"Autobiographies of great nations are written in three manuscripts – a book of deeds, a book of words, and a book of art. Of the three, I would choose the latter as truest testimony." - Sir Kenneth Smith, Great Civilisations

"I must write each day without fail, not so much for the success of the work, as in order not to get out of my routine." - Leo Tolstoy

I have never believed that one should wait until one is inspired because I think the pleasures of not writing are so great that if you ever start indulging them you will never write again. - John Updike

"The life of every man is a diary in which he means to write one story, and writes another; and his humblest hour is when he compares the volume as it is with what he vowed to make it." - J.M. Barrie, Peter Pan

Poetry is the shadow cast by our streetlight imaginations." - Lawrence Ferlinghetti


[Note - If any article requires updating or correction please notate this in the comment section. Thank you. - res]


Sunday, October 18, 2026

D.H. Lawrence - Whales Weep Not!

Baby will not leave mother's side...

Whales Weep Not!
by D.H. Lawrence


They say the sea is cold, but the sea contains
the hottest blood of all, and the wildest, the most urgent.

All the whales in the wider deeps, hot are they, as they urge
on and on, and dive beneath the icebergs.
The right whales, the sperm-whales, the hammer-heads, the killers
there they blow, there they blow, hot wild white breath out of
the sea!

And they rock, and they rock, through the sensual ageless ages
on the depths of the seven seas,
and through the salt they reel with drunk delight
and in the tropics tremble they with love
and roll with massive, strong desire, like gods.
Then the great bull lies up against his bride
in the blue deep bed of the sea,
as mountain pressing on mountain, in the zest of life:
and out of the inward roaring of the inner red ocean of whale-blood
the long tip reaches strong, intense, like the maelstrom-tip, and
comes to rest
in the clasp and the soft, wild clutch of a she-whale's
fathomless body.

And over the bridge of the whale's strong phallus, linking the
wonder of whales
the burning archangels under the sea keep passing, back and
forth,
keep passing, archangels of bliss
from him to her, from her to him, great Cherubim
that wait on whales in mid-ocean, suspended in the waves of the
sea
great heaven of whales in the waters, old hierarchies.

And enormous mother whales lie dreaming suckling their whale-
tender young
and dreaming with strange whale eyes wide open in the waters of
the beginning and the end.

And bull-whales gather their women and whale-calves in a ring
when danger threatens, on the surface of the ceaseless flood
and range themselves like great fierce Seraphim facing the threat
encircling their huddled monsters of love.
And all this happens in the sea, in the salt
where God is also love, but without words:
and Aphrodite is the wife of whales
most happy, happy she!

and Venus among the fishes skips and is a she-dolphin
she is the gay, delighted porpoise sporting with love and the sea
she is the female tunny-fish, round and happy among the males
and dense with happy blood, dark rainbow bliss in the sea.



Healing songs of Whales & Dolphins
Deep Meditation Music for Harmony of Inner Peace



David Herbert Richards Lawrence
Poet D.H. Lawrence
(1885–1930) was an English novelist, poet, playwright, essayist, literary critic and painter who published as D. H. Lawrence. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialization. Lawrence’s opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile which he called his “savage pilgrimage.” Lawrence is now valued by many as a visionary thinker and significant representative of modernism in English literature.
(Annotated biography of D. H. Lawrence courtesy of Wikipedia.)
Summary of Poem

D.H. Lawrence's posthumous 1932 poem “Whales Weep Not!” is an oceanic, mystic lyric from Last Poems that counters the human view of a cold, indifferent sea by portraying whales as warm, passionate embodiments of the life force, divine love, and primal sexuality.
  • Hot Blood in a Cold Sea: Lawrence opens by challenging the assumption that the ocean is cold, arguing instead that the deep sea houses the hottest, wildest, and most urgent blood belonging to whales (right whales, sperm whales, hammerheads, and killers).
  • Sensual and Divine Mating: The poem shifts into explicit, metaphorical descriptions of whale mating - likening the physical union to mountains pressing against mountains and equating the whales' blowhole spray to an ecstatic release. Lawrence populates this underwater realm with burning archangels and Cherubim passing back and forth across the bridge of their union.
  • Nurture and Protection: Enormous mother whales dream while suckling their young with wide-open eyes, while bull-whales encircle their families like fierce Seraphim when danger approaches.
  • Aphrodite and Venus: The poem concludes by locating a wordless, divine love in the salt waters, celebrating Aphrodite as the happy wife of whales and Venus transforming into playful dolphins, porpoises, and tunny-fish filled with "dark rainbow bliss".

