Knot the tie and go to work, unknot the tie and go to sleep. I sleep. I dream. I wake. I sing. I get out the hammer and start knocking in the wooden pegs that affix the meaning to the landscape, the inner life to the body, the names to the things. I float too much to wander, like you, in the real world. I envy it but that’s the dealio—you’re a train and I’m a trainstation and when I try to guess your trajectory I end up telling my own story.
Interpretation
The quote explores the relationship between dreams, reality, and personal expression.
In this quote, Richard Siken reflects on the contrast between the structured reality of daily life and the fluidity of dreams and imagination. He uses metaphors of ties and trains to illustrate the limitations of trying to understand another's journey while emphasizing the importance of crafting one's own narrative, as the act of creating meaning from life's experiences requires both inspiration and grounding in the physical world.
In practice
Quote it during a discussion about creativity and reality.
All night I streched my arms across him, rivers of blood, the dark woods, singing with all my skin and bone ''Please keep him safe. Let him lay his head on my chest and we will be like sailors, swimming in the sound of it, dashed to pieces.'' Makes a cathedral, him pressing against me, his lips at my neck, and yes, I do believe his mouth is heaven, his kisses falling over me like stars.
I'm saying your name in the grocery store, I'm saying your name on the bridge at dawn. Your name like an animal covered with frost, your name like a music that's been transposed, a suit of fur, a coat of mud, a kick in the pants, a lungful of glass, the sails in wind and the slap of waves on the hull.
You are playing cards with three Jeffs. One is your father, one is your brother, and the other is your current boyfriend. All of them have seen you naked and heard you talking in your sleep. Your boyfriend Jeff gets up to answer the phone. To them he is a mirror, but to you he is a room.
Everything affects my poetry, every day something happens that changes me forever. I’m susceptible and plastic, thin-skinned and moody.
how we rolled up the carpet so we could dance, and the days were bright red, and every time we kissed there was another apple to slice into pieces. Look at the light through the windowpane. That means it's noon, that means we're inconsolable. Tell me how all this, and love too, will ruin us. These our bodies, possessed by light. Tell me we'll never get used to it.
You see, I take the parts that I remember and stitch them back together to make a creature that will do what I say or love me back.
Some individuals may perceive their losing fight with gravity as a sharp pain in their back, others as the unflattering contour of their body, others as constant fatigue, yet others as an unrelentingly threatening environment. Those over forty may call it old age. And yet all these signals may be pointing to a single problem so prominent in their own structure, as well as others, that it has been ignored: they are off balance, they are at war with gravity.
Fame is a form of misunderstanding.
We create institutions and policies on the basis of the way we make assumptions about us and others. We accept the fact that we will always have poor people around us. So we have had poor people around us. If we had believed that poverty is unacceptable to us, and that it should not belong to a civilized society, we would have created appropriate institutions and policies to create a poverty-free world.
Prayer and action...can never be seen as contradictory or mutually exclusive. Prayer without action grows into powerless pietism, and action without prayer degenerates into questionable manipulation.
...the moment of passage from disturbance into harmony is that of intensest life.
I saw the best minds of my generation who threw their watches off the roof to cast their ballot for Eternity outside of Time, & alarm clocks fell on their heads every day for the next decade.
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