Quote for the Day: October 1st, 2021

What you read when you don’t have to determines what you will be when you can’t help it.
Oscar Wilde

Quote for the Day: September 30th, 2021

Don’t be pushed around by the fears in your mind. Be led by the dreams in your heart.
Roy T. Bennett, The Light in the Heart

How you choose to define success is completely up to you.

This is something I’ve been thinking about a lot lately. So many times, we allow our fears to place limits on what we can achieve with our dreams. Now, this is not to say there aren’t other factors at play. I’m not of the bootstraps mentality which says absolutely everything can be overcome through hard work and perseverance. Especially for people who occupy marginalized identities, the amount of success you’re able to attain is based on structural limitations determining how much access you have to the resources which make success possible. And let us also not forget that one person’s definition of success is different from the next person’s. How you choose to define success is completely up to you.

How much are you willing to lose? How often do you prefer to play it safe and hold your cards close to your chest?

That’s my disclaimer. In the most general sense, however, the decisions we make and the framework from which we approach those decisions are often based on the amount of risk we’re willing to operate within. In the business world, that’s called risk tolerance. Basically, the potential reward for any given decision (or investment) is directly proportional to the amount of risk you’re willing to take. How much are you willing to lose? How often do you prefer to play it safe and hold your cards close to your chest?

This is your ballgame. I hope you’ll make the right call.

Now, I’m not making a value judgment on people who choose to play it safe. Life is complex and not everyone is able to tolerate a lot of risk. But for everyone with the time and resources to pursue a dream, it’s not something you can put just 50% of your effort into. It’s all-or-nothing. And no one else is going to do the work for you. This is your ballgame. I hope you’ll make the right call. (P.S. My dad would be so proud that I used a sportsball analogy)

Thanks as always for being a faithful reader of The Voracious Bibliophile. If you like what you see, please like, comment, follow, and subscribe to my email list to get notified of new posts as soon as they drop. You can also email me at fred.slusher@thevoraciousbibliophile.com or catch me on Twitter, Instagram, TikTok, and Pinterest @voraciousbiblog. Keep reading the world, one page (or pixel) at a time.

Poem for the Day: September 30th, 2021

[i carry your heart with me(i carry it in] by E.E. Cummings

i carry your heart with me(i carry it in
my heart)i am never without it(anywhere
i go you go,my dear;and whatever is done
by only me is your doing,my darling)
                                                      i fear
no fate(for you are my fate,my sweet)i want
no world(for beautiful you are my world,my true)
and it’s you are whatever a moon has always meant
and whatever a sun will always sing is you

here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life;which grows
higher than soul can hope or mind can hide)
and this is the wonder that's keeping the stars apart

i carry your heart(i carry it in my heart)

Today’s poem is taken from Complete Poems: 1904-1962 by E. E. Cummings, which was edited by George J. Firmage and was released in 1991 by Liveright Publishing Corporation.

Poem for the Day: September 29th, 2021

Suppose the Function Is Praise by Cate Lycurgus

When doctors have given their final shot
or volleys rocket insomniac dark, without thought, lift
your hands. In strobing raids, at pepper spray, with cheek
to asphalt, at fault or not, go on, lift your hands. And stand
though gravel erodes to sea, don’t grovel or stop
as the chopper kicks sand, or knife unleashes shock
and flow—unaided, blood rises—so lift your hands,
given this heart’s un-assisted pump, no matter the lack
of water to quench a jigsaw of dirt, the belly distended—lift
your hands at the child unplanned who you cannot nurse,
then at the curse of also-ran and lift your hands, when
the only man you’ll ever love has a son with someone else.
Or a husband no longer knows the name of the one
you raised together: now, raise a glass instead.
This is occasion for champagne, for all the aspirin
a body can take, for the glint of a chemical sunset’s blaze,
and licking high-fructose glaze off those same fingers, just—
lift them now in don’t shoot please, in fluid go, to save my feet,
at mile sixty when gas burns clean and you’ve made it
past your dead-end streets, with a single album
of soul on repeat—lift your hands, at the great unknown,
the bank account’s mawing O—however infinitesimal
the means become or waist will cinch—infinite—
the ways to lift our hands, to coax them overhead—
                                                   limitless, our approach.

I love how cinematic and visceral Lycurgus’s language is in this poem. You can feel the still-warm asphalt pressed against a cheek. Your eyes instinctively blink against the harsh fluorescence of the strobe lights. You can taste the bittersweet sting of the well-deserved glass of champagne.

