DELIA POEMS
She and I (In the Manner of Catullus 84-54 B.C.)
If ever there was a young woman who is self-sufficient and
Requires nothing beyond herself
And has a heart that like stone will never break
It is Delia. While she likes me and I like her and we are content together,
It is apparent that she doesn’t need me any more than I need her.
She calls her other affairs “flings” and when they
End they end. They are brief, none intense.
She says she feels more deeply about me than she is
Capable of feeling about anyone else, yet
For her and for me love is as elusive as a bumble bee.

The Difficulty of Recalling a Past Romance`
Why when we gave ourselves to them
So passionately, tenderly, proudly
And for that period with them
Thought only of them and they committed
Themselves to us can we not now recall
Through memory’s thick gray mist what
They were like?
An Affair Begins and Ends
Unfathomable,
Troubled,
Delia entered
My life so
Suddenly
And I hers
Neither was prepared.
Three unexpected
Years together
Seemed a moment
Yet ended
Abruptly
With her flowing tears.
Goodbye
But that last night I was firm and told Delia
That I must be leaving forever
In a few minutes.
She was surprised and did not
Understand what had happened
Between Friday and Monday
That from now on the woman
On my mind would be someone else,
And that shortly I would be gone entirely
From her life.
Meeting Diana
I saw her across the college cafeteria
And put down my book and went to meet her.
Her name, my name.
Black hair. Green eyes.
Elegant. Exquisite. Young.
The most beautiful woman on earth.
GOING HOME AND OTHER POEMS
Going Home
I will go back where I grew up and visit
The people I miss the most–
My sister Sharon, my parents,
A few friends, all gone now.
I will arrive in the evening as the sun
Begins to set at the end of the street
Above the church where my father sang.
I will smell three hundred six o’clock dinners and
Watch the night hawks circle our chimney,
Neighbors coming home from work,
Children putting their bikes away.
I will watch my younger self run a race
To the corner and back.
Then I will sit on the stairs listening
To crickets in the hedge chirping
Their praise of summer nights.
Awaiting the Arrival of Dawn
I relish waking early
And feeling that tingle in my waking body,
The chilly air lying so comfortably on my skin,
The enchantment that only a five in the
Morning holds for me.
I feel the growing anticipation
Of a remarkable day waiting ahead, of a
Remarkable life thronging with possibilities.
The knowledge doesn’t frighten me that
We are all marionettes dangling
Between the vast and sacred past and the vast
And sacred future.
I delight in darkness and know that a bond
Intertwines me with everyone who exists
Or ever has or will; and know too that some
Yet unknown purpose to my life beckons fondly
And that one day I will discover it.
So I dream of splendid things through
The seasons as they measure out my life.
I welcome the luminous skies and the
Magnificence of morning–
And I will all my life
While awaiting the arrival of dawn.
The Printers
The one skill they all shared
Was that they were masters
Of the big presses–
Rough good-hearted men
Who lived like vagabonds
Leading solitary lives in Chicago
Boarding houses with broken
Chairs and tables and nine or ten
Paperbacks with crimped pages.
The soft-spoken one named Aaron
Had made and lost fortunes
In investments many times
And currently was penniless.
He worked in monogrammed
Pink, blue, or gray shirts with stiff collars
And French cuffs and
Never spilled a drop of ink on them.
A President’s Death
Poor Professor Johnson,
I pitied him–his deep feelings.
A dignified man, a scholar,
Teacher of eighteenth
Century British poetry,
Couldn’t speak but to
Say go home, there would
Be no class today.
On the subway someone
Had a portable radio.
No passenger speaking,
Everyone listening in shock,
The tinny, crackling
Radio voice telling us over
And over as though we
Wouldn’t believe him, that
The President I felt I knew
Though he was rich and I
A student struggling with
Illness and poverty,
Had been shot. Professor
Johnson went home and read
Alexander Pope’s masterful
Couplets through tears.
