Conrad Aiken Quotes

The hiss was now becoming a roar - the whole world was a vast moving screen of snow - but even now it said peace, it said remoteness, it said cold, it said sleep.

All lovely things will have an ending, all lovely things will fade and die; and youth, that's now so bravely spending, Will beg a penny by and by.

The wandering one, the inquisitive dreamer of dreams, the eternal asker of answers, stands in the street, and lifts his palms for the first cold ghost of rain.

[At a musical concert:] . . . the music's pure algebra of enchantment.

I compelled myself all through to write an exercise in verse, in a different form, every day of the year. I turned out my page every day, of some sort - I mean I didn't give a damn about the meaning, I just wanted to master the form - all the way from free verse, Walt Whitman, to the most elaborate of villanelles and ballad forms. Very good training. I've always told everybody who has ever come to me that I thought that was the first thing to do.

MUSIC I heard with you was more than music, And bread I broke with you was more than bread. Now that I am without you, all is desolate, All that was once so beautiful is dead. Your hands once touched this table and this silver,And I have seen your fingers hold this glass. These things do not remember you, beloved: And yet your touch upon them will not pass. For it was in my heart you moved among them,And blessed them with your hands and with your eyes.And in my heart they will remember always: They knew you once, O beautiful and wise!

Forward into the untrodden! Courage, old man, and hold on to your umbrella!

I think that what's happening today, with all the young poets rushing from one college to another, lecturing at the drop of a hat and so on, is not too good; I think it might have a bad effect on a great many of the young poets. They - to quote Mark Twain - "swap juices" a little too much, so that they are in danger of losing their own identity and don't give themselves time enough in which to work out what's really of importance to them - they're too busy.

Schoolchildren all over America are told to write to authors-often to authors whom they have never before heard of, whose work they are to young to understand in the least, and often in letters which are almost illiterate. If children are to be taught to respect the work of American poets I think some better way might be found to do so- some way which would not make such an inconsiderate demand on the author's time.

My heart has become as hard as a city street, the horses trample upon it, it sings like iron, all day long and all night long they beat, they ring like the hooves of time.

O sweet clean earth, from whom the green blade cometh! When we are dead, my best beloved and I, close well above us, that we may rest forever, sending up grass and blossoms to the sky.

It is precisely the sort of thing I am always trying to do in my writing -- to present my unhappy reader with a wide-ranged chaos -- of actions and reactions, thoughts, memories and feelings -- in the vain hope that at the end he will see that the whole thing represents only one moment, one feeling, one person. A raging, trumpeting jungle of associations, and then I announce at the end of it, with a gesture of despair, "This is I!

Music I heard with you was more than music, and bread I broke with you was more than bread. Now that I am without you, all is desolate; all that was once so beautiful is dead.

I'm afraid I wasn't much of a student, but my casual reading was enormous.

Ghostly above us in lamplight the towers gleam ... and after a while they will fall to dust and rain; or else we will tear them down with impatient hands; and hew rock out of the earth, and build them again.

Youth yearns to youth, full blood loves full blood only.

Separate we come, and separate we go, And this be it known, is all that we know.

It's time to make love, douse the glim; The fireflies twinkle and dim; The stars lean together Like birds of a feather, And the loin lies down with the limb.

No god save self, that is the way to live.

I've tried it long ago, with hashish and peyote. Fascinating, yes, but no good, no. This, as we find in alcohol, is an escape from awareness, a cheat, a momentary substitution, and in the end a destruction of it.

It is moonlight. Alone in the silence I ascend my stairs once more, While waves remote in pale blue starlight Crash on a white sand shore. It is moonlight. The garden is silent. I stand in my room alone. Across my wall, from the far-off moon, A rain of fire is thrown. There are houses hanging above the stars, And stars hung under the sea, And a wind from the long blue vault of time Waves my curtains for me. I wait in the dark once more, swung between space and space: Before the mirror I lift my hands And face my remembered face.

The one you love leans forward, smiles, deceives you, Opens a door through which you see dark dreams.

Life is the thing--the song of life-- The eager plow, the thirsty knife!

