The Art of Poetry by Jorge Luis Borges

To gaze at a river made of time and water
and remember Time is another river.
To know we stray like a river
and our faces vanish like water.

To feel that waking is another dream
that dreams of not dreaming and that the death
we fear in our bones is the death
that every night we call a dream.

To see in every day and year a symbol
of all the days of man and his years,
and convert the outrage of the years
into a music, a sound, and a symbol.

To see in death a dream, in the sunset
a golden sadnesssuch is poetry,
humble and immortal, poetry,
returning, like dawn and the sunset.

Sometimes at evening there's a face
that sees us from the deeps of a mirror.
Art must be that sort of mirror,
disclosing to each of us his face.

They say Ulysses, wearied of wonders,
wept with love on seeing Ithaca,
humble and green. Art is that Ithaca,
a green eternity, not wonders.

Art is endless like a river flowing,
passing, yet remaining, a mirror to the same
inconstant Heraclitus, who is the same
and yet another, like the river flowing.


About The Poet:
Jorge Francisco Isidoro Luis Borges Acevedo (August 24, 1899 – June 14, 1986), best known as Jorge Luis Borges (Spanish pronunciation: [ˈxorxe ˈlwis ˈborxes]), was an Argentine writer, essayist, and poet born in Buenos Aires.In 1914 his family moved to Switzerland where he attended school and traveled to Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955 he was appointed director of the National Public Library (Biblioteca Nacional) and professor of Literature at the University of Buenos Aires. In 1961 he came to international attention when he received the first International Publishers' Prize, the Prix Formentor. His work was translated and published widely in the United States and in Europe. Borges himself was fluent in several languages. He died in Geneva, Switzerland, in 1986.

True Love by Wislawa Szymborska

True love. Is it normal
is it serious, is it practical?
What does the world get from two people
who exist in a world of their own?

Placed on the same pedestal for no good reason,
drawn randomly from millions but convinced
it had to happen this way - in reward for what?
For nothing.
The light descends from nowhere.
Why on these two and not on others?
Doesn't this outrage justice? Yes it does.
Doesn't it disrupt our painstakingly erected principles,
and cast the moral from the peak? Yes on both accounts.

Look at the happy couple.
Couldn't they at least try to hide it,
fake a little depression for their friends' sake?
Listen to them laughing - its an insult.
The language they use - deceptively clear.
And their little celebrations, rituals,
the elaborate mutual routines -
it's obviously a plot behind the human race's back!

It's hard even to guess how far things might go
if people start to follow their example.
What could religion and poetry count on?
What would be remembered? What renounced?
Who'd want to stay within bounds?

True love. Is it really necessary?
Tact and common sense tell us to pass over it in silence,
like a scandal in Life's highest circles.
Perfectly good children are born without its help.
It couldn't populate the planet in a million years,
it comes along so rarely.

Let the people who never find true love
keep saying that there's no such thing.

Their faith will make it easier for them to live and die.

About Poet:
Wisława Szymborska (Polish pronunciation: [vʲisˈwava ʂɨmˈbɔrska], born July 2, 1923 in Bnin, Poland) is a Polish poet, essayist and translator. She was awarded the 1996 Nobel Prize in Literature. In Poland, her books reach sales rivaling prominent prose authors[citation needed] — although she once remarked in a poem entitled "Some like poetry" [Niektórzy lubią poezję] that no more than two out of a thousand people care for the art. Szymborska frequently employs literary devices such as irony, paradox, contradiction, and understatement, to illuminate philosophical themes and obsessions. Szymborska's compact poems often conjure large existential puzzles, touching on issues of ethical import, and reflecting on the condition of people both as individuals and as members of human society. Szymborska's style is succinct and marked by introspection and wit.

Lorca's City That Does Not Sleep

In the sky there is nobody asleep. Nobody, nobody.

Nobody is asleep.

The creatures of the moon sniff and prowl about their cabins.

The living iguanas will come and bite the men who do not dream,

and the man who rushes out with his spirit broken will meet on the

street cornerthe unbelievable alligator quiet beneath the tender protest of the

stars.

Nobody is asleep on earth. Nobody, nobody.

Nobody is asleep.

In a graveyard far off there is a corpse

who has moaned for three years

because of a dry countryside on his knee;

and that boy they buried this morning cried so much

it was necessary to call out the dogs to keep him quiet.

Life is not a dream. Careful! Careful! Careful!

We fall down the stairs in order to eat the moist earth

or we climb to the knife edge of the snow with the voices of the dead

dahlias.

But forgetfulness does not exist, dreams do not exist;

flesh exists. Kisses tie our mouths

in a thicket of new veins,

and whoever his pain pains will feel that pain forever

and whoever is afraid of death will carry it on his shoulders.

One day

the horses will live in the saloons

and the enraged ants

will throw themselves on the yellow skies that take refuge in the

eyes of cows.
Another daywe will watch the preserved butterflies rise from the dead

and still walking through a country of gray sponges and silent boats

we will watch our ring flash and roses spring from our tongue.

Careful! Be careful! Be careful!

The men who still have marks of the claw and the thunderstorm,

and that boy who cries because he has never heard of the invention of the bridge,

or that dead man who possesses now only his head and a shoe,

we must carry them to the wall where the iguanas and the snakes

are waiting,

where the bear's teeth are waiting,

where the mummified hand of the boy is waiting,

and the hair of the camel stands on end with a violent blue shudder.

