“I had let it all grow. I had supposed It was all OK. Your lifeWas a liner I voyaged in.Costly education had fitted you out.Financiers and committees and consultantsEffaced themselves in the gleam of your finish.You trembled with the new life of those engines.That first morning,Before your first class at College, you sat thereSipping coffee. Now I know, as I did not,What eyes waited at the back of the classTo check your first professional performanceAgainst their expectations. What assessorsWaited to see you justify the costAnd redeem their gamble. What a furnaceOf eyes waited to prove your metal. I watchedThe strange dummy stiffness, the misery,Of your blue flannel suit, its straitjacket, uglyHalf-approximation to your ideaOf the properties you hoped to ease into,And your horror in it. And the tannedAlmost green undertinge of your faceShrunk to its wick, your scar lumpish, your plaitedHead pathetically tiny.You waited,Knowing yourself helpless in the tweezersOf the life that judges you, and I sawThe flayed nerve, the unhealable face-woundWhich was all you had for courage.I saw that what you gripped, as you sipped,Were terrors that killed you once already.Now I see, I saw, sitting, the lonelyGirl who was going to die.That blue suit.A mad, execution uniform,Survived your sentence. But then I sat, stilled,Unable to fathom what stilled youAs I looked at you, as I am stilledPermanently now, permanentlyBending so briefly at your open coffin.”

“I had let it all grow. I had supposed It was all OK. Your lifeWas a liner I voyaged in.Costly education had fitted you out.Financiers and committees and consultantsEffaced themselves in the gleam of your finish.You trembled with the new life of those engines.That first morning,Before your first class at College, you sat thereSipping coffee. Now I know, as I did not,What eyes waited at the back of the classTo check your first professional performanceAgainst their expectations. What assessorsWaited to see you justify the costAnd redeem their gamble. What a furnaceOf eyes waited to prove your metal. I watchedThe strange dummy stiffness, the misery,Of your blue flannel suit, its straitjacket, uglyHalf-approximation to your ideaOf the properties you hoped to ease into,And your horror in it. And the tannedAlmost green undertinge of your faceShrunk to its wick, your scar lumpish, your plaitedHead pathetically tiny.You waited,Knowing yourself helpless in the tweezersOf the life that judges you, and I sawThe flayed nerve, the unhealable face-woundWhich was all you had for courage.I saw that what you gripped, as you sipped,Were terrors that killed you once already.Now I see, I saw, sitting, the lonelyGirl who was going to die.That blue suit.A mad, execution uniform,Survived your sentence. But then I sat, stilled,Unable to fathom what stilled youAs I looked at you, as I am stilledPermanently now, permanentlyBending so briefly at your open coffin.”

“But artists didn't need to achieve "firsts", and Hughes wanted to be an artist.”

“There is no better way to know us Than as two wolves, come separately to a wood.”

“The only calibration that counts is how much heart people invest, how much they ignore their fears of being hurt or caught out or humiliated. And the only thing people regret is that they didn't live boldly enough, that they didn't invest enough heart, didn't love enough. Nothing else really counts at all.”

“Right from the start he is dressed in his best - his blacks and his whitesLittle Fauntleroy - quiffed and glossy,A Sunday suit, a wedding natty get-up,Standing in dunged strawUnder cobwebby beams, near the mud wall,Half of him legs, Shining-eyed, requiring nothing moreBut that mother's milk come back often.Everything else is in order, just as it is.Let the summer skies hold off, for the moment.This is just as he wants it.A little at a time, of each new thing, is best.Too much and too sudden is too frightening -When I block the light, a bulk from space,To let him in to his mother for a suck,He bolts a yard or two, then freezes,Staring from every hair in all directions,Ready for the worst, shut up in his hopeful religion,A little syllogismWith a wet blue-reddish muzzle, for God's thumb.You see all his hopes bustlingAs he reaches between the worn rails towardsThe topheavy oven of his mother.He trembles to grow, stretching his curl-tip tongue -What did cattle ever find hereTo make this dear little fellowSo eager to prepare himself?He is already in the race, and quivering to win -His new purpled eyeball swivel-jerksIn the elbowing push of his plans.Hungry people are getting hungrier,Butchers developing expertise and markets,But he just wobbles his tail - and glistensWithin his dapper profileUnaware of how his whole lineage Has been tied up.He shivers for feel of the world licking his side.He is like an ember - one glowOf lighting himself upWith the fuel of himself, breathing and brightening.Soon he'll plunge out, to scatter his seething joy,To be present at the grass,To be free on the surface of such a wideness,To find himself. To stand. T”

“The only thing people regret is that they didn't live boldy enough, that they didn't invest enough heart, didn't love enough. Nothing else really counts at all.”

“In those days I coercedOracular assuranceIn my favour out of every sign.”

“And that's how we measure out our real respect for people—by the degree of feeling they can register, the voltage of life they can carry and tolerate—and enjoy. End of sermon. As Buddha says: live like a mighty river. And as the old Greeks said: live as though all your ancestors were living again through you.”

“What’s writing really about? It’s about trying to take fuller possession of the reality of your life.”

“The inmost spirit of poetry, in other words, is at bottom, in every recorded case, the voice of pain – and the physical body, so to speak, of poetry, is the treatment by which the poet tries to reconcile that pain with the world.”

“So we found the end of our journey.So we stood, alive in the river of light,Among the creatures of light, creatures of light.”