Folk-lore means that the soul is sane, but that the universe is wild and full of marvels. Realism means that the world is dull and full of routine, but that the soul is sick and screaming. The problem of the fairy tale is: what will a healthy man do with a fantastic world? The problems of the modern novel is: what will a madman do with a dull world? In the fairy tales the cosmos goes mad; but the hero does not go mad. In the modern novels the hero is mad before the book begins, and suffers from the harsh steadiness and cruel sanity of the cosmos.
Gabriel Levin's book is a journey through time and through entrenched animosities of the Middle East. What's astonishing and refreshing is his ability to combine the reporter's perspective with a deep knowledge of poetry, including pre-Islamic Arab poems. A brilliant poet is at work here-a poet in the rugged landscape of conflict and pain.
I'm aware of 'Twilight,' but I've never seen the movies or read any of the books. Frankly, the story leaves me cold - why do a vampire story about abstinence?
I think many poets, including myself, write both for the voice and for the page. I certainly write for the person alone in the library, who pulls down a book and it opens to a poem. I am also very conscious of what it means to read these poems aloud.
Go, little book, and wish to all
Flowers in the garden, meat in the hall,
A bin of wine, a spice of wit,
A house with lawns enclosing it,
A living river by the door,
A nightingale in the sycamore!
When the wind is blowing and the sleet or rain is driving against the dark windows, I love to sit by the fire, thinking of what I have read in books of voyage and travel.
Damning, with bell, book and candle / Some sinner whose opinions are a scandal. / A rite permitting Satan to enslave him / Forever, and forbidding Christ to save him.
I was under twenty when I deliberately put it to myself one night after good conversation that there are moments when we actually touch in talk what the best writing can only come near. The curse of our book language is not so much that it keeps forever to the same set phrases . . . but that it sounds forever with the same reading tones. We must go out into the vernacular for tones that haven't been brought to book.
If that glad message of your Bible were written in your faces, you would not need to demand belief in the authority of that book in such stiff-necked fashion.
In Marseilles they make half the toilet soap we consume in America, but the Marseillaise only have a vague theoretical idea of its use, which they have obtained from books of travel.
The winter wind is loud and wild, Come close to me, my darling child; Forsake thy books, and mate less play; And, while the night is gathering grey, We'll talk its pensive hours away.
I don't just want my books to be about the '30s and '40s. I want them to read as if they had been written then. I think of them as '40s novels, written in the conservative narrative past.