I was more worn out with the "Odyssey" than it was with the "Iliad." I mean, just comparing those two - you can see how it's changing, how the language of the "Iliad" is somehow monstrously new - and that language of the "Odyssey" is more comfortable, even for us.

The Greek language seems different than other languages. I'm not the only person to think this. Usually, I come up with some kind of dopey metaphor for why it's different. But it seems, somehow, more original, more like being in the morning of language.

What is the fear inside language? No accident of the body can make it stop burning.

I emphasize the distinction between brackets and no brackets because it will affect your reading experience, if you will allow it. Brackets are exciting. Even though you are approaching Sappho in translation, that is no reason you should miss the drama of trying to read a papyrus torn in half or riddled with holes or smaller than a postage stamp--brackets imply a free space of imaginal adventure.

Blessed be they whose lives do not taste of evilbut if some god shakes your houseruin arrivesruin does not leaveit comes tolling over the generationsit comes rolling the black night salt up from the ocean floorand all your thrashed coasts groan

I do think that something of the effect I have on people is to put everything on an edge where they're both infatuated with a kind of charmingness happening in the person or in the writing, and also flatly terrified by a revelation or acceptance of revelation that's almost happening, never quite totally happening.

THE PRESOCRATIC PROBLEM [all snap flags] Parmenides named his gun The Hot Power of the Stars. His gun was one, uncreated, imperishable, timeless, changeless, perfect, spherical. Spherical was the problem.