'let america be america again'

Let America be America again.
Let it be the dream it used to be.
Let it be the pioneer on the plain
Seeking a home where he himself is free.  
(America never was America to me.) 
Let America be the dream the dreamers dreamed—
Let it be that great strong land of love
Where never kings connive nor tyrants scheme
That any man be crushed by one above.  
(It never was America to me.)  
O, let my land be a land where Liberty
Is crowned with no false patriotic wreath,
But opportunity is real, and life is free,
Equality is in the air we breathe.
(There’s never been equality for me,
Nor freedom in this “homeland of the free.”)  
Say, who are you that mumbles in the dark?
And who are you that draws your veil across the stars?
I am the poor white, fooled and pushed apart,
I am the Negro bearing slavery’s scars.
I am the red man driven from the land,
I am the immigrant clutching the hope I seek—
And finding only the same old stupid plan
Of dog eat dog, of mighty crush the weak.  
I am the young man, full of strength and hope,
Tangled in that ancient endless chain
Of profit, power, gain, of grab the land!
Of grab the gold! Of grab the ways of satisfying need!
Of work the men! Of take the pay!
Of owning everything for one’s own greed!  
I am the farmer, bondsman to the soil.
I am the worker sold to the machine.
I am the Negro, servant to you all.
I am the people, humble, hungry, mean—
Hungry yet today despite the dream.
Beaten yet today—O, Pioneers!
I am the man who never got ahead,
The poorest worker bartered through the years.  
Yet I’m the one who dreamt our basic dream
In the Old World while still a serf of kings,
Who dreamt a dream so strong, so brave, so true,
That even yet its mighty daring sings
In every brick and stone, in every furrow turned
That’s made America the land it has become.
O, I’m the man who sailed those early seas
In search of what I meant to be my home—
For I’m the one who left dark Ireland’s shore,
And Poland’s plain, and England’s grassy lea,
And torn from Black Africa’s strand I came
To build a “homeland of the free.”  
The free?  
Who said the free? Not me?
Surely not me? The millions on relief today?
The millions shot down when we strike?
The millions who have nothing for our pay?
For all the dreams we’ve dreamed
And all the songs we’ve sung
And all the hopes we’ve held
And all the flags we’ve hung,
The millions who have nothing for our pay—
Except the dream that’s almost dead today.  
O, let America be America again—
The land that never has been yet—
And yet must be—the land where every man is free.
The land that’s mine—the poor man’s, Indian’s, Negro’s, ME—
Who made America,
Whose sweat and blood, whose faith and pain,
Whose hand at the foundry, whose plow in the rain,
Must bring back our mighty dream again.  
Sure, call me any ugly name you choose—
The steel of freedom does not stain.
From those who live like leeches on the people’s lives,
We must take back our land again,
America!  
O, yes,
I say it plain,
America never was America to me,
And yet I swear this oath—
America will be!  
Out of the rack and ruin of our gangster death,
The rape and rot of graft, and stealth, and lies,
We, the people, must redeem
The land, the mines, the plants, the rivers.
The mountains and the endless plain—
All, all the stretch of these great green states—
And make America again!

Langston Hughes, 1902-1967. 

*

Originally posted 7/4/2018, brought to mind thanks to the wonderful people at Terrace Books.

playing with fire







imaginary outfit: postcards from italy




Notes from two weeks in Italy, March 2026:

Venice: A shop crammed with velvet gondolier slippers, tiny glass snails and mushrooms and dachshunds (saw dachshunds everywhere). Old wells around every corner and brass door buzzers that looked like doodled faces. Shops selling turned-wood geometric shapes, convex witches' mirrors, and wool sweaters and skirts of elegant plainness and eye-popping affordability. Fortuny's private library/wonder cabinet, with tiny theatres, cloud projection scrims, and pleated silk gowns. The zine library + fabulously slouchy couches at Fondazione Quarini Stampalia (and the tiny Carlos Scarpa garden with its spiraled water channel). Cornell boxes + dog memorials at Peggy Guggenheim's palazzo. A grocery store in an old, fresco-adorned theater. Vaporettos up and down the canals. Citrus trees.