Literary & Thematic Analysis
  • Critique of Modern Rationality: Lawrence rejects mechanical, human-centered worldviews and the cold detachment of modern civilization by projecting raw, vital energy onto the animal kingdom.
  • Eros and the Sacred: True to Lawrence's recurring themes (seen in works like Lady Chatterley's Lover), he merges the erotic with the spiritual. Physical passion between whales is not base or profane, but sacred and attended by celestial hierarchies.
  • Intertextuality: The poem converses with Herman Melville's Moby-Dick, reframing the whale not as a terrifying or adversarial monster to be conquered, but as an ancient, majestic monarch of natural grace and vitality.
  • The Imperative Not to Weep: Commanding whales to "not weep" elevates them into immortal, self-sustaining testaments of existence itself - the beginning and the end of life force in the silent deep.

Photos of Mothers and Babies








Thursday, October 8, 2026

Halloween Songs & Poems for Kids


Halloween Songs for Kids





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Halloween Collection IV



Theme in Yellow
by Carl Sandburg

I spot the hills
With yellow balls in autumn.
I light the prairie cornfields
Orange and tawny gold clusters
And I am called pumpkins.
On the last of October
When dusk is fallen
Children join hands
And circle round me
Singing ghost songs
And love to the harvest moon;
I am a jack-o'-lantern
With terrible teeth
And the children know
I am fooling.


Copyright Credit: Carl Sandburg, "Theme in Yellow"
from Chicago Poems (New York: Henry Holt
and Company, 1916). Public domain.



Some One
by Walter de la Mare

Some one came knocking
At my wee, small door;
Some one came knocking,
I’m sure—sure—sure;
I listened, I opened,
I looked to left and right,
But nought there was a-stirring
In the still dark night;
Only the busy beetle
Tap-tapping on the wall,
Only from the forest
The screech-owl’s call,
Only the cricket whistling
While the dewdrops fall,
So I know not who came knocking,

At all, at all, at all.



All Hallows

Even now this landscape is assembling.
The hills darken. The oxen
sleep in their blue yoke,
the fields having been
picked clean, the sheaves
bound evenly and piled at the roadside
among cinquefoil, as the toothed moon rises:

This is the barrenness
of harvest or pestilence.
And the wife leaning out the window
with her hand extended, as in payment,
and the seeds
distinct, gold, calling
Come here
Come here, little one

And the soul creeps out of the tree.



Macbeth, Act IV, Scene I
[Round about the cauldron go]
by William Shakespeare

The three witches, casting a spell

Round about the cauldron go;   
In the poison’d entrails throw.   
Toad, that under cold stone    
Days and nights hast thirty one   
Swelter’d venom sleeping got,   
Boil thou first i’ the charmed pot.   

     Double, double toil and trouble; 
     Fire burn and cauldron bubble.   

Fillet of a fenny snake,   
In the cauldron boil and bake;   
Eye of newt, and toe of frog,   
Wool of bat, and tongue of dog,   
Adder’s fork, and blind-worm’s sting,   
Lizard’s leg, and howlet’s wing,   
For a charm of powerful trouble, 
Like a hell-broth boil and bubble.   

     Double, double toil and trouble;   
     Fire burn and cauldron bubble.  

