by Edna St. Vincent Millay
No hawk hangs over in this air:
The urgent snow is everywhere.
The wing adroiter than a sail
Must lean away from such a gale,
Abandoning its straight intent,
Or else expose tough ligament
And tender flesh to what before
Meant dampened feathers, nothing more.
Forceless upon our backs there fall
Infrequent flakes hexagonal,
Devised in many a curious style
To charm our safety for a while,
Where close to earth like mice we go
Under the horizontal snow.
by Robert Frost
Tree at my window, window tree,
My sash is lowered when night comes on;
But let there never be curtain drawn
Between you and me.
Vague dream-head lifted out of the ground,
And thing next most diffuse to cloud,
Not all your light tongues talking aloud
Could be profound.
But tree, I have seen you taken and tossed,
And if you have seen me when I slept,
You have seen me when I was taken and swept
And all but lost.
That day she put our heads together,
Fate had her imagination about her,
Your head so much concerned with outer,
Mine with inner, weather.
by William Carlos Williams
photo by katknit
All the complicated details
of the attiring and
the disattiring are completed!
A liquid moon
moves gently among
the long branches.
Thus having prepared their buds
against a sure winter
the wise trees
stand sleeping in the cold.
Christmas Eve, and twelve of the clock.
“Now they are all on their knees,”
An elder said as we sat in a flock
By the embers in hearthside ease.
We pictured the meek mild creatures where
They dwelt in their strawy pen.
Nor did it occur to one of us there
To doubt they were kneeling then.
So fair a fancy few believe
In these years! Yet, I feel,
If someone said on Christmas Eve
“Come; see the oxen kneel
“In the lonely barton by yonder comb
Our childhood used to know,”
I should go with him in the gloom,
Hoping it might be so.
by Thomas Hood
No warmth, no cheerfulness, no healthful ease,
No comfortable feel in any member -
No shade, no shine, no butterflies, no bees,
No fruits, no flowers, no leaves, no birds -
by Paul Laurence Dunbar
It’s all a farce,—these tales they tell
About the breezes sighing,
And moans astir o’er field and dell,
Because the year is dying.
Such principles are most absurd,—
I care not who first taught ‘em;
There’s nothing known to beast or bird
To make a solemn autumn.
In solemn times, when grief holds sway
With countenance distressing,
You’ll note the more of black and gray
Will then be used in dressing.
Now purple tints are all around;
The sky is blue and mellow;
And e’en the grasses turn the ground
From modest green to yellow.
The seed burs all with laughter crack
On featherweed and jimson;
And leaves that should be dressed in black
Are all decked out in crimson.
A butterfly goes winging by;
A singing bird comes after;
And Nature, all from earth to sky,
Is bubbling o’er with laughter.
The ripples wimple on the rills,
Like sparkling little lasses;
The sunlight runs along the hills,
And laughs among the grasses.
The earth is just so full of fun
It really can’t contain it;
And streams of mirth so freely run
The heavens seem to rain it.
Don’t talk to me of solemn days
In autumn’s time of splendor,
Because the sun shows fewer rays,
And these grow slant and slender.
Why, it’s the climax of the year,—
The highest time of living!—
Till naturally its bursting cheer
Just melts into thanksgiving.
My rating: 4 of 5 stars
Harvard symbologist Robert Langdon awakens in a hospital room in Florence, Italy, with no memory of how or why he came to be there. No sooner does he regain consciousness than a mysterious, spiky haired woman in leather bursts into his room with her gun blazing. She misses Langdon, but, sad to say, kills his doctor instantly. Once again, Langdon goes on the run, accompanied by the beautiful Sienna Brooks, who is also on his medical team. Bit by bit, she informs him of a plot by a mad geneticist, who will shortly release a virus upon the world, one that promises to curtail population growth just as the Black Plague used to do naturally. Clues left by the geneticist are excerpted from one of the most famous poems ever written, Dante’s Inferno. It’s up to Langdon to decipher them and save humanity from disaster. His quest will take them to Venice and Istanbul, where he’ll be required to search within the holiest shrines of the Christian and Muslim cultures.
OK, as usual, the exploits, close escapes, and intellectual feats of hero Langdon are over the top, incredibly so. But that’s what makes Brown’s series so much fun. With Inferno, Brown has tightened up his writing style, producing a novel with less unnecessary window dressing and more substance. The fate from which the madman is trying to save the world is a true one, which most realistic scientists agree will probably begin wreaking havoc very soon. Brown weaves in information about architecture, literature, medicine, genetics, and population growth while managing to keep the action speeding right along. And, darn it, Langdon’s such an appealing kind of guy. So pack away your common sense and literary pretensions, and enjoy another wild ride with Robert Langdon. Great literature? Nope. Great entertainment? You bet. And the movie is already in production.
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