One time, I remember, I was in a laundromat. It was a laundromat in Marseilles, France. “Marseilles.” Do you hear that? It’s a mattress of a word, with a lot of spring to it. “Marseilles.” I was in there, doing my laundry, and I look over, and there’s this guy there, this little guy. He was kind of pale, pasty looking. But moving with a methodical grace. And I said, Ed? And he looked up slowly. He nodded, cavernously. I said, Ed Poe? And he said, Mm-hm. And then he peered closely at me. He said, Paul? Paul Chowder? And I said, Yes, Ed! How are you doing? Been a long time. He nodded. I said, I see you’re folding some underpants there.

He said, Yes, I am. Doing my laundry. You?

I said I’m doing my laundry, too. And I mean, if you’re going to do your laundry, this place is probably as good as or better than any place I can think of. Marseilles, France. Or “Fronce,” as we say.

And I said, Can I venture to ask how the poetry’s going?

He said, It’s going pretty well, pretty well. I wrote a poem, and I got paid for it, and it was in the newspaper.

And I said, That’s fantastic. What’s it called?

And he said, It’s called “The Raven.”

I said, Holy shit, Ed. “The Raven.” Great title. What’s it about?

And he said, It’s about a man who has a visit from a raven.

And I said, That sounds really promising. What does the raven stand for? Death and fate and horror and government wiretapping and stuff like that? And he just looked at me. He wasn’t about to explicate his poem to me. Which I understand. And I said, Well, listen, take care. I grabbed my bag of laundry. I said, It’s been great seeing you. Stay happy. And he said, You too, it’s good seeing you. We waved again. Take care, bye-bye. Watch out for the big swinging blade. And I walked out the door of the laundromat. Off down the street. And that was the time that I ran into Edgar Allen Poe.

— Nicholson Baker, The Anthologist

How many million Aprils came
…..Before I ever knew
How white a cherry bough could be,
…..A bed of squills, how blue.

And many a dancing April
…..When life is done with me,
Will lift the blue flame of the flower
…..And the white flame of the tree.

Oh, burn me with your beauty, then,
…..Oh, hurt me, tree and flower,
Lest in the end death try to take
…..Even this glistening hour.

O shaken flowers, O shimmering trees,
…..O sunlit white and blue,
Wound me, that I, through endless sleep,
…..May bear the scar of you.

— Sara Teasdale

I didn’t find the file I was looking for, which holds the drafts of my flying spoon poems. These have swerved in and out of my life for so many years now that I have quite a fat file. The file now stands for the reality. I thought, If I don’t find this spoon file I won’t be able to write the poem that I was put on this earth to write and my life will have been in vain.

I sprawled in bed grieving for the loss of this file, although I knew it wasn’t lost but somewhere in my office. And then I saw that the only chance I had of writing a half-decent spoon poem was in not finding the file. As soon as I had the file in hand it would smother any new upswellings I might have. I felt released from a heavy burden and I lay in bed blinking at my good fortune.

— Nicholson Baker, The Anthologist

The day is done, and the darkness
Falls from the wings of Night,
As a feather is wafted downward
From an eagle in his flight.

I see the lights of the village
Gleam through the rain and the mist,
And a feeling of sadness comes o’er me
That my soul cannot resist:

A feeling of sadness and longing,
That is not akin to pain,
And resembles sorrow only
As the mist resembles the rain.

Come, read to me some poem,
Some simple and heartfelt lay,
That shall soothe this restless feeling,
And banish the thoughts of day.

Not from the grand old masters,
Not from the bards sublime,
Whose distant footsteps echo
Through the corridors of Time.

For, like strains of martial music,
Their mighty thoughts suggest
Life’s endless toil and endeavor;
And to-night I long for rest.

Read from some humbler poet,
Whose songs gushed from his heart,
As showers from the clouds of summer,
Or tears from the eyelids start;

Who, through long days of labor,
And nights devoid of ease,
Still heard in his soul the music
Of wonderful melodies.

Such songs have power to quiet
The restless pulse of care,
And come like the benediction
That follows after prayer.

Then read from the treasured volume
The poem of thy choice,
And lend to the rhyme of the poet
The beauty of thy voice.

