so you want to be a writer?

By Charles Bukowski

if it doesn't come bursting out of you
in spite of everything,
don't do it.
unless it comes unasked out of your
heart and your mind and your mouth
and your gut,
don't do it.
if you have to sit for hours
staring at your computer screen
or hunched over your
typewriter
searching for words,
don't do it.
if you're doing it for money or
fame,
don't do it.
if you're doing it because you want
women in your bed,
don't do it.
if you have to sit there and
rewrite it again and again,
don't do it.
if it's hard work just thinking about doing it,
don't do it.
if you're trying to write like somebody
else,
forget about it.


if you have to wait for it to roar out of
you,
then wait patiently.
if it never does roar out of you,
do something else.

if you first have to read it to your wife
or your girlfriend or your boyfriend
or your parents or to anybody at all,
you're not ready.

don't be like so many writers,
don't be like so many thousands of
people who call themselves writers,
don't be dull and boring and
pretentious, don't be consumed with self-
love.
the libraries of the world have
yawned themselves to
sleep
over your kind.
don't add to that.
don't do it.
unless it comes out of
your soul like a rocket,
unless being still would
drive you to madness or
suicide or murder,
don't do it.
unless the sun inside you is
burning your gut,
don't do it.

when it is truly time,
and if you have been chosen,
it will do it by
itself and it will keep on doing it
until you die or it dies in you.

there is no other way.

and there never was.

The Country

By Billy Collins

I wondered about you
when you told me never to leave
a box of wooden, strike-anywhere matches
lying around the house because the mice

might get into them and start a fire.
But your face was absolutely straight
when you twisted the lid down on the round tin
where the matches, you said, are always stowed.

Who could sleep that night?
Who could whisk away the thought
of the one unlikely mouse
padding along a cold water pipe

behind the floral wallpaper
gripping a single wooden match
between the needles of his teeth?
Who could not see him rounding a corner,

the blue tip scratching against a rough-hewn beam,
the sudden flare, and the creature
for one bright, shining moment
suddenly thrust ahead of his time -

now a fire-starter, now a torchbearer
in a forgotten ritual, little brown druid
illuminating some ancient night.
Who could fail to notice,

lit up in the blazing insulation,
the tiny looks of wonderment on the faces
of his fellow mice, onetime inhabitants
of what once was your house in the country?

Homage To My Hips

By Lucille Clifton

these hips are big hips.
they need space to
move around in.
they don't fit into little
petty places. these hips
are free hips.
they don't like to be held back.
these hips have never been enslaved,
they go where they want to go
they do what they want to do.
these hips are mighty hips.
these hips are magic hips.
i have known them
to put a spell on a man and
spin him like a top

What lips my lips have kissed, and where, and why (Sonnet XLIII)

By Edna St. Vincent Millay

What lips my lips have kissed, and where, and why,
I have forgotten, and what arms have lain
Under my head till morning; but the rain
Is full of ghosts tonight, that tap and sigh
Upon the glass and listen for reply,
And in my heart there stirs a quiet pain
For unremembered lads that not again
Will turn to me at midnight with a cry.
Thus in winter stands the lonely tree,
Nor knows what birds have vanished one by one,
Yet knows its boughs more silent than before:
I cannot say what loves have come and gone,
I only know that summer sang in me
A little while, that in me sings no more.

Be Drunk

By Charles Baudelaire
Translated by Louis Simpson

You have to be always drunk. That's all there is to it—it's the only way. So as not to feel the horrible burden of time that breaks your back and bends you to the earth, you have to be continually drunk.

But on what? Wine, poetry or virtue, as you wish. But be drunk.

And if sometimes, on the steps of a palace or the green grass of a ditch, in the mournful solitude of your room, you wake again, drunkenness already diminishing or gone, ask the wind, the wave, the star, the bird, the clock, everything that is flying, everything that is groaning, everything that is rolling, everything that is singing, everything that is speaking. . .ask what time it is and wind, wave, star, bird, clock will answer you: "It is time to be drunk! So as not to be the martyred slaves of time, be drunk, be continually drunk! On wine, on poetry or on virtue as you wish."