Salami sandwiches and travel Scrabble. Bumping luggage over cobbles. Extraordinarily tiny cars.

Florence: A medieval abbey turned into a massive public library with a cafe on the top and a sneaky, beautiful view of the candy-striped Duomo; the third-oldest botanical garden in the world, full of charmingly overgrown greenhouses and flowerbeds; a garden of wax flowers, cabinets of shells and butterflies and beautiful rocks at La Specola; pictures made of rock at Opficio delle Pietra Dure; the sacred Ainu sticks in the old anthropological museum and its specimen cases made with old, wavy glass; the hidden garden at Basicila San Spirito; the Medicis' citrus collection at the Boboli Gardens (and oodles of little lizards running around in the sun); pop-up paper fairies and miniature accordian-file books with vintage imags of the city at Eredi Paperone; shimmery Rothkos hung in monk's cells next to Fra Angelico's luminous frescos at San Marco. Todo Modo, a bookstore/publisher/press/cafe. Many epic vintage shops. Ringing a bell for spritzes. Salted cream gelato. A roll of watercolor pencils tied with grosgrain ribbon; hand-glazed espresso cups. Diamond earrings of constellations and Florentine sandals in a small shop stocked with expensive workwear. A miniature train world created by an obsessive Sicilian count.


Horrid food poisoning for Sean. An unplanned extra day in Florence. Dry biscuits on trains; blurry landscapes. Five flights up, up, up for rooftop views in Trastevere.


Rome: Bernini's Daphne, with her toes turning to roots and fingers to translucent leaves; gleaming candied peels and marzipan fruits; fountains of sunken boats; a tiny, wisteria-hung balcony over the Spanish Steps attached to the Keats-Shelly house; galleries of micromosaic butterflies and marble animals at the Vatican museums, a starry door, celestial globes, and a floor of mosaic crows; an old cookie shop in Trastevere with photos of beloved cats on the walls; a shatteringly thin biscuit flavored with fennel. Churches everywhere hung with chandeliers and adorned with skulls and angels (my favorites, I think, were the Basilica of Saint Mary Minerva, Basilica di Santa Maria in Cosmedin, and Basilica of Santa Maria in Trastevere); the rooms of special stones at the Capitoline, plus its stunning views of the Forum and the city. Cats dozing on broken columns in the Largo Argentina. Passionfruit mango gelato, and another gelato that tasted of peaches and wine (went back for seconds of both). Wild cherry and coffee granitas every day, heaped with whipped cream. A street of shops for priestly vestements and a smocked undershirt of pleated, translucent silk. Crossing the Tiber using oldest bridge in the city. Antica Cartotecnica's old postcards and wall of typewriters and leather satchels; also the little notebooks stamped with the Italian words for dreams and thoughts. Everywhere, fabulous bookstores—holes-in-the-wall with foxed paperbacks, and airy fresco-ceilinged compilations of art books and fancy paper goods.


Glimpses of a garden center we did not get to explore from the taxi window. Duty-free Swatches and Adidas at the airport; tiny magnets shaped like bags of pasta, cans of tomatoes, wedges of cheese, and bottles of Aperol.

*



odds and ends / 5.21.2026 (may flowers)












*

Albert Marquet (1875-1947), "Flowering Tree," undated, via le jardin robo.

*

"Gertrude always loved her flowers 1937," from the Peter J. Cohen collection.

*

Poem by “Michael Field,” the pen name of Katherine Bradley and Edith Cooper, published in 1893.

*


*

"Medaljonger" tapestry designed by Märta Måås-Fjetterström in 1926.

*
*

Estrid Ericson at her summer house, Tolvekarna, in 1942, photographed by Bo Törngren, via Svenkst Tenn. (More photos here, including a truly enviable picnic set-up.)

*
Whether I pick you or leave you, flowers,
Your destiny remains the same.

You, path that I follow, are heading
For other destinations, not just mine.

We are nothing that is of any worth
And are therefore doubly worthless.

