1
" What remains to us here, behind the Yser, is not much more than a strip of land almost impossible to defend; a few rain-soaked trenches around razed villages; roads blown to smithereens, unusable by any vehicle; a creaky old horse cart we haul around ourselves, loaded with crates of damp ammunition that are constantly on the verge of sliding into a canal, forcing us to slog like madmen for every ten yards of progress as we stifle our warning cries; the snarling officers in the larger dug-outs, walled off with boards, where the privates have to bail water every day and brush the perpetual muck off their superiors’ boots; the endless crouching as we walk the trenches, grimy and smelly; our louse-ridden uniforms; our arseholes burning with irritation because we have no clean water for washing them after our regular attacks of diarrhoea; our stomach cramps as we crawl over heavy clods of earth like trolls in some gruesome fairy tale; the evening sun slanting down over the barren expanse; infected fingers torn by barbed wire; the startling memory of another, improbable life, when a thrush bursts into song in a mulberry bush or a spring breeze carries the smell of grassy fields from far behind the front line, and we throw ourselves flat on our bellies again as howitzers open fire out of nowhere, the crusts of bread in our hands falling into the sludge at the boot-mashed bottom of the stinking trench. "
― Stefan Hertmans , War and Turpentine
2
" What did we talk about?I don't remember. We talked so hard and sat so still that I got cramps in my knee. We had too many cups of tea and then didn't want to leave the table to go to the bathroom because we didn't want to stop talking. You will think we talked of revolution but we didn't. Nor did we talk of our own souls. Nor of sewing. Nor of babies. Nor of departmental intrigue. It was political if by politics you mean the laboratory talk that characters in bad movies are perpetually trying to convey (unsuccessfully) when they Wrinkle Their Wee Brows and say (valiantly--dutifully--after all, they didn't write it) " But, Doctor, doesn't that violate Finagle's Constant?" I staggered to the bathroom, released floods of tea, and returned to the kitchen to talk. It was professional talk. It left my grey-faced and with such concentration that I began to develop a headache. We talked about Mary Ann Evans' loss of faith, about Emily Brontë's isolation, about Charlotte Brontë's blinding cloud, about the split in Virginia Woolf's head and the split in her economic condition. We talked about Lady Murasaki, who wrote in a form that no respectable man would touch, Hroswit, a little name whose plays " may perhaps amuse myself," Miss Austen, who had no more expression in society than a firescreen or a poker. They did not all write letters, write memoirs, or go on the stage. Sappho--only an ambiguous, somewhat disagreeable name. Corinna? The teacher of Pindar. Olive Schriener, growing up on the veldt, wrote on book, married happily, and ever wrote another. Kate Chopin wrote a scandalous book and never wrote another. (Jean has written nothing.). There was M-ry Sh-ll-y who wrote you know what and Ch-rl-tt- P-rk-ns G-lm-an, who wrote one superb horror study and lots of sludge (was it sludge?) and Ph-ll-s Wh--tl-y who was black and wrote eighteenth century odes (but it was the eighteenth century) and Mrs. -nn R-dcl-ff- S-thw-rth and Mrs. G--rg- Sh-ld-n and (Miss?) G--rg-tt- H-y-r and B-rb-r- C-rtl-nd and the legion of those, who writing, write not, like the dead Miss B--l-y of the poem who was seduced into bad practices (fudging her endings) and hanged herself in her garter. The sun was going down. I was blind and stiff. It's at this point that the computer (which has run amok and eaten Los Angeles) is defeated by some scientifically transcendent version of pulling the plug; the furniture stood around unknowing (though we had just pulled out the plug) and Lady, who got restless when people talked at suck length because she couldn't understand it, stuck her head out from under the couch, looking for things to herd. We had talked for six hours, from one in the afternoon until seven; I had at that moment an impression of our act of creation so strong, so sharp, so extraordinarily vivid, that I could not believe all our talking hadn't led to something more tangible--mightn't you expect at least a little blue pyramid sitting in the middle of the floor? "
9
" A weathered black and silver Dodge pickup towing a small motorboat pulled up behind us, and Alex circled back to greet the driver. I couldn’t see who sat behind the crusted and dirty windshield, but Alex stood at the driver’s window and pointed down the block where the boulevard disappeared into floodwater.
The truck pulled ahead, maneuvered a deft U-turn, and backed toward the water. Alex motioned for me to follow. By the time I lurched my way to the truck, he and the pickup driver were sliding the boat down the trailer ramp. Sweat trickled down my neck, and if I hadn’t been afraid of being poisoned by toxic sludge, I’d have made like a pig and wallowed in the mud to cool off.
I kicked at a fire hydrant, trying to jolt some of the heaviest sludge off my boots, and heard a soft laugh behind me. With a final kick that sent a spray of brown gunk flying, I turned to see what was so funny. I needed a laugh.
A man leaned against the side of the pickup with his arms crossed. He was a few inches shorter than Alex, maybe just shy of six feet, with sun-streaked blond hair that reached his collar and a sleeveless blue T-shirt and khaki shorts. His tanned legs between the bottom of the shorts and the top of sturdy black shrimp boots were scored with scars, bad ones, as if whatever made them meant to do serious damage.
He’d been grinning when I turned around, flashing a heart-stopping set of dimples, but when he saw my eyes linger on his legs, the grin eased into something more wary. "
― Suzanne Johnson , Royal Street (Sentinels of New Orleans, #1)
11
" And now it is said of me
That my love is nothing because I have borne no children,
Or because I have fathered none;
That I twisted the twig in my hands
And cut the blossom free too soon from the seed;
That I lay across the fire,
And snuffed it dead sooner than draft or rain.
But I have turned away, and drawn myself
Upright to walk along the room alone.
Across the dark the spines of cactus plants
Remind me how I go—aloof, obscure,
Indifferent to the words the children chalk
Against my house and down the garden walls.
They cannot tear the garden out of me,
Nor smear my love with names. Love is a cliff,
A clear, cold curve of stone, mottled by stars,
smirched by the morning, carved by the dark sea
Till stars and dawn and waves can slash no more,
Till the rock’s heart is found and shaped again.
I keep the house and say no words, the evening
Falls like a petal down the shawl of trees.
I light the fire and see the blossom dance
On air alone; I will not douse that flame,
That searing flower; I will burn in it.
I will not banish love to empty rain.
For I know that I am asked to hate myself
For their sweet sake
Who sow the world with child.
I am given to burn on the dark fire they make
With their sly voices.
But I have burned already down to bone.
There is a fire that burns beyond the names
Of sludge and filth of which this world is made.
Agony sears the dark flesh of the body,
And lifts me higher than the smoke, to rise
Above the earth, above the sacrifice;
Until my soul flares outward like a blue
Blossom of gas fire dancing in mid-air:
Free of the body’s work of twisted iron. "
― James Wright
