“Considering the ways in which so many of us waste our time, what would be wrong with a world in which everybody were writing poems? After all, there’s a significant service to humanity in spending time doing no harm. While you’re writing your poem, there’s one less scoundrel in the world. And I’d like a world, wouldn’t you, in which people actually took time to think about what they were saying? It would be, I’m certain, a more peaceful, more reasonable place. I don’t think there could ever be too many poets. By writing poetry, even those poems that fail and fail miserably, we honor and affirm life. We say ‘We loved the earth but could not stay.”

“Mother (fragment)...You asked me if I would be sad when it happenedand I am sad. But the iris I moved from your housenow hold in the dusty dry fists of their rootsgreen knives and forks as if waiting for dinner,as if spring were a feast. I thank you for that.Were it not for the way you taught me to lookat the world, to see the life at play in everything, I would have to be lonely forever.”

“MOTHER – By Ted Kooser Mid April already, and the wild plumsbloom at the roadside, a lacy whiteagainst the exuberant, jubilant greenof new grass and the dusty, fading black of burned-out ditches. No leaves, not yet,only the delicate, star-petaledblossoms, sweet with their timeless perfume.You have been gone a month todayand have missed three rains and one nightlongwatch for tornadoes. I sat in the cellarfrom six to eight while fat spring cloudswent somersaulting, rumbling east. Then it poured,a storm that walked on legs of lightning,dragging its shaggy belly over the fields.The meadowlarks are back, and the finchesare turning from green to gold. Those sametwo geese have come to the pond again this year,honking in over the trees and splashing down.They never nest, but stay a week or twothen leave. The peonies are up, the red sprouts,burning in circles like birthday candles,for this is the month of my birth, as you know,the best month to be born in, thanks to you,everything ready to burst with living.There will be no more new flannel nightshirtssewn on your old black Singer, no birthday cardaddressed in a shaky but businesslike hand.You asked me if I would be sad when it happenedand I am sad. But the iris I moved from your housenow hold in the dusty dry fists of their rootsgreen knives and forks as if waiting for dinner,as if spring were a feast. I thank you for that. Were it not for the way you taught me to lookat the world, to see the life at play in everything,I would have to be lonely forever.”

“There’s only the writing, which I admit to knowing very little about. But then it’s probably best not to know. It allows one to work without expectation. Best to let the poem do the thinking while we concern ourselves with what’s called the personal life.”

“He was not such a special person. He loved to read very much, and also to write. He was a poet, and he exhibited me many of his poems. I remember many of them. They were silly, you could say, and about love. He was always in his room writing those things, and never with people. I used to tell him, What good is all that love doing on paper? I said, Let love write on you for a little. But he was so stubborn. Or perhaps he was only timid.”

“a happy birthdaythis evening, I sat by an open windowand read till the light was gone and the bookwas no more than a part of the darkness.I could easily have switched on a lamp,but I wanted to ride the day down into night,to sit alone, and smooth the unreadable pagewith the pale gray ghost of my hand”

“Life, of course, never gets anyone's entire attention. Death always remains interesting, pulls us, draws us. As sleep is necessary to our physiology, so depression seems necessary to our psychic economy. In some secret way, Thanatos nourishes Eros as well as opposes it. The two principles work in covert concert; though in most of us Eros dominates, in none of us is Thanatos completely subdued. However-and this is the paradox of suicide-to take one's life is to behave in a more active, assertive, "erotic" way than to helplessly watch as one's life is taken away from one by inevitable mortality. Suicide thus engages with both the death-hating and the death-loving parts of us: on some level, perhaps, we may envy the suicide even as we pity him. It has frequently been asked whether the poetry of Plath would have so aroused the attention of the world if Plath had not killed herself. I would agree with those who say no. The death-ridden poems move us and electrify us because of our knowledge of what happened. Alvarez has observed that the late poems read as if they were written posthumously, but they do so only because a death actually took place. "When I am talking about the weather / I know what I am talking about," Kurt Schwitters writes in a Dada poem (which I have quoted in its entirety). When Plath is talking about the death wish, she knows what she is talking about. In 1966, Anne Sexton, who committed suicide eleven years after Plath, wrote a poem entitled "Wanting to Die," in which these startlingly informative lines appear: But suicides have a special language.Like carpenters they want to know which tools.They never ask why build.When, in the opening of "Lady Lazarus," Plath triumphantly exclaims, "I have done it again," and, later in the poem, writes, Dying Is an art, like everything else.I do it exceptionally well.I do it so it feels like hell.I do it so it feels real.I guess you could say I've a call, we can only share her elation. We know we are in the presence of a master builder.”