Scale of dragon, tooth of wolf,      
Witches’ mummy, maw and gulf     
Of the ravin’d salt-sea shark,     
Root of hemlock digg’d i’ the dark,     
Liver of blaspheming Jew,      
Gall of goat, and slips of yew     
Sliver’d in the moon’s eclipse,     
Nose of Turk, and Tartar’s lips,     
Finger of birth-strangled babe      
Ditch-deliver’d by a drab,     
Make the gruel thick and slab:     
Add thereto a tiger’s chaudron,     
For the ingredients of our cauldron.

     Double, double toil and trouble;   
     Fire burn and cauldron bubble.



Mr. Macklin’s Jack O’Lantern
by David McCord

Mr. Macklin takes his knife 
And carves the yellow pumpkin face: 
Three holes bring eyes and nose to life, 
The mouth has thirteen teeth in place. 
Then Mr. Macklin just for fun 
Transfers the corn-cob pipe from his 
Wry mouth to Jack’s, and everyone 
Dies laughing! O what fun it is 
Till Mr. Macklin draws the shade 
And lights the candle in Jack’s skull.
Then all the inside dark is made 
As spooky and as horrorful 
As Halloween, and creepy crawl 
The shadows on the tool-house floor, 
With Jack’s face dancing on the wall. 
O Mr. Macklin! where's the door?


Dusk in Autumn
by Sara Teasdale

The moon is like a scimitar,
A little silver scimitar,
A-drifting down the sky.
And near beside it is a star,
A timid twinkling golden star,
That watches like an eye.
 
And thro’ the nursery window-pane
The witches have a fire again,
Just like the ones we make,—
And now I know they’re having tea,
I wish they’d give a cup to me,
With witches’ currant cake.



The Haunted House
by Felicia Dorothea Hemans

I seem like one
Who treads alone
   Some banquet-hall deserted,
Whose lights are fled,
Whose garlands dead,
   And all but me departed.
           —Thomas Moore, “Oft in the Stilly Night (Scotch Air)”

See’st thou yon gray gleaming hall,
Where the deep elm-shadows fall?
Voices that have left the earth
     Long ago,
Still are murmuring round its hearth,
     Soft and low:
Ever there;—yet one alone
Hath the gift to hear their tone.
Guests come thither, and depart,
Free of step, and light of heart;
Children, with sweet visions blessed,
In the haunted chambers rest;
One alone unslumbering lies
When the night hath sealed all eyes,
One quick heart and watchful ear,
Listening for those whispers clear.
 
See’st thou where the woodbine-flowers
O’er yon low porch hang in showers?
Startling faces of the dead,
     Pale, yet sweet,
One lone woman’s entering tread
     There still meet!
Some with young, smooth foreheads fair,
Faintly shining through bright hair;
Some with reverend locks of snow—
All, all buried long ago!
All, from under deep sea-waves,
Or the flowers of foreign graves,
Or the old and bannered aisle,
Where their high tombs gleam the while;
Rising, wandering, floating by,
Suddenly and silently,
Through their earthly home and place,
But amidst another race.
 
Wherefore, unto one alone,
Are those sounds and visions known?
Wherefore hath that spell of power
     Dark and dread,
On her soul, a baleful dower,
     Thus been shed?
Oh! in those deep-seeing eyes,
No strange gift of mystery lies!
She is lone where once she moved,
Fair, and happy, and beloved!
Sunny smiles were glancing round her,
Tendrils of kind hearts had bound her;
Now those silver chords are broken,
Those bright looks have left no token;
Not one trace on all the earth,
Save her memory of their mirth.
She is lone and lingering now,
Dreams have gathered o’er her brow,
Midst gay songs and children’s play,
She is dwelling far away;
Seeing what none else may see—
Haunted still her place must be!


Copyright Credit: Felicia Dorothea Hemans, “The Haunted House”
from National lyrics, and songs for music.  Dublin: William Curry Jr.
and Company; London: Simpkin and Marshall, 1834. Public domain.