Fernando Pessoa, 115 [c. 2 September 1923], from The Complete Works of Ricardo Reis.

*


*

"Her mouth breathes flowers ..."

*

To compare women to flowers is another habit of eternity or of triviality. Here are some examples. “I am the rose of Sharon, and the lily of the valleys,” says the Shulamite in the Song of Solomon. In the story of Math, which makes up the Fourth Branch of the medieval Welsh tale known as the Mabinogion, a lord is asked to form a woman who is not of this world, and by “magic and enchantment” conjures one out of “the flowers of the oak, and the flowers of the broom, and the flowers of the meadowsweet….” In the Fifth Adventure of the Nibelungenlied, Siegfried at last beholds Kriemhild, and the first thing we are told is that her skin shines with the glow of roses. Ariosto, imitating Catullus, compares a maiden to a hidden flower (Orlando, I, 42); in Armida’s garden, in Tasso, a purplebeaked bird exhorts the lovers not to let this flower wither (Gerusalemme, XVI, 13-15). At the end of the sixteenth century, Malherbe tries to console a friend on the death of his daughter and in his condolence are these words: “Et, rose, elle a vécu ce que vivent les roses” (“And, a rose, she lived the lifetime of a rose”). Shakespeare, in a garden, admires the deep vermilion of the roses and the whiteness of the lilies, but these delights for him are but shadows of his absent love (Sonnets, XCVIII). “God, making roses, made my face,” says the Queen of Samothrace on a page of Swinburne. This list might go on without end; The same metaphor is suggested with delicacy in Milton’s famous lines (Paradise Lost, IV, 268-71) on the abduction of Proserpine, and in these lines from Darío: let it suffice to recall that scene in Stevenson’s last book, Weir of Hermiston, in which the hero wants to find out whether Christina had a soul in her or “if she were only an animal the colour of flowers….”

Jorge Luis Borges, "Up from Ultraism." The New York Review, 8/13/1970.

*
If a man could pass through Paradise in a Dream, & have a Flower presented to him as a pledge that his Soul had really been there, & found that Flower in his hand when he awoke—Aye! and what then?
Samuel Taylor Coleridge, from the Notebooks

*

silvered flowers, beehive bonbons, and a deck of rainbows/gifts some mothers may enjoy























The Shenandoah Mansions linen robe (and/or the matching pajamas and eye mask) by Desmond & Dempsey and Ash Hotels.

Beehive bonbons from Shane's Confectionery filled with honey and black sesame praline.

[A] series of obscure and eccentric English garden-makers who, between the early seventeenth and early twentieth centuries, created intensely personal and idiosyncratic gardens. They include such fascinating characters as the superstitious antiquary William Stukeley and the animal- and bird-loving Lady Read, as well as the celebrated master of Vauxhall Gardens, Jonathan Tyers, who created ... one of the gloomiest and most perverse anti-pleasure gardens in Georgian England. Others built miniature mountains, shaped topiaries, displayed exotic animals, excavated caves, and assembled architectural fragments and fossils to realise their gardens ...


A snail sketch print by Annette Messager, "Locus Solus XIII," because, snail-like, mothers have the power to carry home with them.

An album worth blasting on the way to and from pick-up.

Bienamé hand creams that smell like life in bloom, the color red, or happy days.

Peaceful girl with fist charm by Leith Clark x Catbird (I like to think she is catching a star).


*

Related posts: choosing motherhood / what's possible / true colors

Other gifts some mothers may enjoy: 2017 / 2018 / 2019 / 2020 / 2021 / 2022 / 2023 / 2024 / 2025

sunday tune: world party - 'ship of fools'


We're setting sail
To the place on the map from which no one has ever returned
Drawn by the promise of the joker and the fool
By the light of the crosses that burn
Drawn by the promise of the women and the lace
And the gold and the cotton and pearls
It's the place where they keep all the darkness you need
You sail away from the light of the world on this trip baby

Pay, you will pay tomorrow
You're gonna pay tomorrow
You will pay tomorrow

Save me, save me from tomorrow
I don't want to sail with this ship of fools, no no
Oh, save me, save me from tomorrow
I don't want to sail with this ship of fools, no no