Dreams

By Langston Hughes

Hold fast to dreams
For if dreams die
Life is a broken-winged bird
That cannot fly.


Hold fast to dreams
For when dreams go
Life is a barren field
Frozen with snow.

In Louisiana

By Albert Bigelow Paine

The long, gray moss that softly swings
In solemn grandeur from the trees,
Like mournful funeral draperies,--
A brown-winged bird that never sings.

A shallow, stagnant, inland sea,
Where rank swamp grasses wave, and where
A deadliness lurks in the air,--
A sere leaf falling silently.

The death-like calm on every hand,
That one might deem it sin to break,
So pure, so perfect,--these things make
The mournful beauty of this land.

In April

By James Hearst

This I saw on an April day:
Warm rain spilt from a sun-lined cloud,
A sky-flung wave of gold at evening,
And a cock pheasant treading a dusty path
Shy and proud.


And this I found in an April field:
A new white calf in the sun at noon,
A flash of blue in a cool moss bank,
And tips of tulips promising flowers
To a blue-winged loon.


And this I tried to understand
As I scrubbed the rust from my brightening plow:
The movement of seed in furrowed earth,
And a blackbird whistling sweet and clear
From a green-sprayed bough.

Some Days

By Billy Collins

Some days I put the people in their places at the table,
bend their legs at the knees,
if they come with that feature,
and fix them into the tiny wooden chairs.

All afternoon they face one another,
the man in the brown suit,
the woman in the blue dress,
perfectly motionless, perfectly behaved.

But other days, I am the one
who is lifted up by the ribs,
then lowered into the dining room of a dollhouse
to sit with the others at the long table.

Very funny,
but how would you like it
if you never knew from one day to the next
if you were going to spend it

striding around like a vivid god,
your shoulders in the clouds,
or sitting down there amidst the wallpaper,
staring straight ahead with your little plastic face?

Autumn Begins in Martins Ferry, Ohio

By James Wright

In the Shreve High football stadium,
I think of Polacks nursing long beers in Tiltonsville,
And gray faces of Negroes in the blast furnace at Benwood,
And the ruptured night watchman of Wheeling Steel,
Dreaming of heroes.

All the proud fathers are ashamed to go home.
Their women cluck like starved pullets,
Dying for love.

Therefore,
Their sons grow suicidally beautiful
At the beginning of October,
And gallop terribly against each other's bodies.

Home Is So Sad

By Philip Larkin

Home is so sad. It stays as it was left,
Shaped to the comfort of the last to go
As if to win them back. Instead, bereft
Of anyone to please, it withers so,
Having no heart to put aside the theft

And turn again to what it started as,
A joyous shot at how things ought to be,
Long fallen wide. You can see how it was:
Look at the pictures and the cutlery.
The music in the piano stool. That vase.

The Lake Isle of Innisfree

By W.B. Yeats

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee;
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,
And evening full of the linnet's wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart's core.

Remember

By Christina Rossetti

Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you planned:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.

Failing and Flying

By Jack Gilbert

Everyone forgets that Icarus also flew.
It's the same when love comes to an end,
or the marriage fails and people say
they knew it was a mistake, that everybody
said it would never work. That she was
old enough to know better. But anything
worth doing is worth doing badly.
Like being there by that summer ocean
on the other side of the island while
love was fading out of her, the stars
burning so extravagantly those nights that
anyone could tell you they would never last.
Every morning she was asleep in my bed
like a visitation, the gentleness in her
like antelope standing in the dawn mist.
Each afternoon I watched her coming back
through the hot stony field after swimming,
the sea light behind her and the huge sky
on the other side of that. Listened to her
while we ate lunch. How can they say
the marriage failed? Like the people who
came back from Provence (when it was Provence)
and said it was pretty but the food was greasy.
I believe Icarus was not failing as he fell,
but just coming to the end of his triumph.

Stealing The Scream

By Monica Youn

It was hardly a high-tech operation, stealing The Scream.
That we know for certain, and what was left behind--
a store-bought ladder, a broken window,
and fifty-one seconds of videotape, abstract as an overture.