All Hallows’ Eve

Be perfect, make it otherwise.
Yesterday is torn in shreds.
Lightning’s thousand sulfur eyes
Rip apart the breathing beds.
Hear bones crack and pulverize.
Doom creeps in on rubber treads.
Countless overwrought housewives,
Minds unraveling like threads,
Try lipstick shades to tranquilize
Fears of age and general dreads.
Sit tight, be perfect, swat the spies,
Don’t take faucets for fountainheads.
Drink tasty antidotes. Otherwise
You and the werewolf: newlyweds.


Copyright Credit: Dorothea Tanning, “All Hallows’ Eve”
from Coming to That. Copyright © 2011 by Dorothea Tanning.
Reprinted by permission of Graywolf Press.



Ghost Music
by Robert Graves

Gloomy and bare the organ-loft,
Bent-backed and blind the organist.
From rafters looming shadowy,
From the pipes’ tuneful company,
Drifted together drowsily,
Innumerable, formless, dim,
The ghosts of long-dead melodies,
Of anthems, stately, thunderous,
Of Kyries shrill and tremulous:
In melancholy drowsy-sweet
They huddled there in harmony.
Like bats at noontide rafter-hung.


Copyright © 2016 by Wayne Miller.
Originally published in Poem-a-Day
on October 15, 2016,
by the Academy of American Poets.



All Souls’ Night

Epilogue to "A Vision"

Midnight has come and the great Christ Church bell
And many a lesser bell sound through the room;
And it is All Souls’ Night.
And two long glasses brimmed with muscatel
Bubble upon the table. A ghost may come;
For it is a ghost’s right,
His element is so fine
Being sharpened by his death,
To drink from the wine-breath
While our gross palates drink from the whole wine.

I need some mind that, if the cannon sound
From every quarter of the world, can stay
Wound in mind’s pondering,
As mummies in the mummy-cloth are wound;
Because I have a marvellous thing to say,
A certain marvellous thing
None but the living mock,
Though not for sober ear;
It may be all that hear
Should laugh and weep an hour upon the clock.

Horton’s the first I call. He loved strange thought
And knew that sweet extremity of pride
That’s called platonic love,
And that to such a pitch of passion wrought
Nothing could bring him, when his lady died,
Anodyne for his love.
Words were but wasted breath;
One dear hope had he:
The inclemency
Of that or the next winter would be death.

Two thoughts were so mixed up I could not tell
Whether of her or God he thought the most,
But think that his mind’s eye,
When upward turned, on one sole image fell;
And that a slight companionable ghost,
Wild with divinity,
Had so lit up the whole
Immense miraculous house
The Bible promised us,
It seemed a gold-fish swimming in a bowl.

On Florence Emery I call the next,
Who finding the first wrinkles on a face
Admired and beautiful,
And by foreknowledge of the future vexed;
Diminished beauty, multiplied commonplace;
Preferred to teach a school
Away from neighbour or friend,
Among dark skins, and there
Permit foul years to wear
Hidden from eyesight to the unnoticed end.

Before that end much had she ravelled out
From a discourse in figurative speech
By some learned Indian
On the soul’s journey. How it is whirled about
Wherever the orbit of the moon can reach,
Until it plunge into the sun;
And there, free and yet fast,
Being both Chance and Choice,
Forget its broken toys
And sink into its own delight at last.

I call MacGregor Mathers from his grave,
For in my first hard spring-time we were friends,
Although of late estranged.
I thought him half a lunatic, half knave,
And told him so, but friendship never ends;
And what if mind seem changed,
And it seem changed with the mind,
When thoughts rise up unbid
On generous things that he did
And I grow half contented to be blind!

He had much industry at setting out,
Much boisterous courage, before loneliness
Had driven him crazed;
For meditations upon unknown thought
Make human intercourse grow less and less;
They are neither paid nor praised.
But he’d object to the host,
The glass because my glass;
A ghost-lover he was
And may have grown more arrogant being a ghost.

But names are nothing. What matter who it be,
So that his elements have grown so fine
The fume of muscatel
Can give his sharpened palate ecstasy
No living man can drink from the whole wine.
I have mummy truths to tell
Whereat the living mock,
Though not for sober ear,
For maybe all that hear
Should laugh and weep an hour upon the clock.