I want to run and hide
Right now

Avarice and greed are gonna drive you over the endless sea
They will leave you drifting in the shallows
Drowning in the oceans of history
Travellin' the world, you're in search of no good
But I'm sure you'll build your Sodom like I knew you would
Using all the good people for your galley slaves
As your little boat struggles through the the warning waves

But you don't pay, you will pay tomorrow
You're gonna pay tomorrow, yeah
You gonna pay tomorrow

Save me, save me from tomorrow
I don't want to sail with this ship of fools, no
Oh, save me, save me from tomorrow
I don't want to sail with this ship of fools, no, no, no

Where's it comin' from or where's it goin' to?
It's just a, it's just a ship of fools

All aboard

Originally posted in 2020, but very much on my mind right now.

odds and ends / 4.10.2026






*

1980s British Telecom Picturephone at wertwerk.kr, via Mildew.

*

Ah, pray, make no mistake, we are not shy
We're very wide awake, the Moon and I
*

Ray Johnson's "Evaporations" book stamp, via the London Centre for Book Arts:
Johnson had his "Evaporations by Ray Johnson" rubber stamp made after a May 1970 Artforum article by Robert Pincus-Witten that mused on the legacy of Pop art and dismissed Johnson, along with "Wesselman, Indiana, Marisol,…[and] so many others" as “evaporations” who had "fall[en] away to nothingness."
*
People today, especially younger people, have to go out of their way to know literature qua literature—to understand it as a living thing separate from trade publishing as presented to them by mainstream reviews and Goodreads. They live in a world in which people are happily (always happily) "creative"; they understand an activity called "creative writing"; they might even know that there are many professional writers spread across the land like peppercorns spilled across a hardwood floor, teaching at universities and community colleges while paying off debts to Home Depot and Subaru, watching Netflix, and checking their retirement accounts. They understand, at every level from pillow design to haute cuisine to wet-sand sculpture, the whole idea of "art"; but what is meant by "literature," in the sense that Howard deploys it throughout his study of [Malcom] Cowley, has largely passed from view. The idea that a small number of people belonging to each generation have thrown themselves at literature, have tried to become part of it and pound it and reshape it and alter its history—that they have risked their chances of satisfactory, comfortable lives for it—all of that is becoming increasingly difficult to explain.


*
What people click—and what they think they like—is largely a matter of what is available to them. Publics are made and maintained, not discovered preformed, like rock formations. It is a sign of a fatally limited imagination to assume that we can only ever desire the pittance to which we are currently reconciled. It is par for the course that, in a woefully limp statement on the carnage, the [Washington] Post’s executive editor, Matt Murray, referred to the paper’s subscribers not as “readers” but as “consumers.” A consumer is a person whose preexisting tastes you strive to satisfy over and over; a reader is someone you hope to change, convince, and surprise. ... The prospect of a paper that flatters its readers by regurgitating what they already click is familiar and depressing. It puts me in mind of [Jeff] Bezos’s other marquee product, another service that dealt a disastrous blow to books. On Amazon, the glorious inconvenience of browsing shelves or combing through piles has been eliminated. There is no occasion to pick up an unfamiliar book out of sheer curiosity. Every book that the site’s algorithm recommends is similar to one that you have purchased already. In this way, you encounter nothing but iterations of yourself forever. It is a world in which the customer is always right. But if you didn’t want to be proved wrong, if you didn’t want to be altered or antagonized in ways that you could never predict, why would you read at all?

Becca Rothfield, "The Death of Book World," The New Yorker, February 10, 2026. 


*
"The Learner must be led always from familiar objects toward the unfamiliar, guided along, as it were, a chain of flowers into the mysteries of life."


*
"I had a transcendent experience three or four years ago when I decided I was going to finally dust my books, and had to take all of them down by hand," he said. "It was sublime. I couldn’t restrain myself from going through each book. Every one had a whole story for me."

Richard Hell, describing his apartment in the New York Times, March 4, 2026 (gift link)

*