Her Yellow Bathing Suit
With rapturous eyes and golden tan
She was the loveliest girl
In the neighborhood.
She had freckles, was Irish,
Had an Irish name–McGuire.
She liked me. At her door
She took my hand.
As we walked to the beach–
Her hand so soft–
We sang of happy things.
Her hair was parted
And drawn back with
Thin red ribbons
Except when she swam and let her
Long hair free to float as it wished.
I can’t forget her face
Which made everyone stare as she approached and
Still after she had passed, and that
Rendered plain every other girl who,
Jubilant, dove headlong into the frothing waves.
When she turned her head
She did so gracefully, like a
Bashful doe hiding in a thicket. That day
She was wearing a
Gold necklace with tiny links.
Everything she did; everything she said,
Her every feature, enchants my memory,
Particularly the yellow, yellow,
Yellow of her yellow bathing suit,
The only yellow on the crowded beach.
A Writer’s Epiphany: The Object in the White Light
Working so hard on abstract
Problems–being so sick of them that
My brain ached. Troubled, anxious,
Confused, sleepless, I went out for a walk
Hoping that the cool late night air
Might be therapeutic and might clear
My thinking so that I could decide
Calmly if such a life would provide happiness
Or if I should choose a style of life
More conducive to peace of mind.
The dim streets empty, restful, a light rain,
The whistle of a distant train,
The bell on a boat ringing,
A woman on the boat singing.
Near the beds of flowers, on the pavement–showered
In the white light of a street lamp–a single object:
A book.
Perhaps this book I had found, which a scholar may have lost
Or angrily thrown to the ground,
Had been purposefully intended for me
By the ineffable wisdom of the stars, by good fortune,
As a sign, a portent, a clue, a key.
And that what this epiphany of the book
In the pure white light in the rain
And the shrill whistle of the far-off train
Meant was that I could not escape my pre-
Ordained destiny that suited the architecture of my genes,
The juncture of talents, gifts, desires, qualities–
Not striving to become any of the thousand entities
Others are suited to be, but that are alien to me,
Becoming thereafter one thing alone:
A being gluttonous of words, a fish content and
Self-possessed, free of anguish,
Swimming in seas of language.
The Fathers in My Youth
After dinner, when the weather was good, the fathers–
Some in gaudy suspenders, to a man seeking peace–
Went alone outside in the yard to smoke.
They stood stationary and solitary in the middle of the yard,
Gazing up at the dazzling field of glinting stars,
Being reminded of their own inadequacy, their own insignificance,
Feeling in themselves the overwhelming rapture and wonderment
Of being alive on this earth on this night.
Long Day
I’m still at work though it’s getting late.
I’m using an orange as a paper weight.
The Memory of Pain After a Long Illness
There is no memory
Like that of pain–
Impossible to share
And futile to compare.
There is no memory
Comparable to that of pain.
SIX MONTHS RIDING FREIGHT TRAINS ACROSS AMERICA WITH A FRIEND
Overview
We zigzagged back and forth across the country.
We heard the cries of hawks echoing through canyons and watched
Eagles circling like feathery kites above the great, austere
Shapes of mountain peaks. And always in the background
We heard the unceasing clackety-clack of the swaying trains.
We prowled train yards and for many hours
We sat on box cars, our legs dangling,
Gleaming railroad tracks under us.
And we felt deeply the fearful stillness of big cities
In darkness–their gloomy late nights. We saw
Women selling stuffed armadillos, a beautiful woman
Eating apricots at a picnic table, and evening after evening
Saw the sunlight fade.
A Place to Sleep
We slept on box cars and flat cars,
On benches in parks and playgrounds,
And in laundromats and on motel lawns,
The gaudy, intermittently-flashing lights of the vacancy
Signs keeping us awake. We slept without bedding
On creaking bed springs that cut your back torturously
Like knives in foul-smelling small-town two-bit jails that
Put us up for the night and fed us along with the prisoners.
