation,"


Flying the black flag of himself.

Very nice!

"Forward!" he cried, from the rear, and the front rank died.
The general he sat, and the lines on the map, moved from side to side.

--Richard Wright; Roger Waters

Anger by Linda Pastan

You tell me
that it's all right
to let it out of its cage,
though it may claw someone,
even bite.
You say that letting it out
may tame it somehow.
But loose it may
turn on me, draw blood.
Ah, you think you know so much,
you whose anger is a pet dog,
its canines dull with disuse.
But mine is a rabid thing,
sharpening its teeth
on my very bones,
and I will never let it go.