The art of war teaches us to rely not on the likelihood of the enemy's not coming, but on our own readiness to receive him; not on the chance of his not attacking, but rather on the fact that we have made our position unassailable.
When I got enough confidence, the stage was gone. When I was sure of losing, I won. When I needed people the most, they left me. When I learnt to dry my tears, I found a shoulder to cry on. And when I mastered the art of hating, somebody started loving me.
I visited the Museum of Modern Art last spring and spent time with David Alfaro Siqueiros's painting, 'Echo of a Scream (1937).' I got spun out by the way he creates tension and movement through the interlocking details in the painting. This poem began as an emulation of Siqueiros's compositional style and, in the process, became an ekphrastic aubade about my old neighborhood.
One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
If what is seen and experienced is portrayed in the language of logic, then it is science. If it is communicated through forms whose connections are not accessible to the conscious mind but are recognized intuitively, then it is art.
Nevertheless, he must be cautious in believing and acting, and must not inspire fear of his own accord, and must proceed in a temperate manner with prudence and humanity, so that too much confidence does not render him incautious, and too much diffidence does not render him intolerant. From this arises the question whether it is better to be loved more than feared, or feared more than loved.
Great works of art have no more affecting lesson for us than this. They teach us to abide by our own spontaneous expression with good humored inflexibility whether the whole cry of voices is on the other side.