Crossing a River in a Boxcar on a Rainy Night
A downpour had struck up suddenly and surprisingly
As our freight train was pulling in. Waves of cold rain rushed
In one side of the boxcar and out the other sheet after
Sheet. Flashes of lightning illuminated the entire sky
And cracked like gun shots in a shooting gallery.
Then the rain stopped just as
Suddenly, the lightning ceased, and the wind died. The
Sky had already cleared then and was tinged with a mellow
Violet at its edges. A wind, warm and refreshing in the cool
Night had come up from the south. We had
Crossed the Mighty Mississippi on a
Shaking railroad bridge that early September night.
Thoughts of Home
Often toward evening under skies appearing low enough to touch,
I thought of Chicago: the beaches, Sheridan Road, night falling, city
Lights starting to glitter, the people I loved.
A BOY’S ADOLESCENCE
Grocery Store Clerk/Delivery Boy
How I loved being twelve and
Out on a grocery delivery to an old
Neighborhood widow on streets whose every bump,
Hill, and crack my wagon was friends with–
No one with me to boss me, no problems to concern me,
And there feeling I was in a garden
Delighting in the air, golden
Sunlight, and glorious shades and shapes of
That tiny patch of the earth that fortune
Had so generously allocated to me for my pleasure,
And sounds beyond number that sang in my young ears.
Lyric for Angela
At seventy-five cents per hour
I am a twelve year old
Professional bagger of cans
Of pineapples and tomatoes,
Weigher of potatoes,
Stocker of shelves
So the labels artfully frame
For the customers’ eyes
The Gerber baby,
The Scott tissues,
The orange carrots,
The vivid green peas.
When I am near Angela,
The dark-eyed store owner
Who favors me
My heart beats faster.
I cannot breathe
When I am near Angela.
As she works she sings.
Her spirit enfolds and singes me
As with hot tongs.
She smiles with
Such sweetness, gentleness,
And goodness she breaks my heart.
Her hair, her voice, her hands, her
Presence bring
A quality into my life
Which I know to be love.
My youth is purer,
My memories more
Lasting because of her.
Angela’s husband is awful
To her and treats
Her cruelly.
I vow that one day I will
Whisper to Angela,
“Why don’t you run away?”
But I fear she will not
And that after I have gone
To high school and college
And am grown up
She will still be heard
Singing in the aisles
Of this little store
Like a bird in its cage.
© 2024 David J. Rogers
For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:
Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers
or
Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority
or


Writing is a time-consuming process of self-discovery, self-awareness, and self-expression that may satisfy a writer’s deepest needs. Some writers find that nothing can compete with, nothing can replace, the writer’s joy of creating. Many writers so saturate themselves with their work that it becomes a need as strong as sleep, sometimes stronger. Many writers think, “This writing that I am doing is essential to my fulfillment and well-being. At times I may be so involved I will forget to eat. I will forget to make love. I will block out distractions. I will arrange a life-style and personal habits and routines to accommodate my writing.”
Some writers do consider writing the most important role in their life and give other roles short shrift. Many writers would agree with Katherine Anne Porter who said that the “thing” between her and writing was the strongest bond she had ever had—stronger than any bond she had ever had with any person or activity.
Here it seems appropriate to talk about my Law of Give Up to Get. The Law of Give Up to Get means simply that to get something important in life, you must give up something else. Gripe all you want, rail at the gods, and wish it weren’t so, but you have no choice. In the long run, perhaps you can have everything you desire. But at any one time, to get A you’ll have to give up B. To get X you must give up Y, and maybe you might have to give up Z too. To write, you have no choice but to give up something else—maybe more than one thing. That’s a law, the way life works: to achieve this, you’ll have to give up that—time, energy and other resources spent doing other things, attaining other satisfactions.
