Jack Gilbert quotes:

You can't work in a steel mill and think small. Giant converters hundreds of feet high. Every night, the sky looked enormous. It was a torrent of flames - of fire. The place that Pittsburgh used to be had such scale.

We exist with a wind whispering inside and our moon flexing. Amid the ducts, inside the basilica of bones.

We must unlearn the constellations to see the stars.

Everyone forgets Icarus also flew.

We are resident inside with the machinery, a glimmering spread throughout the apparatus. We exist with a wind whispering inside and our moon flexing. Amid the ducts, inside the basilica of bones. The flesh is a neighborhood, but not the life.

THE ABANDONED VALLEY Can you understand being alone so long you would go out in the middle of the night and put a bucket into the well so you could feel something down there tug at the other end of the rope?

We must have the stubbornness to accept our gladness in the ruthless furnace of this world.

I believe that Icarus was not failing as he fell, but just coming to the end of his triumph.

Suddenly this defeat. This rain. The blues gone gray And the browns gone gray And yellow A terrible amber. In the cold streets Your warm body. In whatever room Your warm body. Among all the people Your absence The people who are always Not you. I have been easy with trees Too long. Too familiar with mountains. Joy has been a habit. Now Suddenly This rain.

I'm vain enough to think that I've made a successful life. I've had everything I've ever wanted. You can't beat that.

What we feel most has no name but amber, archers, cinnamon, horses and birds.

I had lived all of my youthful dreams, but I couldn't think of many adult ones. I finally realized that we don't have many dreams for adults because, historically, people have always died much younger than they do today.

WAKING AT NIGHT The blue river is grey at morning and evening. There is twilight at dawn and dusk. I lie in the dark wondering if this quiet in me now is a beginning or an end.

The heart is a foreign country whose language none of us is good at.

Are the angels of her bed the angelswho come near me alone in mine?Are the green trees in her windowthe color is see in ripe plums?If she always sees backwardand upside down without knowing itwhat chance do we have? I am hauntedby the feeling that she is sayingmelting lords of death, avalanches,rivers and moments of passing through,And I am replying, "Yes, yes.Shoes and pudding."

Our heart wanders lost in the dark woods. Our dream wrestles in the castle of doubt. But there's music in us. Hope is pushed down but the angel flies up again taking us with her."

Are the angels of her bed the angelswho come near me alone in mine?Are the green trees in her windowthe color is see in ripe plums?If she always sees backwardand upside down without knowing itwhat chance do we have? I am hauntedby the feeling that she is sayingmelting lords of death, avalanches,rivers and moments of passing through,And I am replying, Yes, yes.Shoes and pudding.

We must risk delight. We can do without pleasure,but not delight. Not enjoyment. We must havethe stubbornness to accept our gladness in the ruthlessfurnace of this world. To make injustice the onlymeasure of our attention is to praise the Devil.

The Japanese think it strange we paint our old wooden houses when it takes so long to find the wabi in them. They prefer the bonsai tree after the valiant blossoming is over, the leaves fallen. When bareness reveals a merit born in the vegetable struggling.

To hear the faint sound of oars in the silence as a rowboatcomes slowly out and then goes back is truly worthall the years of sorrow that are to come.

We are a singularity that makes music out of noise because we must hurry. We make a harvest of loneliness and desiring in the blank wasteland of the cosmos.

Fame is a lot of fun, but it's not interesting. I loved being noticed and praised, even the banquets. But they didn't have anything that I wanted. After about six months, I found it boring.

The heart lies to itself because it must.

I dream of lost vocabularies that might express some of what we no longer can.

I ask myself what is the sound of women? What is the word for that still thing I have hunted inside them for so long? Deep inside the avalanche of joy, the thing deeper in the dark, and deeper still in the bed where we are lost. Deeper, deeper down where a woman's heart is holding its breath, where something very far away in that body is becoming something we don't have a name for.

Our heart wanders lost in the dark woods. Our dream wrestles in the castle of doubt. But there's music in us. Hope is pushed down but the angel flies up again taking us with her.

Why do so manysettle for so little? I don't understand why they're not greedy for what's inside them.

Are the angels of her bed the angels who come near me alone in mine? Are the green trees in her window the color is see in ripe plums? If she always sees backward and upside down without knowing it what chance do we have? I am haunted by the feeling that she is saying melting lords of death, avalanches, rivers and moments of passing through, And I am replying, "Yes, yes. Shoes and pudding.

We are all burning in time, but each is consumed at his own speed.

How astonishing it is that language can almost mean, and frightening that it does not quite.

We think the fire eats the wood. We are wrong. The wood reaches out to the flame. The fire licks at what the wood harbors, and the wood gives itself away to that intimacy, the manner in which we and the world meet each new day.

Duende I can't remember her name. It's not as though I've been in bed with that many women. The truth is I can't even remember her face. I kind of know how strong her thighs were, and her beauty. But what I won't forget is the way she tore open the barbecued chicken with her hands, and wiped the grease on her breasts.

I like ornament at the right time, but I don't want a poem to be made out of decoration ... When I read the poems that matter to me, it stuns me how much the presence of the heart-in all its forms-is endlessly available there. To experience ourselves in an important way just knocks me out. It puzzles me why people have given that up for cleverness. Some of them are ingenious, more ingenious than I am, but so many of them aren't any good at being alive.

The woman is not just a pleasure, nor even a problem. She is a meniscus that allows the absolute to have a shape, that lets him skate however briefly on the mystery, her presence luminous on the ordinary and the grand. Like the odor at night in Pittsburgh's empty streets after summer rain on maples and sycamore.

It is convenient for the old men to blame Eve. To insist we are damned because a country girl talked to the snake one afternoon long ago. Children must starve in Somalia for that, and old women be abandoned in our greatest cities. It's why we will finally be thrown into the lakes of molten lead. Because she was confused by happiness that first time anyone said she was beautiful. Nevertheless, she must be the issue, so people won't notice that rocks and galaxies, mathematics and rust are also created in His image.

But anything worth doing is worth doing badly. Like being there by that summer ocean on the other side of the island while love was fading out of her, the stars burning so extravagantly those nights that anyone could tell you they would never last.

Question the bravery. Say it's not courage. Call it a passion.

We are surrounded by the absurd excess of the universe. By meaningless bulk, vastness without size, power without consequence. The stubborn iteration that is present without being felt. Nothing the spirit can marry. Merely phenomenon and its physics. An endless, endless of going on. No habitat where the brain can recognize itself. No pertinence for the heart. Helpless duplication.

I would say Pittsburgh softly each time before throwing him up. Whisper Pittsburgh with my mouth against the tiny ear and throw him higher. Pittsburgh and happiness high up. The only way to leave even the smallest trace. So that all his life her son would feel gladness unaccountably when anyone spoke of the ruined city of steel in America. Each time almost remembering something maybe important that got lost.

When I was walking in the mountains with the Japanese man and began to hear the water, he said, 'What is the sound of the waterfall?' 'Silence,' he finally told me.

You will love again, people say. Give it time. Me with time running out. Day after day of the everyday. What they call real life, made of eighth-inch gauge. Newness strutting around as if it were significant. Irony, neatness and rhyme pretending to be poetry. I want to go back to that time after Michiko's death when I cried every day among the trees. To the real. To the magnitude of pain, of being that much alive.