And the rest? We don't know. But we can envision
moonlight coming in through the broken window,
casting a bright shape over everything--the paintings,
the floor tiles, the velvet ropes: a single, sharp-edged pattern;

the figure's fixed hysteria rendered suddenly ironic
by the fact of something happening; houses
clapping a thousand shingle hands to shocked cheeks
along the road from Oslo to Asgardstrand;

the guards rushing in--too late!--greeted only
by the gap-toothed smirk of the museum walls;
and dangling from the picture wire like a baited hook,
a postcard: "Thanks for the poor security."

The policemen, lost as tourists, stand whispering
in the galleries: ". . .but what does it all mean?"
Someone has the answers, someone who, grasping the frame,
saw his sun-red face reflected in that familiar boiling sky.

Dharma

By Billy Collins

The way the dog trots out the front door
every morning
without a hat or an umbrella,
without any money
or the keys to her doghouse
never fails to fill the saucer of my heart
with milky admiration.

Who provides a finer example
of a life without encumbrance—
Thoreau in his curtainless hut
with a single plate, a single spoon?
Gandhi with his staff and his holy diapers?

Off she goes into the material world
with nothing but her brown coat
and her modest blue collar,
following only her wet nose,
the twin portals of her steady breathing,
followed only by the plume of her tail.

If only she did not shove the cat aside
every morning
and eat all his food
what a model of self-containment she
would be,
what a paragon of earthly detachment.
If only she were not so eager
for a rub behind the ears,
so acrobatic in her welcomes,
if only I were not her god.

This Is Just To Say

By William Carlos Williams

I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast

Forgive me
they were delicious
so sweet
and so cold

Little Gidding

Ed. note: My favourite part is V. You can read the rest of the poem here.

By T.S. Eliot

V.

What we call the beginning is often the end
And to make and end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea's throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter's afternoon, in a secluded chapel
History is now and England.

With the drawing of this Love and the voice of this
Calling

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.

My Shadow

By Robert Louis Stevenson

I have a little shadow that goes in and out with me,
And what can be the use of him is more than I can see.
He is very, very like me from the heels up to the head;
And I see him jump before me, when I jump into my bed.

The funniest thing about him is the way he likes to grow—
Not at all like proper children, which is always very slow;
For he sometimes shoots up taller like an India-rubber ball,
And he sometimes gets so little that there’s none of him at all.

He hasn’t got a notion of how children ought to play,
And can only make a fool of me in every sort of way.
He stays so close beside me, he’s a coward you can see;
I’d think shame to stick to nursie as that shadow sticks to me!

One morning, very early, before the sun was up,
I rose and found the shining dew on every buttercup;
But my lazy little shadow, like an arrant sleepy-head,
Had stayed at home behind me and was fast asleep in bed.

Fern Hill

By Dylan Thomas

Now as I was young and easy under the apple boughs
About the lilting house and happy as the grass was green,
The night above the dingle starry,
Time let me hail and climb
Golden in the heydays of his eyes,
And honoured among wagons I was prince of the apple towns
And once below a time I lordly had the trees and leaves
Trail with daisies and barley
Down the rivers of the windfall light.

And as I was green and carefree, famous among the barns
About the happy yard and singing as the farm was home,
In the sun that is young once only,
Time let me play and be
Golden in the mercy of his means,
And green and golden I was huntsman and herdsman, the calves
Sang to my horn, the foxes on the hills barked clear and cold,
And the sabbath rang slowly
In the pebbles of the holy streams.

All the sun long it was running, it was lovely, the hay
Fields high as the house, the tunes from the chimneys, it was air
And playing, lovely and watery
And fire green as grass.
And nightly under the simple stars
As I rode to sleep the owls were bearing the farm away,
All the moon long I heard, blessed among stables, the nightjars
Flying with the ricks, and the horses
Flashing into the dark.

