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“Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole.”
―
―
“The time will come
when, with elation,
you will greet yourself arriving
at your own door, in your own mirror,
and each will smile at the other’s welcome.”
― Sea Grapes
when, with elation,
you will greet yourself arriving
at your own door, in your own mirror,
and each will smile at the other’s welcome.”
― Sea Grapes
“I read; I travel; I become”
―
―
“Love After Love
The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other's welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you
all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.”
― Collected Poems, 1948-1984
The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other's welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you
all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.”
― Collected Poems, 1948-1984
“The future happens. No matter how much we scream.”
― The Odyssey
― The Odyssey
“… the truest writers are those who see language not as a linguistic process but as a living element…”
―
―
“What are men? Children who doubt.”
― The Odyssey
― The Odyssey
“I know when dark-haired evening put on her bright silk at sunset, and, folding the sea sidled under the sheet with her starry laugh, that there'd be no rest, there'd be no forgetting. Is like telling mourners round the graveside about resurrection, they want the dead back.”
―
―
“The classics can console. But not enough.”
― Sea Grapes
― Sea Grapes
“Art is History's nostalgia, it prefers a thatched roof to a concrete factory, and the huge church above a bleached village.”
― Omeros
― Omeros
“Love After Love
all your life, whom you have ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.”
―
all your life, whom you have ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.”
―
“She's a rare vase, out of a cat's reach, on its shelf.”
― The Odyssey
― The Odyssey
“I loved them as poets love the poetry
that kills them, as drowned sailors the sea.”
―
that kills them, as drowned sailors the sea.”
―
“But drunkenly, or secretly, we swore,
Disciples of that astigmatic saint,
That we would never leave the island
Until we had put down, in paint, in words,
As palmists learn the network of a hand,
All of its sunken, leaf-choked ravines,
Every neglected, self-pitying inlet
Muttering in brackish dialect, the ropes of mangroves
From which old soldier crabs slipped
Surrendering to slush,
Each ochre track seeking some hilltop and
Losing itself in an unfinished phrase,
Under sand shipyards where the burnt-out palms
Inverted the design of unrigged schooners,
Entering forests, boiling with life,
Goyave, corrosol, bois-canot, sapotille.
Days!
The sun drumming, drumming,
Past the defeated pennons of the palms,
Roads limp from sunstroke,
Past green flutes of the grass
The ocean cannonading, come!
Wonder that opened like the fan
Of the dividing fronds
On some noon-struck sahara,
Where my heart from its rib cage yelped like a pup
After clouds of sanderlings rustily wheeling
The world on its ancient,
Invisible axis,
The breakers slow-dolphining over more breakers,
To swivel our easels down, as firm
As conquerors who had discovered home.”
― Another Life: Fully Annotated
Disciples of that astigmatic saint,
That we would never leave the island
Until we had put down, in paint, in words,
As palmists learn the network of a hand,
All of its sunken, leaf-choked ravines,
Every neglected, self-pitying inlet
Muttering in brackish dialect, the ropes of mangroves
From which old soldier crabs slipped
Surrendering to slush,
Each ochre track seeking some hilltop and
Losing itself in an unfinished phrase,
Under sand shipyards where the burnt-out palms
Inverted the design of unrigged schooners,
Entering forests, boiling with life,
Goyave, corrosol, bois-canot, sapotille.
Days!
The sun drumming, drumming,
Past the defeated pennons of the palms,
Roads limp from sunstroke,
Past green flutes of the grass
The ocean cannonading, come!
Wonder that opened like the fan
Of the dividing fronds
On some noon-struck sahara,
Where my heart from its rib cage yelped like a pup
After clouds of sanderlings rustily wheeling
The world on its ancient,
Invisible axis,
The breakers slow-dolphining over more breakers,
To swivel our easels down, as firm
As conquerors who had discovered home.”
― Another Life: Fully Annotated
“…and either I’m nobody, or I’m a nation.”
―
―
“Summer for prose and lemons, for nakedness and languor,
for the eternal idleness of the imagined return,
for rare flutes and bare feet, and the August bedroom of tangled sheets.”
―
for the eternal idleness of the imagined return,
for rare flutes and bare feet, and the August bedroom of tangled sheets.”
