“These wrinkles are nothingThese gray hairs are nothing,This stomach which sagswith old food, these bruisedand swollen ankles, my darkening brain,they are nothing.I am the same boymy mother used to kiss.”

“In a fieldI am the absenceof field.This isalways the case.Wherever I amI am what is missing.”

“It came to my house.It sat on my shoulders.Your shadow is yours. I told it so. I said it was yours.I have carried it with me too long. I give it back.”

“Ink runs from the corners of my mouth.There is no happiness like mine.I have been eating poetry.”

“When I walkI part the airand alwaysthe air moves into fill the spaceswhere my body's been.”

“One clear night while the others slept, I climbedthe stairs to the roof of the house and under a skystrewn with stars I gazed at the sea, at the spread of it,the rolling crests of it raked by the wind, becominglike bits of lace tossed in the air. I stood in the longwhispering night, waiting for something, a sign, the approachof a distant light, and I imagined you coming closer,the dark waves of your hair mingling with the sea,and the dark became desire, and desire the arriving light.The nearness, the momentary warmth of you as I stoodon that lonely height watching the slow swells of the seabreak on the shore and turn briefly into glass and disappear...Why did I believe you would come out of nowhere? Why with allthat the world offers would you come only because I was here?”

“I is for immortality, which for some poets is a necessary compensation. Presumably miserable in this life, they will be remembered when the rest of us are long forgotten. None of them asks about the quality of that remembrance--what it will be like to crouch in the dim hallways of somebody's mind until the moment of recollection occurs, or to be lifted off suddenly and forever into the pastures of obscurity. Most poets know better than to concern themselves with such things. They know the chances are better than good that their poems will die when they do and never be heard of again, that they'll be replaced by poems sporting a new look in a language more current. They also know that even if individual poems die, though in some cases slowly, poetry will continue: that its subjects, it constant themes, are less liable to change than fashions in language, and that this is where an alternate, less lustrous immortality might be. We all know that a poem can influence other poems, remain alive in them, just as previous poems are alive in it. Could we not say, therefore, that individual poems succeed most by encouraging revisions of themselves and inducing their own erasure? Yes, but is this immortality, or simply a purposeful way of being dead?”