And then to awake, and the farm, like a wanderer white
With the dew, come back, the cock on his shoulder: it was all
Shining, it was Adam and maiden,
The sky gathered again
And the sun grew round that very day.
So it must have been after the birth of the simple light
In the first, spinning place, the spellbound horses walking warm
Out of the whinnying green stable
On to the fields of praise.

And honoured among foxes and pheasants by the gay house
Under the new made clouds and happy as the heart was long,
In the sun born over and over,
I ran my heedless ways,
My wishes raced through the house high hay
And nothing I cared, at my sky blue trades, that time allows
In all his tuneful turning so few and such morning songs
Before the children green and golden
Follow him out of grace,

Nothing I cared, in the lamb white days, that time would take me
Up to the swallow thronged loft by the shadow of my hand,
In the moon that is always rising,
Nor that riding to sleep
I should hear him fly with the high fields
And wake to the farm forever fled from the childless land.
Oh as I was young and easy in the mercy of his means,
Time held me green and dying
Though I sang in my chains like the sea.

Sailing to Byzantium

By W. B. Yeats

That is no country for old men. The young
In one another's arms, birds in the trees
—Those dying generations—at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

O sages standing in God's holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

Novel

By Arthur Rimbaud
Translated by Wyatt Mason

I.

No one's serious at seventeen.
--On beautiful nights when beer and lemonade
And loud, blinding cafés are the last thing you need
--You stroll beneath green lindens on the promenade.

Lindens smell fine on fine June nights!
Sometimes the air is so sweet that you close your eyes;
The wind brings sounds--the town is near--
And carries scents of vineyards and beer. . .

II.

--Over there, framed by a branch
You can see a little patch of dark blue
Stung by a sinister star that fades
With faint quiverings, so small and white. . .

June nights! Seventeen!--Drink it in.
Sap is champagne, it goes to your head. . .
The mind wanders, you feel a kiss
On your lips, quivering like a living thing. . .

III.

The wild heart Crusoes through a thousand novels
--And when a young girl walks alluringly
Through a streetlamp's pale light, beneath the ominous shadow
Of her father's starched collar. . .

Because as she passes by, boot heels tapping,
She turns on a dime, eyes wide,
Finding you too sweet to resist. . .
--And cavatinas die on your lips.

IV.

You're in love. Off the market till August.
You're in love.--Your sonnets make Her laugh.
Your friends are gone, you're bad news.
--Then, one night, your beloved, writes. . .!

That night. . .you return to the blinding cafés;
You order beer or lemonade. . .
--No one's serious at seventeen
When lindens line the promenade.

29 September 1870

Another reason why I don't keep a gun in the house

By Billy Collins

The neighbors' dog will not stop barking.
He is barking the same high, rhythmic bark
that he barks every time they leave the house.
They must switch him on on their way out.

The neighbors' dog will not stop barking.
I close all the windows in the house
and put on a Beethoven symphony full blast
but I can still hear him muffled under the music,
barking, barking, barking,

and now I can see him sitting in the orchestra,
his head raised confidently as if Beethoven
had included a part for barking dog.

When the record finally ends he is still barking,
sitting there in the oboe section barking,
his eyes fixed on the conductor who is
entreating him with his baton

while the other musicians listen in respectful
silence to the famous barking dog solo,
that endless coda that first established
Beethoven as an innovative genius.

anyone lived in a pretty how town

By e.e. cummings

anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did

Women and men(both little and small)
cared for anyone not at all
they sowed their isn't they reaped their same
sun moon stars rain

children guessed(but only a few
and down they forgot as up they grew
autumn winter spring summer)
that noone loved him more by more

when by now and tree by leaf
she laughed his joy she cried his grief
bird by snow and stir by still
anyone's any was all to her

someones married their everyones
laughed their cryings and did their dance
(sleep wake hope and then)they
said their nevers they slept their dream

stars rain sun moon
(and only the snow can begin to explain
how children are apt to forget to remember
with up so floating many bells down)

one day anyone died i guess
(and noone stooped to kiss his face)
busy folk buried them side by side
little by little and was by was

all by all and deep by deep
and more by more they dream their sleep
noone and anyone earth by april
wish by spirit and if by yes.