―
“To set out for rehearsals in that quivering quarter-hour is to engage conclusions, not beginnings, for one walks past the guilded hallucinations of poverty with a corrupt resignation touched by details, as if the destitute, in their orange-tinted back yards, under their dusty trees, or climbing into their favelas, were all natural scene designers and poverty were not a condition but an art. Deprivation is made lyrical, and twilight, with the patience of alchemy, almost transmutes despair into virtue. In the tropics nothing is lovelier than the allotments of the poor, no theater is as vivid, voluble, and cheap.”
― What the Twilight Says: Essays
― What the Twilight Says: Essays
“I shall unlearn feeling,
unlearn my gift. That is greater
and harder than what passes there for life.”
―
unlearn my gift. That is greater
and harder than what passes there for life.”
―
“Slowly my body grows a single sound, slowly I become a bell, an oval, disembodied vowel, I grow, an owl, an aureole, white fire
poesia "Metamorfosi, I. Luna”
―
poesia "Metamorfosi, I. Luna”
―
“I too saw the wooden horse blocking the stars.”
― The Odyssey
― The Odyssey
“The English language is nobody's special property. It is the property of the imagination: it is the property of the language itself. Derek Walcott”
―
―
“There is the buried language and there is the individual vocabulary, and the process of poetry is one of excavation and of self-discovery. Tonally the individual voice is a dialect; it shapes its own accent, its own vocabulary and melody in defiance of an imperial concept of language, the language of Ozymandias, libraries and dictionaries, law courts and critics, and churches, universities, political dogma, the diction of institutions. Poetry is an island that breaks away from the main.”
― The Antilles
― The Antilles
“because the fate of poetry is to fall in love with the world, in spite of History.”
―
―
“Where are your monuments, your battles, martyrs?
Where is your tribal memory? Sirs,
in that gray vault. The sea. The sea
has locked them up. The sea is History.
First, there was the heaving oil,
heavy as chaos;
then, likea light at the end of a tunnel,
the lantern of a caravel,
and that was Genesis.
Then there were the packed cries,
the shit, the moaning:
Exodus.
Bone soldered by coral to bone,
mosaics
mantled by the benediction of the shark's shadow,
that was the Ark of the Covenant.
Then came from the plucked wires
of sunlight on the sea floor
the plangent harp of the Babylonian bondage,
as the white cowries clustered like manacles
on the drowned women,
and those were the ivory bracelets
of the Song of Solomon,
but the ocean kept turning blank pages
looking for History.
Then came the men with eyes heavy as anchors
who sank without tombs,
brigands who barbecued cattle,
leaving their charred ribs like palm leaves on the shore,
then the foaming, rabid maw
of the tidal wave swallowing Port Royal,
and that was Jonah,
but where is your Renaissance?
Sir, it is locked in them sea sands
out there past the reef's moiling shelf,
where the men-o'-war floated down;
strop on these goggles, I'll guide you there myself.
It's all subtle and submarine,
through colonnades of coral,
past the gothic windows of sea fans
to where the crusty grouper, onyx-eyed,
blinks, weighted by its jewels, like a bald queen;
and these groined caves with barnacles
pitted like stone
are our cathedrals,
and the furnace before the hurricanes:
Gomorrah. Bones ground by windmills
into marl and cornmeal,
and that was Lamentations -
that was just Lamentations,
it was not History;
then came, like scum on the river's drying lip,
the brown reeds of villages
mantling and congealing into towns,
and at evening, the midges' choirs,
and above them, the spires
lancing the side of God
as His son set, and that was the New Testament.
Then came the white sisters clapping
to the waves' progress,
and that was Emancipation -
jubilation, O jubilation -
vanishing swiftly
as the sea's lace dries in the sun,
but that was not History,
that was only faith,
and then each rock broke into its own nation;
then came the synod of flies,
then came the secretarial heron,
then came the bullfrog bellowing for a vote,
fireflies with bright ideas
and bats like jetting ambassadors
and the mantis, like khaki police,
and the furred caterpillars of judges
examining each case closely,
and then in the dark ears of ferns
and in the salt chuckle of rocks
with their sea pools, there was the sound
like a rumour without any echo
of History, really beginning.”