After I first discovered her work, I was sad to see that Cate Lycurgus has not yet released a full collection of her poetry, at least as far as my research can ascertain. For me, that means she’s got a willing buyer for whenever that day comes.

Cate Lycurgus’s poetry has appeared in or is forthcoming in The Best American Poetry 2020, American Poetry Review, Tin House, Boston Review, and The Rumpus, among other publications. She lives south of San Francisco, California where she teaches professional writing.

Quote for the Day: September 29th, 2021

For the women I come from do not run with the wolves. They lead the pack.
Aija Mayrock, Dear Girl

From the Gram: Reading Is My Superpower

I just dropped this graphic on Instagram and wanted to share it here as well. What’s your superpower? Hopefully your answer is the same as mine. Let me know in the comments.

Poem for the Day: September 28th, 2021

*When My Brother Was an Aztec* by Natalie Diaz

No More Cake Here by Natalie Diaz

When my brother died
I worried there wasn’t enough time
to deliver the one hundred invitations
I’d scribbled while on the phone with the mortuary:
Because of the short notice no need to rsvp.
Unfortunately the firemen couldn’t come.
(I had hoped they’d give free rides on the truck.)
They did agree to drive by the house once
with the lights on— It was a party after all.

I put Mom and Dad in charge of balloons,
let them blow as many years of my brother’s name,
jails, twenty-dollar bills, midnight phone calls,
fistfights, and er visits as they could let go of.
The scarlet balloons zigzagged along the ceiling
like they’d been filled with helium. Mom blew up
so many that she fell asleep. She slept for ten years—
she missed the whole party.

My brothers and sisters were giddy, shredding
his stained T-shirts and raggedy pants, throwing them up
into the air like confetti.

When the clowns came in a few balloons slipped out
the front door. They seemed to know where
they were going and shrank to a fistful of red grins
at the end of our cul-de-sac. The clowns played toy bugles
until the air was scented with rotten raspberries.
They pulled scarves from Mom’s ear—she slept through it.
I baked my brother’s favorite cake (chocolate, white frosting).
When I counted there were ninety-nine of us in the kitchen.
We all stuck our fingers in the mixing bowl.

A few stray dogs came to the window.
I heard their stomachs and mouths growling
over the mariachi band playing in the bathroom.
(There was no room in the hallway because of the magician.)
The mariachis complained about the bathtub acoustics.
I told the dogs, No more cake here, and shut the window.
The fire truck came by with the sirens on. The dogs ran away.
I sliced the cake into ninety-nine pieces.

I wrapped all the electronic equipment in the house,
taped pink bows and glittery ribbons to them—
remote controls, the Polaroid, stereo, Shop-Vac,
even the motor to Dad’s work truck—everything
my brother had taken apart and put back together
doing his crystal meth tricks—he’d always been
a magician of sorts.

Two mutants came to the door.
One looked almost human. They wanted
to know if my brother had willed them the pots
and pans and spoons stacked in his basement bedroom.
They said they missed my brother’s cooking and did we
have any cake. No more cake here, I told them.
Well, what’s in the piñata? they asked. I told them
God was and they ran into the desert, barefoot.
I gave Dad his slice and put Mom’s in the freezer.
I brought up the pots and pans and spoons
(really, my brother was a horrible cook), banged them
together like a New Year’s Day celebration.

My brother finally showed up asking why
he hadn’t been invited and who baked the cake.
He told me I shouldn’t smile, that this whole party was shit
because I’d imagined it all. The worst part he said was
he was still alive. The worst part he said was
he wasn’t even dead. I think he’s right, but maybe
the worst part is that I’m still imagining the party, maybe
the worst part is that I can still taste the cake.

Note: While I have endeavored to ensure this poem was formatted on this page as the author originally intended, there may be slight differences between what is displayed here and what appears in a physical format.

Natalie Diaz is a Latina and Mojave poet and is enrolled as a member of the Gila Indian Community. She currently lives in Arizona and is an Associate Professor at Arizona State University. She is the author of two poetry collections, When My Brother Was an Aztec and Postcolonial Love Poem, which was awarded the 2021 Pulitzer Prize for Poetry.

Pinworthy: Cheryl Strayed Quote About Fear

I don’t have any tattoos (yet) but if I ever decide to get one, it’ll probably either be a mockingjay in flight or a Cheryl Strayed quote.

Anyone who’s been reading this blog for any amount of time whatsoever can probably tell you how much I love Cheryl Strayed. She is possibly the most quotable woman on the planet at the moment. I don’t have any tattoos (yet) but if I ever decide to get one, it’ll probably either be a mockingjay in flight or a Cheryl Strayed quote.

