Have we known each other forever?
Or might we simply have met in another life?
But where and when,
or how it might have happened,
I cannot know.
And in that possible world
did we know each other
in good times and bad?

Were we friends?
Good friends?
Possibly lovers?
Or just strangers,
occupying the same universe,
not knowing each other at all,
but destined to meet again
in different circumstances?

Shall we go on through time,
meeting and parting
again and again,
with pleasure or regret,
or, most likely, a mixture of the two?

I only know that your eyes,
your smile,
speak to me in a language of their own,
which I hope will continue
while we both exist,
in this world or another.

I wanted to write a poem with its own
self-contained harmonies, like the counterpoint of Bach,
half a dozen instruments playing at once,
each one retaining its own
purity while contributing to a pure whole;

or one that should summon up Provence,
with its olive trees, cypresses, and sunflowers
(after van Gogh), and somehow convey the heat
and the perfumed air and the sound
of cicadas;

or one that, like a jewel,
small but perfectly formed,
refracting the light of experience
through each cunningly crafted facet,
might return it in flash after dazzling flash
of inspiration.

I have no ambition to write
the poetical equivalent of the Sistine Chapel,
but I have envied Michelangelo
(Superman of the Renaissance)
his X-ray vision.  He could see
the statue inside the stone.
Why must I so often fail to see
the poem for the words?

Have we known each other forever?
Might we have met before,
in another life?  
But where and when,
or how it might have happened,
I cannot know.
And in that other possible world
did we know each other
in good times and bad?

Were we friends?
Good friends?
Possibly lovers?
Or simply strangers,
occupying the same universe,
not knowing each other,
but destined to meet again
in different circumstances?

And shall we go on through time,
meeting and parting
again and again,
with pleasure or regret,
or, most likely, a mixture of the two?

I only know that your eyes,
your smile,
speak to me in a language of their own,
which I hope will continue
while we both exist,
in this world or another.

Looking into your pale eyes
I seem to see shadows,
phantoms of your history,
a history written in a language
I cannot understand.

Looking into your liquid eyes
I seem to see to the depths
of an ocean
into which I could sink
and never come up again.

Looking into your magical eyes
I seem to see a future
where things are changed,
where life as we know it now
would not even be history.

If you read somebody’s poem and it makes you want to say,
“I think this piece is wonderful; it really made my day, ”
just go ahead and say it. Feedback like this is good,
but saying why will please them so much better - or it should.

But if you think it’s terrible, be careful how you speak.
Some people write as therapy; their life may be quite bleak.
Don’t be too harshly critical and leave them feeling worse,
but simply go to look elsewhere, and just ignore their verse.

Some poems, though, may leave you with a puzzle or a question,
or even make you want to give some tentative suggestion.
There’s nothing wrong with doing this – just get it off your chest,
but don’t think your ideas are necessarily the best.

With writers, though, who think they are God’s gift to Poesy,
if there’s nothing to commend them as far as you can see,
you can state your own opinion – of course you have the right –
but don’t forget the golden rule: be HONEST but POLITE.