“Time to plant tears, says the almanac.The grandmother sings to the marvelous stoveand the child draws another inscrutable house.”

“Filling StationOh, but it is dirty!--this little filling station,oil-soaked, oil-permeatedto a disturbing, over-allblack translucency.Be careful with that match!Father wears a dirty,oil-soaked monkey suitthat cuts him under the arms,and several quick and saucyand greasy sons assist him(it's a family filling station),all quite thoroughly dirty.Do they live in the station?It has a cement porchbehind the pumps, and on ita set of crushed and grease-impregnated wickerwork;on the wicker sofaa dirty dog, quite comfy.Some comic books providethe only note of color--of certain color. They lieupon a big dim doilydraping a taboret(part of the set), besidea big hirsute begonia.Why the extraneous plant?Why the taboret?Why, oh why, the doily?(Embroidered in daisy stitchwith marguerites, I think,and heavy with gray crochet.)Somebody embroidered the doily.Somebody waters the plant,or oils it, maybe. Somebodyarranges the rows of cansso that they softly say:ESSO--SO--SO--SOto high-strung automobiles.Somebody loves us all.”

“[Marianne Moore] once remarked, after a visit to her brother and his family, that the state of being married and having children had one enormous advantage: "One never has to worry about whether one is doing the right thing or not. There isn't time. One is always having to go to the market or drive the children somewhere. There isn't time to wonder 'Is this right or isn't it?”

“The art of losing isn't hard to master;so many things seem filled with the intentto be lost that their loss is no disaster.Lose something every day. Accept the flusterof lost door keys, the hour badly spent.The art of losing isn't hard to master.Then practice losing farther, losing faster:places, and names, and where it was you meantto travel. None of these will bring disaster.I lost my mother's watch. And look! my last, ornext-to-last, of three loved houses went.The art of losing isn't hard to master.I lost two cities, lovely ones. And, vaster,some realms I owned, two rivers, a continent.I miss them, but it wasn't a disaster.---Even losing you (the joking voice, a gestureI love) I shan't have lied. It's evidentthe art of losing's not too hard to masterthough it may look like (Write it!) like disaster.”

“I leave a lovely opalescent ribbon: I know this.”

“I have seen it over and over, the same sea, the same,slightly, indifferently swinging above the stones,icily free above the stones,above the stones and then the world.If you should dip your hand in,your wrist would ache immediately,your bones would begin to ache and your hand would burnas if the water were a transmutation of firethat feeds on stones and burns with a dark gray flame.If you tasted it, it would first taste bitter,then briny, then surely burn your tongue.It is like what we imagine knowledge to be:dark, salt, clear, moving, utterly free,drawn form the cold hard mouthof the world, derived from the rocky breastsforever, flowing and drawn, and sinceour knowledge is historical, flowing, and flown.”

“Dreams were the worst. Of course I dreamed of foodand love, but they were pleasant rather than otherwise. But then I'd dream of thingslike slitting a baby's throat, mistaking itfor a baby goat. I'd havenightmares of other islandsstretching away from mine, infinitiesof islands, islands spawning islands,like frogs' eggs turning into polliwogsof islands, knowing that I had to liveon each and every one, eventually,for ages, registering their flora,their fauna, their geography.”