Are there any roles in your life that can be supported with a smaller investment of time, energy, and other resources so that you can devote more time to writing? Are there any roles currently in your life you might dispense with?
Every memoirist, (as well as every writer of fiction and personal essays and every poet and playwright) should strive to make that attainable talent to evoke the past a part of their repertoire of skills. They can then call on that talent every day as they compose, and it will bring their writing vividly to life.
There were not enough living room chairs to go around when the full family came over, but there were the dining room chairs to carry in and also for an overflow crowd there were gray metal fold-up chairs stenciled on the back in white “Property of Ebenezer Baptist Church.” Aunt Sarah stored them in the hall closet hidden behind her prized full-length fur coat, and was embarrassed for strangers to see them, for fear they believe the impossible, but conceivable–that she had pilfered the chairs from that house of God.
On a kitchen wall, above the old serviceable stove, was fastened an Elgin clock that ran fast, forcing everyone to subtract twenty-two minutes a day if they wished for some reason to be accurate, and in the corner of the living room, close to the large drafty window fronting Austin Avenue, was an impressive century- old grandfather clock whose big bronze pendulum, to the entire family’s collective memory, had never moved.
The train hadn’t stopped
In the distant moon’s quiet light
The manuscript Golding submitted was worn, torn, and stained when Monteith first saw it. It had obviously been rejected by other publishers. Even Monteith agreed that this work of a public school teacher was over-written, disorganized, repetitive–a mess–and seemed never to get started. After many rejections Golding was losing hope of having the book published, of ever being published.
be recognized as a person with a talent that can generate revenue. When a writer is discovered by an agent or publisher, their life changes for the better. This post is about writers who were discovered, then published, and found success–perhaps more success than they expected. There are so many writers with all the talent in the world who are trying very hard to be discovered by an agent or publisher who is trying as hard to discover them. There is a good chance that many writers we read would never have been published had they not been discovered by the right agent and a right publisher.
Finally a small publisher picked it up. However, this editor who discovered the book, was different. He was enthusiastic and said to Harold, “Your book is going to be a best seller.” Finally what Harold had been hoping for: someone had faith in the book and its spiritual message. It became a phenomenal best -seller, the most popular book in the world, selling twenty -five million copies.
Persistent and confident in spite of failures, Jack London submitted his manuscripts hundreds of times to publishers that rejected the work before an editor discovered him. But after that, within a single year London, a self-educated writer, took the literary world by storm and was the most popular, most critically and financially successful novelist/short story writer in the world.
Invariably I would think, “All these incredibly talented performers I see–artists who are looking for a big break and are dying to be discovered.” Much like them, so many writers with so much talent also are trying very hard to be discovered. Without the people who discovered William Golding, Thomas Wolfe, Harold Kushner, or Jack London, would we have ever heard of those famous authors?
I was excited waking up at 3:00 A.M. yesterday, and I was not thinking of going back to sleep. I wanted to finish some poems where I had left off the night before. I thought, “Let my wife–a calmer, less excitable person–sleep; I
Intense writers and artists do everything intensely–experiencing, feeling, thinking, and imagining. They are significantly different human beings from other writers and artists (and agents and family members and co-workers) who are not intense. They feel their emotions strongly. They soar high with elevated emotions, and they plunge into dark
Intensity is a quality found in many creative people that facilitates artistic pursuits. Abbe Dimnet said that the creator’s intensity will be reflected in the quality of the work: “The experience of most artists is that the quality of their production is in keeping with the intensity of their wish.” Henry James wrote: “It is art that makes life, makes intensity, makes importance.” Horace said, “Painters and poets alike have always had license to dare anything.” It is their intensity that gives them strength. Keats said, “The excellency of every art is its intensity “ A problem every writer and artist faces is maintaining in every phase of their story or painting the intensity that keeps it going and energizes the creator’s every gesture and the work’s every detail. They must be able to generate and sustain intensity as they work.
