“in time of daffodils(who know
the goal of living is to grow)
forgetting why,remember how
in time of lilacs who proclaim
the aim of waking is to dream,
remember so(forgetting seem)
in time of roses(who amaze
our now and here with paradise)
forgetting if,remember yes
in time of all sweet things beyond
whatever mind may comprehend,
remember seek(forgetting find)
and in a mystery to be
(when time from time shall set us free)
forgetting me,remember me”
the writing reference “said is dead” post is bad
said is not dead. said is very much alive and should be predominantly used in fiction writing, because if you always use words like mumble and observe and articulate and state and express then it will get very noticeable and irritating!! use “said” and “asked” more than anything, and substitute other fancier words in only when necessary and when it will enrich the content of your writing.
"I am mighty tired of reading reviews that call “A Good Man Is Hard to Find” brutal and sarcastic. The stories are hard but they are hard because there is nothing harder or less sentimental than Christian realism. I believe that there are many rough beasts now slouching toward Bethlehem to be born and that I have reported the progress of a few of them, and when I see these stories described as horror stories I am always amused because the reviewer always has hold of the wrong horror."
Flannery O’Connor, ‘55 (via savage-america)
"The Catholic novelist in the South will see many distorted images of Christ, but he will certainly feel that a distorted image of Christ is better than no image at all. I think he will feel a good deal more kinship with backwoods prophets and shouting fundamentalists than he will with those politer elements for whom the supernatural is an embarrassment and for whom religion has become a department of sociology or culture or personality development."
― Flannery O’Connor (via shakespeareandpunk)
I am a haunted house
I am an open stairway
I am singing and singing
I am a hundred opening mouths
Chantelle Ann, Fragment
Jazz Fantasia by Carl Sandburg
Drum on your drums, batter on your banjoes,
sob on the long cool winding saxophones.
Go to it, O jazzmen.
Sling your knuckles on the bottoms of the happy
tin pans, let your trombones ooze, and go husha-
husha-hush with the slippery sand-paper.
Moan like an autumn wind high in the lonesome treetops,
moan soft like you wanted somebody terrible, cry like a
racing car slipping away from a motorcycle cop, bang-bang!
you jazzmen, bang altogether drums, traps, banjoes, horns,
tin cans — make two people fight on the top of a stairway
and scratch each other’s eyes in a clinch tumbling down
Can the rough stuff … now a Mississippi steamboat pushes
up the night river with a hoo-hoo-hoo-oo … and the green
lanterns calling to the high soft stars … a red moon rides
on the humps of the low river hills … go to it, O jazzmen.
I. Two poets fall in love, and that’s when it gets ugly.
II. We go to dinner. You order the wine, red and burning, and it goes down like blood. We start with Shakespeare, move to Plath. You use alliteration to tell me that I’m ripping out your lungs with my metaphors, and I counteract with a hyperbole, say you’ve clogged my arteries with your similes. Don’t touch me with your dictionary, I want to say. Touch me with your hands.
III. The appetizers arrive. Bread as soft and brown as the flesh of your neck. Move to Emerson. Ask about God. Was Jesus this soft and brown? My Bible never told me about the strength in your apricot arms, your chestnut knuckles, this most divine truth resting under your skin. Move to Whitman. I envy the grass that licks your neck when you tumble down hills and watch the clouds. Touch me with your hands.
IV. The main course is a fawn’s heart seasoned with autumns and breaking. I eat more than you do. Move to Rilke. Write letters. When I tell you about the words, you say that you will die for ink and paper: I want you to break my neck. Move to Allen. Kiss the sunlight. Ask to live. Touch me with your hands.
V. Dessert is your mouth at three a.m., pulled over to the side of an empty, dark highway. Tell me you love me and it goes down like blood. Kiss my hip and it feels like dying. Don’t touch me with your dictionary. Touch me with your hands."
Careful, honey, it’s loaded,” he said, reentering the bedroom.
Her back rested against the headboard. “This for your wife?”
“No. Too chancy. I’m hiring a professional.”
“How about me?”
He smirked. “Cute. But who’d be dumb enough to hire a lady hit man?”
She wet her lips, sighting along the barrel.
"Bedtime Story", Jeffrey Whitmore (via selkfolk)