Such thought—such thought have I that hold it tight
Till meditation master all its parts,
Nothing can stay my glance
Until that glance run in the world’s despite
To where the damned have howled away their hearts,
And where the blessed dance;
Such thought, that in it bound
I need no other thing,
Wound in mind’s wandering
As mummies in the mummy-cloth are wound.


Copyright Credit: William Butler Yeats, “All Souls’ Night”
from Seven Poems and a Fragment.
Dundrum: The Cuala Press, 1922. Public domain.



"Top 25 Scary Poems of All Time"
Gathered by Michael R. Burch

The Highwayman by Alfred Noyes
Tom O'Bedlam's Song by Anonymous
A Lyke-Wake Dirge by Anonymous
The Raven, Ulalume, Alone and Lenore by Edgar Allan Poe
Ophélie (“Ophelia”) and Antico (“Ancient”) by Arthur Rimbaud
"Song of the Witches" from Macbeth by William Shakespeare
The Bustle in a House and Because I Could Not Stop for Death by Emily Dickinson
The Stolen Child by William Butler Yeats
The Broken Tower by Hart Crane
Ozymandias by Percy Bysshe Shelley
Allayne by Kevin N. Roberts
The Snow Man by Wallace Stevens
A Last Word by Ernest Dowson
La Belle Dame sans Merci
by John Keats
The Rime of the Ancient Mariner and Christabel by Samuel Taylor Coleridge
The Listeners by Walter de la Mare
Luke Havergal and The Mill by Edward Arlington Robinson
The Unreturning by Wilfred Owen
Her Kind by Anne Sexton and Daddy by Sylvia Plath (a tie between friends)
The Darkling Thrush by Thomas Hardy
The Vampire by Conrad Aiken
The Fisher by Johann Wolfgang von Goethe
Du by Janet Kenny
Part 6 from The Dark Side of the Deity: Interlude by Joe M. Ruggier
Haunted Houses by Henry Wadsworth Longfellow


Poems by Anne Carson


Poet Anne Carson

Father's Old Blue Cardigan
by Anne Carson

Now it hangs on the back of the kitchen chair
where I always sit, as it did
on the back of the kitchen chair where he always sat.

I put it on whenever I come in,
as he did, stamping
the snow from his boots.

I put it on and sit in the dark.
He would not have done this.
Coldness comes paring down from the moonbone in the sky.

His laws were a secret.
But I remember the moment at which I knew
he was going mad inside his laws.

He was standing at the turn of the driveway when I arrived.
He had on the blue cardigan with the buttons done up all the way to the top.
Not only because it was a hot July afternoon

but the look on his face --
as a small child who has been dressed by some aunt early in the morning
for a long trip

on cold trains and windy platforms
will sit very straight at the edge of his seat
while the shadows like long fingers

over the haystacks that sweep past
keep shocking him
because he is riding backwards.

Copyright © 2000 by Anne Carson


O Small Sad Ecstasy of Love
by Anne Carson

I like being with you all night with closed eyes.
What luck—here you are
coming
along the stars!
I did a road trip
all over my mind and heart
and
there you were
kneeling by the roadside
with your little toolkit
fixing something.

Give me a world, you have taken the world I was.

Copyright © 2020 by Anne Carson.
Originally published in Poem-a-Day
on December 10, 2020,
by the Academy of American Poets


Apostle Town
by Anne Carson

After your death.
It was windy every day.
Every day.
Opposed us like a wall.
We went.
Shouting sideways at one another.
Along the road.
It was useless.
The spaces between us.
Got hard.
They are empty spaces.
And yet they are solid.
And black and grievous.
As gaps between the teeth.
Of an old woman.
You knew years ago.
When she was.
Beautiful the nerves pouring around in her like palace fire.

