1930s

One boot off

“On the floor of your mind, then — is it not this that makes you a poet? — rhythm keeps up its perpetual beat. Sometimes it seems to die down to nothing; it lets you eat, sleep, talk like other people. Then it swells again and rises and attempts to sweep all the contents of your mind into one dominant dance. Tonight is such an occasion. Although you are alone, and have taken one boot off and are about to undo the other, you cannot go on with the process of undressing, but must instantly write at the bidding of the dance. You snatch pen and paper; you hardly trouble to hold the one or to straighten the other. And while you write, while the first stanzas of the dance are being fastened down, I will withdraw a little and look out of the window. A woman passes, then a man; a car glides to a stop and then — but there is no need to say what I see out of the window, nor indeed is there time, for I am suddenly recalled from my observations by a cry of rage or despair. Your page is crumpled in a ball; your pen sticks upright by the nib in the carpet… You are rasped, jarred, thoroughly out of temper. And if I am to guess the reason, it is, I should say, that the rhythm which was opening and shutting with a force that sent shocks of excitement from your head to your heels has encountered some hard and hostile object upon which it has smashed itself to pieces. Something has worked in which cannot be made into poetry; some foreign body, angular, sharp-edged, gritty, has refused to join the dance…

“The poet as I guess has strained himself to include an emotion that is not domesticated and acclimatized to poetry; the effort has thrown him off his balance; he rights himself… by a violent recourse to the poetical — he invokes the moon or the nightingale. Anyhow, the transition is sharp. The poem is cracked in the middle. Look, it comes apart in my hands:  here is reality on one side, here is beauty on the other; and instead of acquiring a whole object rounded and entire, I am left with broken parts in my hands…”

—Virginia Woolf (1882–1941), letter to John Lehmann, 1931

How fares it?

Thigh-bone said to breast-bone:
      “How fares it, dead,
now heart’s soft hammer
      is silencèd?
How fares it, brother,
      when the only sound
is slow roots thrusting
      into the ground?”
Breast-bone said to thigh-bone:
      “How fares it, friend,
with no errands to run,
      no knee to bend?
How fares it ghost, now
      the only stir
is of quiet becoming
      quieter?”
Thigh-bone and breast-bone
      said to skull:
“What of dead Plato
      and the Greek trull?
How fares it, emblem
      of death, set free
from wisdom and lust’s
      infirmity?”…

—Humbert Wolfe (1885–1940), from “A Conversation,” 1932

When you were a child

When you were a child, on a summer afternoon,
Did you lie in tall grass, listening to the crickets
Foreshadowing autumn, listening to the small
Infinite sounds of earth? Did you press your cheek
And your short brown body furiously down
Into the grass, so loving the narrow roots,
So loving the hard wild flanks of hills, and summer,
That when your slight strength broke at last, you cried…
Then rising in the slow wind, cried no more
But stood and gazed with grave young eyes upon
The brief, unburdened hours lived and gone,
Yourself, the child, abandoned in the grass,
Yourself, the man, earth’s lover, who would follow
The strong years deathward, aching and possessed?

—Frances Frost, “Year of Earth,” These Acres, 1932

Blind cheerfulism

“At any rate, I remain cheerful — if only through some inner necessity. Cheerfulness will prevail. I believe it in my bones… While there is a chance of the world getting through its troubles I hold that a reasonable man has to behave as though he was sure of it. If at the end your cheerfulness is not justified, at any rate you will have been cheerful.”

—H. G. Wells, Apropos of Dolores, 1938