Nobody is sleeping in the sky. Nobody, nobody.

Nobody is sleeping.

If someone does close his eyes,

a whip, boys, a whip!

Let there be a landscape of open eyesand bitter wounds on fire.

No one is sleeping in this world. No one, no one.

I have said it before.

No one is sleeping.

But if someone grows too much moss on his temples during the

night,

open the stage trapdoors so he can see in the moonlight

the lying goblets, and the poison, and the skull of the theaters.

About The poet

Spanish poet and dramatist, Lorca was a talented artist and a member of the 'Generation of 1927', a group of writers who advocated avant-gardism in literature.
He was murdered at the beginning of the Spanish Civil War [1] by persons likely affiliated with the Nationalist cause. He is thought to be one of the many victims who 'disappeared' and were executed by the Nationalists.[2Major works; Sonnets of Dark Love, Ode to Salvador Dalí, Poem of Deep Song, Lament for Ignacio Sánchez Mejías...

WHERE AM I?

Where am I

in your life?

In the morning breeze

or the evening star,

hesitant drizzle

or sharp rain,

silver moonlight

or hot noon,

deep thoughts

or casual tunes?

Where am I

in your life?

Down from work,

a weekend's interval

on a beach,

or an unintended

silken release between your fingers

from serial smoke?

Or a readily replenished,

freshened moment without wine,

or a moment's leave, anonymous,

between the breaking of one dream

of love and another's beginning?

Where am I

in your life?

ALAMGIR HASHMI is an English poet and scholar, who has also translated many Asian writers. His work is widely anthologised. His latest poetry books are A Choice of Hashmi's Verse (1997) and The Ramazan Libation (2003). He has been Professor of English and Comparative Literature in Asian, European, and American universities. She used the first-person feminine pronoun, which is rarely used in Urdu poetry even by female poets. The feminine perspective of love and the associated social problems were her theme.

Ancient Tune

I
One youth slides off towards the abyss

And is followed by another . . .
Happiness will soon be obsolete

A boy writes down a line of poetry
One line, alas, just one single line :

“Above the Bridge of Twenty Four the moon dispels the night”
II
Winter, South of the River

You cannot focus your thoughts or find a theme

Yaorou pork leg, the Ge Garden, Shanghai folk
The tour guide is hot with enthusiasm


Photo, please. A photo
His frozen red face smiles.



Born in Sichuan province in 1956, Bai Hua seems to have decided from an early age to pursue a writing life. After completing an English degree at the Guangzhou Foreign Languages Institute, he went on to study an MA in Western Literary Trends at Sichuan University.
He comes across as a highly serious writer, steeped in the classical Chinese tradition, but keen to apply its lessons to the contemporary world. The short poem ‘Reality’ seems to express his view of writing poetry as a painstaking harvesting of the real.

A New Song By Langston Hughes

I speak in the name of the black millions
Awakening to action.
Let all others keep silent a moment
I have this word to bring,
This thing to say,
This song to sing:
Bitter was the day
When I bowed my back
Beneath the slaver's whip.
That day is past.
Bitter was the day
When I saw my children unschooled,
My young men without a voice in the world,
My women taken as the body-toys
Of a thieving people.
That day is past.
Bitter was the day, I say,
When the lyncher's rope
Hung about my neck,
And the fire scorched my feet,
And the oppressors had no pity,
And only in the sorrow songs
Relief was found.
That day is past.
I know full well now
Only my own hands,
Dark as the earth,
Can make my earth-dark body free.
O thieves, exploiters, killers,
No longer shall you say
With arrogant eyes and scornful lips:
"You are my servant,
Black man-
I, the free!"
That day is past-
For now,
In many mouths-
Dark mouths where red tongues burn
And white teeth gleam-
New words are formed,
Bitter
With the past
But sweet
With the dream.
Tense,
Unyielding,
Strongand sure,
They sweep the earth-
Revolt! Arise!
The Black
And White World
Shall be one!
The Worker's World!
The past is done!
A new dream flames
Against the
Sun!

ABOUT POET:

Langston Hughes American poet, novelist, playwright, short story writer, and columnist. Hughes is known for his work during the Harlem Renaissance.

Hughes was born in 1902 in Joplin, Missouri. Through his poetry, fiction and plays he tried to accurately portray the African-American experience in early to mid-twentieth century America. He made major contributions to the Harlem Rennaisance, and is known for incorporating jazz influences into his work.

A poem on gandhi - The Recipe

Into a bare handful of bones and skin
Pour just an ounce or so of flesh and blood;
Put in a heart loveful as Sea in flood;
Likewise a mind sea-deep and free from sin,
Fix on two jumboo ears,... two goo-goo eyes
Paint on a smile of babe at mother's breast,
Inclose a soul that caps Himavat's crest;
And speaks with tongue which honey's sweet defies;
The "stuffing"? Goat's milk, soya-beans and dates,
Now, cover to brim with suffering human's years;
And bake this dish in gaol for one score years
Take out and garnish it with pariah mates,
Wrap up in rag, prop up with lithe bamboo
And serve; The world Redeemer; Our Bapu.
- T. P. Kailasam (From the book "Light Of India" by M. S. Deshpande)

About Poet:
Thyagaraja Paramasiva Kailasam (1884 - 1946), was a playwright than a poet and prominent writer of Kannada literature. His contribution to Kannada theatrical comedy earned him the title Prahasana Prapitamaha, "the grand old man of humorous plays".