The Convolution's But A Speck Of Dust...
The Convolution's But A Speck Of Dust Passing The Evolution's Eye
I shudder to think, for your poem decries 'being under anothers power'.
Yet, are we not born by the power of another, grace, and that of our mother?
Is it not our solutioning with the Earth becoming more concentrated,
The power of another, that realizes us becoming, potentially, you, me?
And when the vitality, rigors of youth are supposedly betrayed by the wisdom
Of middle-age, are we not also more so for that, our doings not more real?
And when old age seemimgly takes our senses, not the 6th, our muscles, but
Not the sinew, our bones strength, but ... the marrow's, do we not still be
More so, alival instead of survival, outstretching an arm to lend a hand,
By the power of another, betwixt an Earth, Sky, with a Sun, a Universe?
Aren't we also to cherish life no matter what, strive to be alive, thrive?
And after we, 'Do not go gentle into that good night, and rage, rage against
The dying of the light' (Dylan Thomas), will we not finally, again, join in
The Cosmos' spheres eternal dance, it's cacaphony, symphony, as stardust
Sprinkled from above, petals dancing on a breeze, by the power of another?
(A poem in response to a fellow poet's depressed poem
on another website, he appreciated it dearly)
Challenge :) Brain-tease: word: cherish; with K.C.
('Story Behind Dylan Thomas’s “Do Not Go Gentle Into That Good Night”' and the Poet’s Own Stirring Reading of His Masterpiece, “Rage, rage against the dying of the light.” BY MARIA POPOVA: “Poetry can break open locked chambers of possibility, restore numbed zones to feeling, recharge desire,” Adrienne Rich wrote in contemplating what poetry does. “Insofar as poetry has a social function it is to awaken sleepers by other means than shock,” Denise Levertov asserted in her piercing statement on poetics. Few poems furnish such a wakeful breaking open of possibility more powerfully than “Do not go gentle into that good night” — a rapturous ode to the unassailable tenacity of the human spirit by the Welsh poet Dylan Thomas (October 27, 1914–November 9, 1953). Written in 1947, Thomas’s masterpiece was published for the first time in the Italian literary journal Botteghe Oscure in 1951 and soon included in his 1952 poetry collection In Country Sleep, And Other Poems. In the fall of the following year, Thomas — a self-described “roistering, drunken and doomed poet” — drank himself into a coma while on a reading and lecture tour in America organized by the American poet and literary critic John Brinnin, who would later become his biographer of sorts. That spring, Brinnin had famously asked his assistant, Liz Reitell — who had had a three-week romance with Thomas — to lock the poet into a room in order to meet a deadline for the completion of his radio drama turned stage play 'Under Milk Wood', Dylan Thomas, early 1940's. In early November of 1953, as New York suffered a burst of air pollution that exacerbated his chronic chest illness, Thomas succumbed to a round of particularly heavy drinking. When he fell ill, Reitell and her doctor attempted to manage his symptoms, but he deteriorated rapidly. At midnight on November 5, an ambulance took the comatose Thomas to St. Vincent’s Hospital in New York. His wife, Caitlin Macnamara, flew from England and spun into a drunken rage upon arriving at the hospital where the poet lay dying. After threatening to kill Brinnin, she was put into a straitjacket and committed to a private psychiatric rehab facility. When Thomas died at noon on November, it fell on New Directions founder James Laughlin to identify the poet’s body at the morgue. Just a few weeks later, New Directions published The Collected Poems of Dylan Thomas (public library), containing the work Thomas himself had considered most representative of his voice as a poet and, now, of his legacy — a legacy that has continued to influence generations of writers, artists, and creative mavericks: Bob Dylan changed his last name from Zimmerman in an homage to the poet, The Beatles drew his likeness onto the cover of Sgt. Pepper’s Lonely Hearts Club Band, and Christopher Nolan made “Do not go gentle into that good night” a narrative centerpiece of his film Interstellar. Upon receiving news of Thomas’s death, the poet Elizabeth Bishop wrote in an astonished letter to a friend: It must be true, but I still can’t believe it — even if I felt during the brief time I knew him that he was headed that way… Thomas’s poetry is so narrow — just a straight conduit between birth & death, I suppose—with not much space for living along the way. In another letter to her friend Marianne Moore, Bishop further crystallized Thomas’s singular genius: I have been very saddened, as I suppose so many people have, by Dylan Thomas’s death… He had an amazing gift for a kind of naked communication that makes a lot of poetry look like translation. Dylan Thomas is that rare thing, a poet who has it in him to allow us, particularly those of us who are coming to poetry for the first time, to believe that poetry might not only be vital in itself but also of some value to us in our day-to-day lives. It’s no accident, surely, that Dylan Thomas’s “Do not go gentle into that good night” is a poem which is read at two out of every three funerals. We respond to the sense in that poem, as in so many others, that the verse engine is so turbocharged and the fuel of such high octane that there’s a distinct likelihood of the equivalent of vertical liftoff. Dylan Thomas’s poems allow us to believe that we may be transported, and that belief is itself transporting.'.... Story on Brain Pickings' webite :) https://www.brainpickings.org/2017/01/24/dylan-thomas-do-not-go-gentle-into-that-good-night/ reality)
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