An illustration from Outside Over There, my favourite Maurice Sendak book and one of my favourite books of all time.
06/10/1928 - 05/08/2012. That is not enough.
An illustration from Outside Over There, my favourite Maurice Sendak book and one of my favourite books of all time.
06/10/1928 - 05/08/2012. That is not enough.
Why should I let the toad work Squat on my life? Can't I use my wit as a pitchfork And drive the brute off? Six days of the week it soils With its sickening poison - Just for paying a few bills! That's out of proportion. Lots of folk live on their wits: Lecturers, lispers, Losels, loblolly-men, louts- They don't end as paupers; Lots of folk live up lanes With fires in a bucket, Eat windfalls and tinned sardines- they seem to like it. Their nippers have got bare feet, Their unspeakable wives Are skinny as whippets - and yet No one actually starves. Ah, were I courageous enough To shout Stuff your pension! But I know, all too well, that's the stuff That dreams are made on: For something sufficiently toad-like Squats in me, too; Its hunkers are heavy as hard luck, And cold as snow, And will never allow me to blarney My way of getting The fame and the girl and the money All at one sitting. I don't say, one bodies the other One's spiritual truth; But I do say it's hard to lose either, When you have both.
This is an excerpt from a more extensive collection I’m working on. Hearty thanks to the Eunoia Review for showcasing it today.
“Yet there is some evidence to suggest that Mary, vigorously as she threw herself into this excessively romantic way of life, also had some reservations about its possibilities for making her happy. She was both adventurous and sceptical, willing to cross boundaries and yet well aware of the need for containment. In short, she was exactly the sort of person who could retrieve a dream like Frankenstein from the depths of her unconscious and deliver it to us - I was going to say ‘unflinchingly’, but that is not accurate, for she was intelligent and sensitive enough to flinch at all its terrors.”
- from Wendy Lesser’s Introduction
We have only one noun
but as many different kinds:
the grainy snow of the Puritans
and snow of soft, fat flakes,
guerilla snow, which comes in the night
and changes the world by morning,
rabbinical snow, a permanent skullcap
on the highest mountains,
snow that blows in like the Lone Ranger,
riding hard from out of the West,
surreal snow in the Dakotas,
when you can’t find your house, your street,
though you are not in dream
or a science-fiction movie,
snow that tastes good to the sun
when it licks black tree limbs,
leaving us only one white stripe,
a replica of a skunk,
unbelievable snows:
the blizzard that strikes on the tenth of April,
the false snow before Indian summer,
the Big Snow on Mozart’s birthday,
when Chicago became the Elysian fields
and strangers spoke to each other,
paper snow, cut and taped
to the inside of grade-school windows,
in an old tale, the snow
that covers a nest of strawberries,
small hearts, ripe and sweet,
the special snow that goes with Christmas,
whether it falls or not,
the Russian snow we remember
along with the warmth and smell of our furs,
though we have never traveled
to Russia or worn furs,
Villon’s snows of yesteryear,
lost with ladies gone out like matches,
the snow in Joyce’s “The Dead,”
the silent, secret snow
in a story by Conrad Aiken,
which is the snow of first love,
the snowfall between the child
and the spacewoman on TV,
snow as idea of whiteness,
as in snowdrop, snow goose, snowball bush,
the snow that puts stars in your hair,
and your hair, which has turned to snow,
the snow Elinor Wylie walked in
in velvet shoes,
the snow before her footprints
and the snow after,
the snow in the back of our heads,
whiter than white, which has to do
with childhood again each year.