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still other winters average their rain months into a long, cold season of relentless sog and little color. At such times, looking out through the spattered glass, I feel, deep in some spongy, unignorable organ, that we will have floods, and damage, and losses; we will have gray till the cows come home, and there will be no more cows--they'll all just rot, drown, or simply wash away. We will have rain until the very hills dissolve. And when the dirty cotton swaddling of fog finally falls away, we will all be desperate for vital signs.
Robert Michael Pyle
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still other winters average their rain months into a long, cold season of relentless sog and little color. At such times, looking out through the spattered glass, I feel, deep in some spongy, unignorable organ, that we will have floods, and damage, and losses; we will have gray till the cows come home, and there will be no more cows--they'll all just rot, drown, or simply wash away. We will have rain until the very hills dissolve. And when the dirty cotton swaddling of fog finally falls away, we will all be desperate for vital signs.

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The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

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