How could I make this more poetic?

"For one can feel too much. One can be hurt too fatally into poetry- and when the poetry stops, so does the will to live." -Joyce Carol Oates (This is my last and only succor.)

[ramsescaesar-deactivated2026022]

Kistofer Johnsson

[unreadable]

[overclassy]

[metamorphesque]

― Fyodor Dostoevsky, White Nights

[metamorphesque]

― Li Young-Lee, A Story

[lustingupon]

@deborabrosa

[lustingupon]

[birdasaurus]

via my instagram

[poetry-is-an-atmosphere]

“I’m afraid of a lot of things, but mostly, most sincerely, I am afraid of being completely unraveled by you, and you finding nothing you want in here.”

— L.M. Dorsey, She Is Made of Chalk (via thelovejournals)

[flourahl]

tuula_rose

[memoryslandscape-deactivated202]

“Loneliness is necessary for pure poetry. When someone intrudes into the poet’s life (and any sudden personal contact, whether in the bed or in the heart, is an intrusion) the poet loses his or her balance for a moment, slips into being what he or she is, uses his or her poetry as one would use money or sympathy. The person who writes the poetry emerges, tentatively, like a hermit crab from a conch shell. The poet, for that instant, ceases to be a dead person.”

— Jack Spicer, from After Lorca (White Rabbit Press, 1957)

[anik]

water moment

[fairycosmos]

i am pathologically homesick for the lives i could have lived

[escapismsworld]

Art Nouveau Winter Garden

[newyorkthegoldenage]

Edward Hopper, Automat. 1927. Oil on canvas.

As is often the case in Hopper's paintings, both the woman's circumstances and her mood are ambiguous. She is well-dressed and is wearing makeup, which could indicate either that she is on her way to or from work at a job where personal appearance is important, or that she is on her way to or from a social occasion.

She has removed only one glove, which may indicate either that she is distracted, that she is in a hurry and can stop only for a moment, or simply that she has just come in from outside, and has not yet warmed up. But the latter possibility seems unlikely, for there is a small empty plate on the table, in front of her cup and saucer, suggesting that she may have eaten a snack and been sitting at this spot for some time.

Hopper would make the crossed legs of a female subject the brightest spot on an otherwise dark canvas in a number of later paintings, including Compartment C, Car (1938) and Hotel Lobby (1943). The female subject of his 1931 painting Barber Shop is also in a pose similar to the woman in Automat, and the viewer's image of her is similarly bisected by a table. But the placing of the subject in a bright, populated place, at midday, makes the woman less isolated and vulnerable, and hence the viewer's gaze seems less intrusive.

Photo: National Gallery of Art (U.S.) Text: edwardhopper.net

[goldenbuttonsnpearls]

[feral-ballad]

But a person whose heart has been changed by poetry will tell you poetry is the key that unlocks a door you never knew was shut.

Andrea Gibson and Megan Falley, from How Poetry Can Change Your Heart; “What is Poetry, anyway?”

[playburo]

ISOKO