I saw that it was possible to not only not feel regret, but to be thankful for the mistakes I’ve made because ultimately they’ve shaped me into the person I’ve become.

When I read Wild for the first time, it really opened my eyes to the possibility of living in a state of acceptance. I saw that it was possible to not only not feel regret, but to be thankful for the mistakes I’ve made because ultimately they’ve shaped me into the person I’ve become. And is it even right to call them mistakes? You see, I grew up in an extremely religious household where sin was vile, hell was hot, and you most certainly wanted to do everything you could to avoid ending up there. That legalistic framework conditioned me to feel intense shame and regret every time I behaved outside the bounds of what was considered “acceptable” behavior.

You get treats (eternal life and salvation) for good behavior and punishments (eternal damnation and torment via hellfire) for bad behavior.

No one really talks about the paranoia of living that way. You live every day slobbering like a Pavlov dog. You get treats (eternal life and salvation) for good behavior and punishments (eternal damnation and torment via hellfire) for bad behavior. I can already hear my mom saying, “That’s not how it works. We are saved by grace, not by good behavior.” And I will give her points for that, but the act of living in grace and in a state of constant penitence functions exactly like the kind of conditioning Pavlov used on those pooches.

…the act of living in grace and in a state of constant penitence functions exactly like the kind of conditioning Pavlov used on those pooches.

I’m aware that I’m taking the long way around here, but I want you to try something for me. Think of fear as a border. Imagine it as a literal line of demarcation fencing you in. Fear tells you not only where you can go, but how you must behave there, what your limitations are, and ultimately, when you are allowed to leave. Fear is limiting. Now, don’t misread me. The opposite of fear is not bravery or courage—it is water. It simply flows.

Sometimes you must tell yourself you are safe and you are loved over and over again until it becomes the only story you know and the only sound that reverberates.

And like Cheryl says in the quote I’ve shared above, fear is borne out of the narratives we tell ourselves, the ones we play on a loop. Sometimes you must tell yourself you are safe and you are loved over and over again until it becomes the only story you know and the only sound that reverberates.

What I want for myself and what I want for all of you is for us to learn to tell ourselves a different story. From the time we were born, we’ve had narratives projected onto us. You’re too fat. You’re too thin. You’re too gay. You’re so needy. You’re too loud. You don’t fit in here. You can’t sit with us. You can’t show your skin if it’s not flawless. You can’t bare your midriff if it has stretch marks. The way you eat is disgusting. You must have a thigh gap. You must buy your clothes at Walmart. You must have muscles. Boys can’t wear skirts. That lipstick shade is slutty. Give more. Give less. Be quiet. Speak up. Sit down. Disappear. Become nothing.

What do all of these narratives have in common? They’re all lies. Tell your own story and live in your own truth. I promise you won’t regret it.

Quote for the Day: September 28th, 2021

What matters is the transformative power of metaphor and the stories we tell ourselves about the arc and meaning of our lives.
Natasha Trethewey, Memorial Drive: A Daughter’s Memoir

Book Review: Change Sings: A Children’s Anthem by Amanda Gorman (Author) and Loren Long (Illustrator)

Amanda Gorman is, quite simply, a revelation.

Amanda Gorman is, quite simply, a revelation. In Change Sings: A Children’s Anthem, Gorman’s mellifluous and uplifting text is paired with Loren Long’s gorgeously-rendered illustrations to show readers of all ages that everyone has a voice and everyone can (and should) be an agent for positive change. I think it’s fair to say that 2021 is the year of Amanda Gorman. She catapulted into the spotlight after she was chosen to recite her poem, “The Hill We Climb”, at the inauguration of President Joe Biden. She is the youngest person to ever be chosen for that honor. She was photographed by Annie Liebowitz for the May cover of Vogue, becoming the first poet who can make that claim.

…if you ask her, she stands on the shoulders of giants – the Black ancestors whose DNA she shares and whose lives she honors with her work to create a more just and equitable America.

It would seem that Gorman is racking up “firsts” like nobody’s business, but if you ask her, she stands on the shoulders of giants – the Black ancestors whose DNA she shares and whose lives she honors with her work to create a more just and equitable America. In addition to Change Sings, which was released by Viking Books for Young Readers on September 21st, she is also the author of three additional books: The One for Whom Food Is Not Enough, which she self-published in 2015; The Hill We Climb: An Inaugural Poem for the Country, which was released earlier this year; and Call Us What We Carry: Poems, which is due to be released on December 7th by Penguin Young Readers and is now available to preorder wherever books are sold.