And the night shall be filled with music
And the cares, that infest the day,
Shall fold their tents, like the Arabs,
And as silently steal away.

— Henry Wadsworth Longfellow

I caught a tremendous fish
and held him beside the boat
half out of water, with my hook
fast in a corner of his mouth.
He didn’t fight.
He hadn’t fought at all.
He hung a grunting weight,
battered and venerable
and homely. Here and there
his brown skin hung in strips
like ancient wallpaper,
and its pattern of darker brown
was like wallpaper:
shapes like full-blown roses
stained and lost through age.
He was speckled and barnacles,
fine rosettes of lime,
and infested
with tiny white sea-lice,
and underneath two or three
rags of green weed hung down.
While his gills were breathing in
the terrible oxygen
— the frightening gills,
fresh and crisp with blood,
that can cut so badly —
I thought of the coarse white flesh
packed in like feathers,
the big bones and the little bones,
the dramatic reds and blacks
of his shiny entrails,
and the pink swim-bladder
like a big peony.
I looked into his eyes
which were far larger than mine
but shallower, and yellowed,
the irises backed and packed
with tarnished tinfoil
seen through the lenses
of old scratched isinglass.
They shifted a little, but not
to return my stare.
— It was more like the tipping
of an object toward the light.
I admired his sullen face,
the mechanism of his jaw,
and then I saw
that from his lower lip
— if you could call it a lip
grim, wet, and weaponlike,
hung five old pieces of fish-line,
or four and a wire leader
with the swivel still attached,
with all their five big hooks
grown firmly in his mouth.
A green line, frayed at the end
where he broke it, two heavier lines,
and a fine black thread
still crimped from the strain and snap
when it broke and he got away.
Like medals with their ribbons
frayed and wavering,
a five-haired beard of wisdom
trailing from his aching jaw.
I stared and stared
and victory filled up
the little rented boat,
from the pool of bilge
where oil had spread a rainbow
around the rusted engine
to the bailer rusted orange,
the sun-cracked thwarts,
the oarlocks on their strings,
the gunnels — until everything
was rainbow, rainbow, rainbow!
And I let the fish go.

— Elizabeth Bishop

Now through the grating of my cell
I look up at a strip of autumn sky
And often, chalked across the blue,
There’s a vapour trail,
A vapour trail…
And then, I don’t know why,
I start to think of you.

Dawn brings these planes from distant lands,
Red-eyed tycoons from far-flung ports of call.
Dawn lifts the luggage through the flaps
Onto the carrousel
The carrousel
And wakes the baggage hall.
Dawn will bring you, perhaps.

Perhaps that vapour trail is where
Your plane passed over me here in my jail.
That line is the trajectory
Of your breakfast tray,
Your breakfast tray.
Perhaps that is your trail
And you look down on me.

Look down on me, my friend, look down
And think of me now as I think of you
And think of us as we were then
From your vapour trail,
Your vapour trail…
Your line of chalk on blue.
Think well of me again,

My friend—
Whatever hurt I may have done,
For I intended none.
Forgive the hurt that I did not intend
And let it mend. Think well of me again.

— James Fenton

Oh, plot developments. Plot developments, how badly we need you and yet how much we flee from your clanking boxcars. I don’t want to ride that train. I just want to sit and sing to myself. I want everything to be all right.

— Nicholson Baker, The Anthologist

If I had grown in some generous place —
if my hours had opened in ease —
I would make You a lavish banquet.
My hands wouldn’t clutch at You like this,
so needy and tight.

— Rilke, From The Book of Hours I, 21

This laboring of ours with all that remains undone,
as if still bound to it,
is like the lumbering gait of the swan.

And then our dying — releasing ourselves
from the very ground on which we stood —
is like the way he hesitantly lowers himself

into the water. It gently receives him,
and, gladly yielding, flows back beneath him,
as wave follows wave,
while he, now wholly serene and sure,
with regal composure,
allows himself to glide.

— Rilke, New Poems

Some of us have long felt continuities that have little in common with the course of history. We understand what is most distinctive in this fateful moment and what future it holds. But we, squeezed between yesterday and tomorrow, will we be mindful and receptive enough to participate in the unfolding of the larger movement?

