Sorrow implies value. We do not usually grieve over the fading of a bruise, or feel the scattering of a raindrop to be a melancholic matter.
Terry Eagleton, Sweet Violence: The Idea of the Tragic

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@broken-house-blog
Sorrow implies value. We do not usually grieve over the fading of a bruise, or feel the scattering of a raindrop to be a melancholic matter.
Terry Eagleton, Sweet Violence: The Idea of the Tragic
tenuous at first then tentative always hesitant reticent later
Thomas A. Clark, from ‘The Grey Fold’
the toppled woods were beautiful – palm needles, car tires, bark and heat. ash-plumes tickling the armpit of sky, cloud ribboned like cassette tape. we found Ozymandias submerged in a century of polymers, the gadgetry of bored children – playstations, waterguns, ancient tvs. the trash-amphitheatre sprawled like a city before us. we took tiny breaths, coughing up treacles as we spoke bilingual tongues of ghetto and dirt. later, we lay on sheet-metal counting space-junk and satellites, and yes, the toppled woods were beautiful but we were not crying. acid rain tiptoed down our faces like falling stars.
Elizabeth Morton, ‘Wasted’
perpetually scratching the surface my lost country scraps of language inside myself a lost child waving thin fabric in perpetual heat the high seas assume a wrongful place at a throne swallowed by green land distracted by faint traces of lack wind composing obituaries for silent birds i feel a blade of grass on my neck blue flowers sprout from fissures in my skin (what type of flower does not matter) talking points of sprawling space becomes faint(er and fainter) with tiring hands to feel young again in a different field with money which grew narrower breathing fast, his soft waist gradual accidents befall swatting at the darkness pretending we are strangers the truth of appearances fading monthly, ending reluctantly
Jane Joritz-Nakagawa, from [[terrain grammar]]
to always be be/side one (my/your/her)self in your telescopic arm(ament)[s] leaves consume my/a body (a) worm enters (me) (my) toes, now greying, begin to branch (toward) those suffering severe repression may feel alien (to themselves) we do not notice things in broad daylight if (they are not there)
Jane Joritz-Nakagawa, from [[terrain grammar]]
Little poppies, little hell flames, Do you do no harm? You flicker. I cannot touch you. I put my hands among the flames. Nothing burns And it exhausts me to watch you Flickering like that, wrinkly and clear red, like the skin of a mouth. A mouth just bloodied. Little bloody skirts! There are fumes I cannot touch. Where are your opiates, your nauseous capsules? If I could bleed, or sleep! If my mouth could marry a hurt like that! Or your liquors seep to me, in this glass capsule, Dulling and stilling. But colorless. Colorless.
Sylvia Plath, ‘Poppies in July’
sad collision and what they both know
Mark Rothko, Earth Green (detail), 1955.
I could tell you stories of winter so cold it killed the birds in the air.
Aeschylus, Agamemnon, trans. Anne Carson
It is because the wind has dropped we now hear it. It was drowned before.
Algernon Blackwood, The Willows
out of the corner of the eye
it rains was it that the clouds
no trellis could no trellis could no trellis could no trellis could did you make a sound are you trying to listen
out in the corner of the eye wide
parting like a lunula yawning lines on the bark of a silver birch I can almost see the breath and what’s left stuck in the throat
half-severed poppy stem a thumbnail below the calyx
Emily Dickinson
Elizabeth Bishop, ‘Aubade and Elegy’
Who would I show it to
W. S. Merwin, ‘Elegy’
yes, even as [ ] and effigy, like you say or stone still, immobile, but hoping for a fracture, just a fracture, or meeting at a point
(there’s writing on your hand take it in, get over it, get it over with, let it out ink it’s just ink but not)
yes, even as| Persephone in the halls