Anne Carson Saturday
October 15, 2016


Anne Carson Bio

https://www.bbc.com/news/articles/cq4g1j54nepyo

https://www.poetryfoundation.org/poets/anne-carson

https://en.wikipedia.org/wiki/Anne_Carson


Anne Carson is a Canadian poet, essayist, and classicist known for blending ancient mythology with modern forms. Her most popular poems, verse novels, and lyric collections include:

Major Verse Novels and Long Poems


Autobiography of Red (1998): A celebrated novel in verse that retells the fragmentary myth of Geryon and Heracles by Stesichorus, reimagining the winged monster as a modern gay teenager.


The Beauty of the Husband: A Fictional Essay in 29 Tangos (2001): A narrative poem in 29 sections exploring the anatomy of a failed marriage, which won the T.S. Eliot Prize. 

The Glass Essay (1995): A long, semi-autobiographical lyric poem from Plainwater that confronts grief, a broken relationship, and the haunting presence of Emily Brontë on a northern moor.


Standout Short Poems and Lyrical Works

"Father's Old Blue Cardigan": A poignant, sharply observed reflection on her father's memory and mental decline.

"O Small Sad Ecstasy of Love": A compact, striking lyric on the fragile and disorienting nature of falling in love.

"Apostle Town": Opening with the famous lines, "After your death. It was windy every day. Every day. Opposed us like a wall".


Glass, Irony, and God (1992): A collection containing seminal short talks and verse pieces that established her distinct voice.

Other poems. Listed on PoemHunter.com

Wednesday, October 7, 2026

R.E. Slater - An Autumn Day



An Autumn Day
by R.E. Slater

Beneath a bright blue sky and warming sun
greets happy breezes hurrying and scurrying
across leafy realms in lively crackle and flutter.
Fat ground squirrels are restlessly heard
scampering about with nut and acorn
digging in their wares within an endless
cacophony of buzzing insects beating
time to the pulse of the earth enlarged
its tapestry of sound in measured hum.

O'erhead leafy bowers rustle and turn
spreading their golden hues and glows
in painted ambers, russets, and golds.
The autumn airs fill the churning woods
in dancing drops of burnished fire
fluttering down to become instant
homes for fuzzy woolly bears
seeking winter warmth and shelter.

And I, resting from day's labor,
nestle within my spinning expanse,
hearing the ancient songs of youth.
Embraced within enchanting spells
brimming a Northland's ancient climes
and waking dream unwilling slumber
content upon a day's gracious warrant
to be renewed and enlivened before
the coming winter snows drawing near.


R.E. Slater
October 7, 2026
@copyright R.E. Slater Publications
all rights reserved



Nothing Gold Can Stay
by Robert Frost

Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.



Fall, Leaves, Fall
by Emily Brontë

Fall, leaves, fall; die, flowers, away;
Lengthen night and shorten day;
Every leaf speaks bliss to me
Fluttering from the autumn tree.
I shall smile when wreaths of snow
Blossom where the rose should grow;
I shall sing when night's decay
Ushers in a drearier day.



Autumn
T. E. Hulme

A touch of cold in the Autumn night -
I walked abroad,
And saw the ruddy moon lean over a hedge
Like a red-faced farmer.
I did not stop to speak, but nodded,
And round about were the wistful stars
With white faces like town children.



October
by Robert Frost

O hushed October morning mild,
Thy leaves have ripened to the fall;
Tomorrow's wind, if it be wild,
Should waste them all.



Three Autumn Haiku

Matsuo Bashō

Autumn moonlight -
a worm digs silently
into the chestnut.

Yosa Buson

Light of the moon
moves westward, shadows of flowers
creep eastward.

Kobayashi Issa

Yellow autumn leaves
tumbling down...
a deer calls its mate.



A Note for an Autumn Day
Perhaps that is what autumn gives us each year: not merely color, but a reminder. The leaves become most brilliant just before they fall. The days grow precious because they shorten. What was green becomes gold, what was gold returns to earth, and what appears to be an ending quietly prepares the way for another beginning. For a little while, then, we walk beneath the trees. And pay attention.

R.E. Slater
October 7, 2026