— Rilke, Letter to Countess Marie von Thurn und Taxis-Hohenlohe
July 9, 1915

This research had long entered the charmed stage when the quest overrides the goal, and a new organism is formed, the parasite so to speak of the ripening fruit. Pnin averted his mental gaze from the end of his work, which was so clearly in sight that one could make out the rocket of an asterisk, the flare of a “sic!” This line of land was to be shunned as the doom of everything that determined the rapture of endless approximation. . . . [T]he spine thrill of a felicitous guess; and all the innumerable triumphs of bezkorïstnïy (disinterested, devoted) scholarship — this had corrupted Pnin, this had made him a happy, footnote-drugged maniac who disturbs the book mites in a dull volume, a foot thick, to find in it a reference to an even duller one.

— Vladimir Nabokov, Pnin

We have no reason to distrust our world, for it is not against us. If it has terrors, they are our terrors. If it has an abyss, it is ours. If dangers are there, we must try to love them. And if we would live with faith in the value of what is challenging, then what now appears to us as most alien will become our truest, most trustworthy friend. Let us not forget the ancient myths at the outset of humanity’s journey, the myths about dragons that at the last moment transform into princesses. Perhaps all the dragons of our lives are princesses who are only waiting to see us act just once with beauty and courage. Perhaps every terror is, in its deepest essence, something that needs our recognition or help.

— Rilke, Borgeby gärd, Sweden, August 12, 1904
Letters to a Young Poet

A small piece of earth, burned,
as if burned by the sun’s fire.
The touch of a girl’s hand
seems somehow still upon it.
Feel how it remained there,
not longing for anything other,
just resting into itself
like fingers on a chin.

We take up this figure, then that,
turning them in the light.
We can almost understand
how they managed to survive.
We need only smile
and accept more fully
what it offers to our eyes.

— Rilke, New Poems

I think that poetry at its greatest — in Dante, Shakespeare, Donne, Milton, Blake — has one broad and essential difficulty: it is the true mode of expanding our consciousness. This it accomplishes by what I have learned to call strangeness. Owen Barfield was one of several critics to bring forth strangeness as a poetic criterion. For him, as for Walter Pater before him, the Romantic added strangeness to beauty: Wallace Stevens, a part of this tradition, has a Paterian figure cry out: “And there I found myself more truly and more strange.” Barfield says: “It must be a strangeness of meaning,” and then makes a fine distinction:

It is not correlative with wonder; for wonder is our reaction to things which we are conscious of not quite understanding, or at any rate of understanding less than we had thought. The element of strangeness in beauty has the contrary effect. It arises from contact with a different kind of consciousness from our own, different, yet not so remote that we cannot partly share it, as indeed, in such a connection, the mere word “contact” implies. Strangeness, in fact, arouses wonder when we do not understand: aesthetic imagination when we do.

Consciousness is the central theme here. As Barfield intimates, consciousness is to poetry what marble is to sculpture: the material that is being worked. Words are figurations of consciousness: metaphorical of consciousness, the poet’s words invite us to share in a strangeness. “A felt change in consciousness” is one of Barfield’s definitions of the poetic effect, and I relate this to what fascinates me most in the greatest Shakespearean characters — Falstaff, Hamlet, Iago, Lear, Cleopatra — the extraordinary changes that come about when they overhear themselves. As James Wood remarks, actually they become conscious of listening to Shakespeare, because in overhearing themselves, what they are hearing is Shakespeare. They become themselves more truly and more strange, because they are “free artists of themselves” (Hegel’s tribute to them).

The work of great poetry is to aid us to become free artists of ourselves. Even Shakespeare cannot make me into Falstaff or Hamlet, but all great poetry asks us to be possessed by it. To possess it by memory is a start, and to augment our consciousness is the goal. The art of reading poetry is an authentic training in the augmentation of consciousness, perhaps the most authentic of healthy modes.

— Harold Bloom, The Art of Reading Poetry

So I crossed my eyes with my eyes closed. And I saw something in the dark: two crescent moons on the outside of my vision, which were the new moons of strain. I could feel my corneal pleasure domes moving, too. And as my eyes reached maximum crossing I felt an interesting blind pain of wrongness. I decided that I should hold on to that.

— Nicholson Baker, The Anthologist