Women and men(both dong and ding)
summer autumn winter spring
reaped their sowing and went their came
sun moon stars rain

One Art

By Elizabeth Bishop

The art of losing isn't hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn't hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother's watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn't hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn't a disaster.


--Even losing you (the joking voice, a gesture
I love) I shan't have lied. It's evident
the art of losing's not too hard to master
though it may look like (Write it!) like disaster.

Hay for the Horses

By Gary Snyder

He had driven half the night
From far down San Joaquin
Through Mariposa, up the
Dangerous Mountain roads,
And pulled in at eight a.m.
With his big truckload of hay
behind the barn.
With winch and ropes and hooks
We stacked the bales up clean
To splintery redwood rafters
High in the dark, flecks of alfalfa
Whirling through shingle-cracks of light,
Itch of haydust in the
sweaty shirt and shoes.
At lunchtime under Black oak
Out in the hot corral,
---The old mare nosing lunchpails,
Grasshoppers crackling in the weeds---
"I'm sixty-eight" he said,
"I first bucked hay when I was seventeen.
I thought, that day I started,
I sure would hate to do this all my life.
And dammit, that's just what
I've gone and done."

Credo

By Matthew Rohrer

I believe there is something else

entirely going on but no single
person can ever know it,
so we fall in love.

It could also be true that what we use
everyday to open cans was something
much nobler, that we'll never recognize.

I believe the woman sleeping beside me
doesn't care about what's going on
outside, and her body is warm
with trust
which is a great beginning.

If

By Rudyard Kipling

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 impostors 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 breathe 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!

A Psalm of Life

By Henry Wadsworth Longfellow

What the Heart of the Young Man Said to the Psalmist

Tell me not, in mournful numbers,
"Life is but an empty dream!"
For the soul is dead that slumbers,
And things are not what they seem.

Life is real! Life is earnest!
And the grave is not its goal;
"Dust thou art, to dust returnest,"
Was not spoken of the soul.

Not enjoyment, and not sorrow,
Is our destined end or way;
But to act to each to-morrow
Finds us farther than to-day.

Art is long, and Time is fleeting,
And our hearts, though stout and brave,
Still, like muffled drums, are beating
Funeral marches to the grave.

In the world's broad field of battle,
In the bivouac of Life,
Be not like dumb, driven cattle!
Be a hero in the strife!

Trust no Future, howe'er pleasant!
Let the dead Past bury its dead!
Act,--act in the living Present!
Heart within, and God o'erhead!

Lives of great men all remind us
We can make our lives sublime,
And, departing, leave behind us
Footprints on the sands of time;

Footprints, that perhaps another,
Sailing o'er life's solemn main,
A forlorn and shipwrecked brother,
Seeing, shall take heart again.

Let us, then, be up and doing,
With a heart for any fate;
Still achieving, still pursuing
Learn to labor and to wait.

Introduction to Poetry

I'm not back, exactly, but I decided I wanted to have a project for April. It's National Poetry Month, an event that you can't help but be aware of if you listen to NPR. I have to confess that I have a complicated relationship with poetry. I despise the prententious, breathy way that poems tend to get read at Open Mic nights in a certain sort of coffeehouse. It's enough to turn me against the whole art form, but then I read or listen to something from someone like Billy Collins and my faith in poets is restored.

I idly toyed with the idea of writing a poem every day for the month. But I don't do windows or poetry, so that was right out. Then I found Poets.Org and spent way too much time stumbling around and rediscovering some of my favourite poems.

Why write something sub-par when I can share a great poem with you instead? Best to leave this poetry stuff to the professionals after all.

I selected today's poem especially to kick-off my project.

Introduction to Poetry

By Billy Collins

I ask them to take a poem
and hold it up to the light
like a color slide

or press an ear against its hive.

I say drop a mouse into a poem
and watch him probe his way out,

or walk inside the poem's room
and feel the walls for a light switch.

I want them to waterski
across the surface of a poem
waving at the author's name on the shore.

But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.

They begin beating it with a hose
to find out what it really means.