Who could be more intense than poet Walt Whitman who expressed a wish to have “one hour of madness and joy,” “to feed the remainder of life with one hour of fullness and freedom,” “To have the feeling today or any day I am sufficient as I am.” Who more intense than novelists Charles Dickens with his phenomenal storehouse of drive that enabled him to work on a multiplicity of books, speeches, plays, travels, and social projects at the same time without ever tiring?
If you are to be a writer who will be recognized, you must have faith that you have been created to be a writer, that writing is a destiny toward which your life has been aimed. Virginia Wolf and Toni Morison felt that way, and James Joyce, Dylan Thomas, and Ernest Hemingway. Many writers we haven’t heard of yet, but will, also feel that way. The faith that you are fated to be a writer is a writer’s first requirement. You must believe that it is when you are writing that you’re doing what you were brought into the world to do.
History shows that writers who will amount to anything also all have an attitude of “seriousness” about their work and their lives: “This is my only life; I am not playing games. I try to write every day. I strive to get better and better still and will do that all my life.”
As a writer you must be true to your awesome potential–must be in fact what you are potentially. If you are not doing enough with your gifts, your conscience lets you know. The conscience of a writer asks, “Who am I? Why am I here? Where am I going? Have I become what I should have become? If I have not become what I should have become, what will I do now?” Your writer’s conscience is the voice that calls you to be the person you are fully prepared to be, the uniquely talented writer you have been created to be.

Monet was the most renowned and most influential pioneer of Impressionism–the giant of Impressionism. Painting out of doors, Monet devoted his life to creating new ways of capturing light’s changeable qualities on canvas. A 12:00 p.m. sunlight is not the same as a 4:00 p.m. sunlight, or even a 12:05 sunlight or 12:10 sunlight. Early evening sunlight is similar to but, different from morning sunlight. The suns of one month are different from the suns of every other month. Such facts filled Monet’s thoughts.



Monet became obsessed with the sculptured shape of haystacks and with the dramatic contrasts of light and shade inherent in their form. The haystack paintings were a great success and led Monet to a more elaborate analysis of the effects of light on objects.
Monet gradually transformed his art from painting spontaneous approximations of the effects of light and atmosphere to an art of abstract surfaces existing for themselves. The focus of his art became the surface of pools and areas where the balance of water, light, air and the delicate substance of blossoms co-mingled, echoed each other, crossed on another’s boundaries, and blended together so that there was no difference between them. His last works were a series of large decorative panels in which the forms of nature are difficult to distinguish.
If the water lilies are thought of as real-life water lilies they become a great disorderly mass of arbitrary color. But if the water lilies are considered abstract arrangements of color applied in careful strokes they coalesce meaningfully.
Why Are So Many Talented Writers Unsuccessful?
I’m assuming that you have a writing talent, and that you may even have been the most talented in your class, in your school, and now are the
most talented in your writers’ group, most talented in your home town. That’s something to be proud of. But talent alone isn’t enough to make you a highly successful writer in the competitive field of creative writing in which almost everyone is talented, everyone gifted, and everyone exceptional.
But there are qualities other than talent that will determine how successful, fulfilling, and happy your writing career will be in that competitive world of very talented people. That hard-to-define stuff called talent is just one of the many requirements of the writer who excels. If you are relying solely on the talent you were born with to bring you writing success and happiness you are making a mistake.
Poet John Berryman thought that talent was no more than 20% of a successful poet’s personality, and why shouldn’t the same may be true of novelists, dramatists, screen writers, and essayists? What I’m asking is, “What comprises the eighty percent of a writer’s personality that blended with natural talent brings about success?”