I ascend from darkness And depart on the winds of space for I know not where; My watch is wound, a key is in my pocket, And the sky is darkened as I descend the stair.

As poetry is the highest speech of man, it can not only accept and contain, but in the end express best everything in the world, or in himself, that he discovers. It will absorb and transmute, as it always has done, and glorify, all that we can know. This has always been, and always will be, poetry's office.

Time in the heart and sequence in the brain-- Such as destroyed Rimbaud and fooled Verlaine. And let us then take godhead by the neck-- And strangle it, and with it, rhetoric.

How shall we praise the magnificence of the dead, The great man humbled, the haughty brought to dust?

We are the ghosts of the singing furies .

Death is a meeting place of sea and sea.

The truth--a hideous spectacle!

Death is one dream out of another flowing.

All that is beautiful, and all that looks on beauty with eyes filled with fire, like a lover's eyes: all of this is yours; you gave it to me, sunlight! all these stars are yours; you gave them to me, skies!

Whitman had a profound influence on me. That was during my sophomore year when I came down with a bad attack of Whitmanitis. But he did me a lot of good, and I think the influence is discoverable.

The wind shrieks, the wind grieves; It dashes the leaves on walls, it whirls then again; And the enormous sleeper vaguely and stupidly dreams And desires to stir, to resist a ghost of pain.

Should I not hear, as I lie down in dust, The horns of glory blowing above my burial?

He whose first emotion, on the view of an excellent work, is to undervalue or depreciate it, will never have one of his own to show.

Oh, I've discarded a great many [poems]. And occasionally I've discarded and then resurrected. I would find a crumpled yellow ball of paper in the wastebasket, in the morning, and open it to see what the hell I'd been up to; and occasionally it was something that needed only a very slight change to be brought off, which I'd missed the day before.

I think we've come to a kind of splinter period in poetry. These tiny little bright fragments of observation - and not produced under sufficient pressure - some of it's very skillful, but I don't think there's anywhere a discernible major poet in the process of emerging; or if he is, I ain't seen him.

I really don't know enough about the structure of fiction.

I began by doing book reviews on the typewriter and then went over to short stories on the machine, meanwhile sticking to pencil for poetry.

I do believe in this evolution of consciousness as the only thing which we can embark on, or in fact, willy-nilly, are embarked on; and along with that will go the spiritual discoveries and, I feel, the inexhaustible wonder that one feels, that opens more and more the more you know. It's simply that this increasing knowledge constantly enlarges your kingdom and the capacity for admiring and loving the universe.

I think it's very useful to be insulated from your surrounds, because it gives you your inviolate privacy, without pressures, so that you can just be yourself.

I'm not in the least Southern; I'm entirely New England.

I always hankered to be a composer - I was mad about music, though I never studied seriously, and can't read a note. But I learned to play the piano and became pretty skillful at improvisation, especially after a drop or two.

I think there's an enormous lot of talent around, and somewhere amongst these I'm sure that something will emerge, given time.

Variations: II Green light, from the moon, Pours over the dark blue trees, Green light from the autumn moon Pours on the grass ... Green light falls on the goblin fountain Where hesitant lovers meet and pass. They laugh in the moonlight, touching hands, They move like leaves on the wind ... I remember an autumn night like this, And not so long ago, When other lovers were blown like leaves, Before the coming of snow.

Death is never an ending, death is a change; Death is beautiful, for death is strange; Death is one dream out of another flowing.

Come back, true love! Sweet youth, return!— But time goes on, and will, unheeding, Though hands will reach, and eyes will yearn, And the wild days set true hearts bleeding.

One cricket said to another - come, let us be ridiculous, and say love! love love love love love let us be absurd, woman, and say hate! hate hate hate hate hate and then let us be angelic and say nothing.

You know, without my telling you, how sometimes a word or name eludes you, and you seek it through running ghosts of shadow -- leaping at it, lying in wait for it to spring upon it, spreading faint snares for it of sense or sound: until, of a sudden, as if in a phantom forest, you hear it, see it flash among the branches, and scarcely knowing how, suddenly have it.