Longing is not a mind game and that is why I’ve always trusted it. Longing is raw, longing is real; it makes one listen and be attentive to what’s inside. There is mad honesty in longing. So mad that it feels suitable. It is very suitable for me, I’m telling you – I don’t even want to write it or write about it, I want to be it.
Anne Sexton
A Self-Portrait In Letters
I don’t know why … this is the most brilliant poem I’ve read in a long time
What use is knowing anything if no one is around
to watch you know it? Plants reinvent sugar daily
and hardly anyone applauds. Once as a boy I sat
in a corner covering my ears, singing Quranic verse
after Quranic verse. Each syllable was perfect, but only
the lonely rumble in my head gave praise. This is why
we put mirrors in birdcages, why we turn on lamps
to double our shadows. I love my body more
than other bodies. When I sleep next to a man, he becomes
an extension of my own brilliance. Or rather, he becomes
an echo of my own anticlimax. I was delivered
from dying like a gift card sent in lieu of a pound
of flesh. My escape was mundane, voidable. Now
I feed faith to faith, suffer human noise, complain
about this or that heartache. The spirit lives in between
the parts of…
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Snow
falls on snow —
and remains silent
Santōka,
Haiku: An Anthology of Japanese Poems (edited by Stephen Addiss, Fumiko Yamamoto and Akira Yamamoto)
“When mind is still, then truth gets her chance
to be heard in the purity of the silence.”
~ Sri Aurobindo
“Silence is the sleep that nourishes wisdom.”
~ Francis Bacon
Text & image source: Éva Patus/Harmony https://www.facebook.com/Harmony-578149188866564/
I will tell you what she was like. She was like a piano in a country where everyone has had their hands cut off.
Angela Carter
Black Venus
Saints and Strangers
Louis L’Amour didn’t just commit to writing every single day. He created specific, targeted goals.
One such goal was to publish one short story every week.
Publish, not write. Not every story was accepted, so that meant L’Amour was writing far more than just 52 short stories every year, plus the full-length novels he worked on.
L’Amour’s overall process was somewhat legendary, he never outlined a project, and he categorically refused to edit anything. He simply sat down at a typewriter and wrote.
However, he did have a very specific process, one that helped negate the need for outlining and editing.
He would work on stories in his head for months and sometimes years, taking copious supporting notes, so when he did start tapping on the keyboard, he was essentially writing a finished draft.
Finally, he had a very strict “three strikes rule,” if he couldn’t get a project right…
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