To be a poet is to have a soul so quick to discern, that no shade of quality escapes it, and so quick to feel, that discernment is but a hand playing with finely-ordered variety on the chords of emotion--a soul in which knowledge passes instantaneously into feeling, and feeling flashes back as a new organ of knowledge.
The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time.
Good morning, daddy!Ain't you heardThe boogie-woogie rumbleOf a dream deferred?Listen closely:You'll hear their feetBeating out and beating out a -You thinkIt's a happy beat?Listen to it closely:Ain't you heardsomething underneathlike a -What did I say?Sure,I'm happy!Take it away!Dream BoogieHey, pop!Re-bop!Mop!Y-e-a-h!