― Selected Poems
Where is your tribal memory? Sirs,
in that gray vault. The sea. The sea
has locked them up. The sea is History.
First, there was the heaving oil,
heavy as chaos;
then, likea light at the end of a tunnel,
the lantern of a caravel,
and that was Genesis.
Then there were the packed cries,
the shit, the moaning:
Exodus.
Bone soldered by coral to bone,
mosaics
mantled by the benediction of the shark's shadow,
that was the Ark of the Covenant.
Then came from the plucked wires
of sunlight on the sea floor
the plangent harp of the Babylonian bondage,
as the white cowries clustered like manacles
on the drowned women,
and those were the ivory bracelets
of the Song of Solomon,
but the ocean kept turning blank pages
looking for History.
Then came the men with eyes heavy as anchors
who sank without tombs,
brigands who barbecued cattle,
leaving their charred ribs like palm leaves on the shore,
then the foaming, rabid maw
of the tidal wave swallowing Port Royal,
and that was Jonah,
but where is your Renaissance?
Sir, it is locked in them sea sands
out there past the reef's moiling shelf,
where the men-o'-war floated down;
strop on these goggles, I'll guide you there myself.
It's all subtle and submarine,
through colonnades of coral,
past the gothic windows of sea fans
to where the crusty grouper, onyx-eyed,
blinks, weighted by its jewels, like a bald queen;
and these groined caves with barnacles
pitted like stone
are our cathedrals,
and the furnace before the hurricanes:
Gomorrah. Bones ground by windmills
into marl and cornmeal,
and that was Lamentations -
that was just Lamentations,
it was not History;
then came, like scum on the river's drying lip,
the brown reeds of villages
mantling and congealing into towns,
and at evening, the midges' choirs,
and above them, the spires
lancing the side of God
as His son set, and that was the New Testament.
Then came the white sisters clapping
to the waves' progress,
and that was Emancipation -
jubilation, O jubilation -
vanishing swiftly
as the sea's lace dries in the sun,
but that was not History,
that was only faith,
and then each rock broke into its own nation;
then came the synod of flies,
then came the secretarial heron,
then came the bullfrog bellowing for a vote,
fireflies with bright ideas
and bats like jetting ambassadors
and the mantis, like khaki police,
and the furred caterpillars of judges
examining each case closely,
and then in the dark ears of ferns
and in the salt chuckle of rocks
with their sea pools, there was the sound
like a rumour without any echo
of History, really beginning.”
― Selected Poems
“Today is Thursday, Vallejo is dying,
but come, girl, get your raincoat, let's look for life
in some cafe behind tear-streaked windows,
perhaps the fin de siecle isn't really finished,
maybe there's a piano playing it somewhere”
― Collected Poems, 1948-1984
but come, girl, get your raincoat, let's look for life
in some cafe behind tear-streaked windows,
perhaps the fin de siecle isn't really finished,
maybe there's a piano playing it somewhere”
― Collected Poems, 1948-1984
“Good science and good art are always about a condition of awe . . . I don’t think there is any other function for the poet or the scientist in the human tribe but the astonishment of the soul.”
―
―
“I do not live in you, I bear
my house inside me, everywhere
until your winters grow more kind
by the dancing firelight of mind
where knobs of brass do not exist
whose doors dissolve in tenderness
House that lets in, at last, those fears
that are its guests, to sit on chairs
feasts on their human faces, and
takes pity simply by the hand
shows her her room, and feels the hum
of wood and brick becoming home.”
― Omeros
my house inside me, everywhere
until your winters grow more kind
by the dancing firelight of mind
where knobs of brass do not exist
whose doors dissolve in tenderness
House that lets in, at last, those fears
that are its guests, to sit on chairs
feasts on their human faces, and
takes pity simply by the hand
shows her her room, and feels the hum
of wood and brick becoming home.”
― Omeros
“العين النّهمة تفترس المشهد البحري رغبة
في إبحارٍ ضئيل”
―
في إبحارٍ ضئيل”
―
“Para atender mejor el oficio del verso/arrodíllate”
― The Arkansas Testament
― The Arkansas Testament