To that question there are innumerable possible answers. According to writers, teachers, critics, and researchers other factors that are important are:
Endurance/ Persistence
Novelist Kurt Vonnegut said that talent was extremely common, but what is rare is endurance, the willingness to endure the sometimes difficult and trying life of the writer. Many writers have come to the conclusion that sheer old-fashioned day-by-day doggedness is the key to writers’ success. In the book The Courage to Write, Ralph Keyes says, “Success as a writer is within the grasp of whoever can tell a story on paper that people want to hear and is willing to persevere, to put up with boredom, frustration, and anxiety. Determined writers will find ways to get published regardless of whether they are brilliant or have a degree from the Iowa Writer’s Workshop.”
Passion, Intensity, Obsessiveness, Willpower, and Patience
Among the personal qualities that cause motivation strong enough to sustain a writer through the inevitable trials, disappointments, setbacks, and self-doubts are those that are not luxuries but necessities for any writer who is in any way serious about writing: passion, intensity, obsessiveness, willpower, and patience. Gertrude Stein said that all of a writer’s work comes out of a passion as a powerful force, and added that if you really have that passion you aren’t able to recognize it because you don’t know what it is to feel any differently. Many people with obsessive compulsiveness–including writers I’ve known–are especially productive not despite that affliction but because of it.
Hard Work, Commitment, and the Hunger for Success
Writing teachers are generally in agreement that it’s not the best, most talented students whose names they see in print in later years, but the hardest workers and the hungriest for success. The students with the most talent but the weakest work ethic who dazzled the class disappear into oblivion, while the hard workers often go on to great achievements. Many prodigiously gifted but poorly motivated people do not end up where gifted people belong: in the upper echelons of their field. Without pursuing all your goals with clear-mindedness, confidence, and commitment over years, you’ll probably quit after repeated failure.
Every writer, as every artist and every actor, who experiences minimal success eventually asks “Should I quit?” or lowers their ambitions. Writers who have achieved a high level of excellence and success are not satisfied to reach merely an acceptable level of performance, but are motivated to pursue increasingly higher goals.
Example of Pursing Increasingly Higher Creative Goals: Frank Loesser
Self-Confidence and The Need to do Your Best
Those who are sure of themselves intensify their efforts when they don’t reach their goal. Studies of high-performers in all the arts show that they are all universally alike: over and over again they are people who believe in trying to excel, in doing one’s best, in working very hard and spending time constructively. They are intensely attracted to their field from their first exposure to it and all through their efforts to develop their skills and their “reach.” In fact, if you have an intense interest in a creative field, that in itself is almost always a sign that you have a natural talent in it.
The Effect of Passing Comments
Talent can be ignited at any time. The cause of motivation to write a 300 page book or continue on the writer’s life path may be nothing more than a passing comment. Simply being told by someone else or telling yourself that you can achieve much more through trying harder will get most people to try harder. Just being told that they are talented is often enough to start people off to develop that talent.
An Analogy
Talent in writing will not bring success unless it is supplemented by other human qualities. Without endurance, determination, intensity, passion for writing, obsessiveness, will power, hard work, commitment, hunger for success, and self-confidence a writer would be analogous to an automobile–beautiful, streamlined, expertly designed–but lacking an engine.
© 2023 David J. Rogers
For my interview from the international teleconference with Ben Dean about Fighting to Win, click the following link:
Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers
Click on book image to order from Amazon.com
or
http://www.barnesandnoble.com/w/fighting-to-win-samurai-techniques-for-your-work-and-life-david-rogers/1119303640?ean=2940149174379
Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority
Click on book image to order from Amazon.com
or
http://www.barnesandnoble.com/w/waging-business-warfare-lessons-from-the-military-masters-in-achieving-competetive-superiority-revised-edition-david-rogers/1119079991?ean=2940149284030
Follow my blog with Bloglovin
Share this:
7 Comments
Filed under Confidence, Developing Talent, Human Potential and Achievement, High Achievement, Intensity, Persistence, Success, Willpower, Writers, Writers' Characteristics
Tagged as Frank Loesser, Gertrude Stein, John Berryman, Kurt Vonnegut, passing comments, Ralph Keyes