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The world was coming to its end, and all they could do was meet it with exhaustion.
“Human beings are locally perceptual and globally metaphysical.”
― Incessance: Incesancia
― Incessance: Incesancia
“That which is outside exists. That which is within does not. My thoughts, images, and dreams do not exist. If Speranza [this island] is no more than a sensation, or a bundle of sensations, then she does not exist. And I myself exist only insofar as I escape from myself to join with others.
What complicates the position is that the thing which does not exist does its utmost to persuade us of the contrary. There is a great and universal urge toward existence among the non-existent. Something like a centrifugal force seeks to spread outward everything that moves within me, images, dreams, projects, fantasies, desires, obsessions. That which does not ex-sist in-sists. It insists upon existing. All the small world contained within me is knocking at the door of the great, the real world. And it is others, those who are outside, who hold the key. In the past, when I tossed in my sleep, my wife would shake me by the shoulders to wake me and dispel the insistence of the nightmare. But now . . . But why do I keep returning to this subject?”
― Friday, or, The Other Island
What complicates the position is that the thing which does not exist does its utmost to persuade us of the contrary. There is a great and universal urge toward existence among the non-existent. Something like a centrifugal force seeks to spread outward everything that moves within me, images, dreams, projects, fantasies, desires, obsessions. That which does not ex-sist in-sists. It insists upon existing. All the small world contained within me is knocking at the door of the great, the real world. And it is others, those who are outside, who hold the key. In the past, when I tossed in my sleep, my wife would shake me by the shoulders to wake me and dispel the insistence of the nightmare. But now . . . But why do I keep returning to this subject?”
― Friday, or, The Other Island
“Through me the way into the grieving city,
Through me the way into eternal sorrow,
Through me the way among the lost people.
Justice moved my high maker;
Divine power made me,
Highest wisdom and primal love.
Before me were no things created
Except eternal ones, and I endure eternal.
Abandon every hope, you who enter.”
― Inferno
Through me the way into eternal sorrow,
Through me the way among the lost people.
Justice moved my high maker;
Divine power made me,
Highest wisdom and primal love.
Before me were no things created
Except eternal ones, and I endure eternal.
Abandon every hope, you who enter.”
― Inferno
“You gave me hyacinths first a year ago;
They called me the hyacinth girl.'
—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Od' und leer das Meer.”
― The Waste Land and Other Writings
They called me the hyacinth girl.'
—Yet when we came back, late, from the Hyacinth garden,
Your arms full, and your hair wet, I could not
Speak, and my eyes failed, I was neither
Living nor dead, and I knew nothing,
Looking into the heart of light, the silence.
Od' und leer das Meer.”
― The Waste Land and Other Writings
“LADY LAZARUS
I have done it again.
One year in every ten
I manage it--
A sort of walking miracle, my skin
Bright as a Nazi lampshade,
My right foot
A paperweight,
My face a featureless, fine
Jew linen.
Peel off the napkin
O my enemy.
Do I terrify?--
The nose, the eye pits, the full set of teeth?
The sour breath
Will vanish in a day.
Soon, soon the flesh
The grave cave ate will be
At home on me
And I a smiling woman.
I am only thirty.
And like the cat I have nine times to die.
This is Number Three.
What a trash
To annihilate each decade.
What a million filaments.
The peanut-crunching crowd
Shoves in to see
Them unwrap me hand and foot--
The big strip tease.
Gentlemen, ladies
These are my hands
My knees.
I may be skin and bone,
Nevertheless, I am the same, identical woman.
The first time it happened I was ten.
It was an accident.
The second time I meant
To last it out and not come back at all.
I rocked shut
As a seashell.
They had to call and call
And pick the worms off me like sticky pearls.
Dying
Is an art, like everything else.
I do it exceptionally well.
I do it so it feels like hell.
I do it so it feels real.
I guess you could say I've a call.
It's easy enough to do it in a cell.
It's easy enough to do it and stay put.
It's the theatrical
Comeback in broad day
To the same place, the same face, the same brute
Amused shout:
'A miracle!'
That knocks me out.
There is a charge
For the eyeing of my scars, there is a charge
For the hearing of my heart--
It really goes.
And there is a charge, a very large charge
For a word or a touch
Or a bit of blood
Or a piece of my hair or my clothes.
So, so, Herr Doktor.
So, Herr Enemy.
I am your opus,
I am your valuable,
The pure gold baby
That melts to a shriek.
I turn and burn.
Do not think I underestimate your great concern.
Ash, ash--
You poke and stir.
Flesh, bone, there is nothing there--
A cake of soap,
A wedding ring,
A gold filling.
Herr God, Herr Lucifer
Beware
Beware.
Out of the ash
I rise with my red hair
And I eat men like air.
-- written 23-29 October 1962”
― Ariel
I have done it again.
One year in every ten
I manage it--
A sort of walking miracle, my skin
Bright as a Nazi lampshade,
My right foot
A paperweight,
My face a featureless, fine
Jew linen.
Peel off the napkin
O my enemy.
Do I terrify?--
The nose, the eye pits, the full set of teeth?
The sour breath
Will vanish in a day.
Soon, soon the flesh
The grave cave ate will be
At home on me
And I a smiling woman.
I am only thirty.
And like the cat I have nine times to die.
This is Number Three.
What a trash
To annihilate each decade.
What a million filaments.
The peanut-crunching crowd
Shoves in to see
Them unwrap me hand and foot--
The big strip tease.
Gentlemen, ladies
These are my hands
My knees.
I may be skin and bone,
Nevertheless, I am the same, identical woman.
The first time it happened I was ten.
It was an accident.
The second time I meant
To last it out and not come back at all.
I rocked shut
As a seashell.
They had to call and call
And pick the worms off me like sticky pearls.
Dying
Is an art, like everything else.
I do it exceptionally well.
I do it so it feels like hell.
I do it so it feels real.
I guess you could say I've a call.
It's easy enough to do it in a cell.
It's easy enough to do it and stay put.
It's the theatrical
Comeback in broad day
To the same place, the same face, the same brute
Amused shout:
'A miracle!'
That knocks me out.
There is a charge
For the eyeing of my scars, there is a charge
For the hearing of my heart--
It really goes.
And there is a charge, a very large charge
For a word or a touch
Or a bit of blood
Or a piece of my hair or my clothes.
So, so, Herr Doktor.
So, Herr Enemy.
I am your opus,
I am your valuable,
The pure gold baby
That melts to a shriek.
I turn and burn.
Do not think I underestimate your great concern.
Ash, ash--
You poke and stir.
Flesh, bone, there is nothing there--
A cake of soap,
A wedding ring,
A gold filling.
Herr God, Herr Lucifer
Beware
Beware.
Out of the ash
I rise with my red hair
And I eat men like air.
-- written 23-29 October 1962”
― Ariel
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