You know the formula: m over nought equals infinity, m being any positive number? Well, why not reduce the equation to a simpler form by multiplying both sides by nought? In which case you have m equals infinity times nought. That is to say that a positive number is the product of zero and infinity. Doesn’t that demonstrate the creation of the universe by an infinite power out of nothing?

— Aldous Huxley

Up from the bronze, I saw
Water without a flaw
Rush to its rest in air,
Reach to its rest, and fall.

Bronze of the blackest shade,
An element man-made,
Shaping upright the bare
Clear gouts of water in air.

O, as with arm and hammer,
Still it is good to strive
To beat out the image whole,
To echo the shout and stammer
When full-gushed waters, alive,
Strike on the fountain’s bowl
After the air of summer.

— Louise Bogan

I went over to Roz’s apartment with Smacko, because she was going to be taking care of him while I was in Switzerland. She was getting out of her car in the shade of a maple tree. She’d just come back from Red Leaf, a vegetable store out near Exeter. She lowered her head to the grocery bag she held and she breathed in. She said, “Don’t you love the smell of brown paper bags filled with raw vegetables?”

I leaned and smelled inside the bag. “Yes, I like it very much,” I said. Trying to stay on an even keel but feeling a lot of love for her and wanting to lie down on the sidewalk as a result.

She stood, smiling, waiting for me to say something more. I handed her the beads, wrapped droopily in tissue. “Just something I strung for you, don’t open it now.”

She thanked me, and then she tilted her face up and I kissed her quickly, pretend-perfunctorily. “Good luck in Switzerland,” she said.

— Nicholson Baker, The Anthologist

I do not understand the world, Father.
By the millpond at the end of the garden
There is a man who slouches listening
To the wheel revolving in the stream, only
There is no wheel there to revolve.

He sits in the end of March, but he sits also
In the end of the garden; his hands are in
His pockets. It is not expectation
On which he is intent, nor yesterday
To which he listens. It is a wheel turning.

When I speak, Father, it is the world
That I must mention. He does not move
His feet nor so much as raise his head
For fear he should disturb the sound he hears
Like a pain without a cry, where he listens.

I do not think I am fond, Father,
Of the way in which always before he listens
He prepares himself by listening. It is
Unequal, Father, like the reason
For which the wheel turns, though there is no wheel.

I speak of him, Father, because he is
There with his hands in his pockets, in the end
Of the garden listening to the turning
Wheel that is not there, but it is the world,
Father, that I do not understand.

— W. S. Merwin

Sing we for love and idleness,
Naught else is worth the having.

Though I have been in many a land,
There is naught else in living.

And I would rather have my sweet,
Though rose-leaves die in grieving,

Than do high deeds in Hungary
To pass all men’s believing.

— Ezra Pound

Let not young souls be smothered out before
They do quaint deeds and fully flaunt their pride.
It is the world’s one crime its babes grow dull,
It’s poor are ox-like, limp and leaden-eyed.
Not that they starve, but starve so dreamlessly;
Not that they sow, but that they seldom reap;
Not that they serve, but have no gods to serve;
Not that they die, but that they die like sheep.

— Vachel Lindsay

Who shows a child his true world?
Who sets him among the stars, and places
in his hand the true measure of space?
Death can do this, the hugeness of death,
even before life has begun —
to hold it gently and feel no resentment,
that is enough.

— Rilke, From the Fourth Duino Elegy

If only people could perceive the mystery in all life, down to the smallest thing, and open themselves to it instead of taking it for granted. If only they could revere its abundance which is undividedly both material and spiritual. For the mind’s creation springs from the physical, is of one nature with it and only a lighter, more enraptured and enduring recapturing of bodily delight.

— Rilke, Worpswede, July 16, 1903
Letters to a Young Poet

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