And sometimes I believe your relentless analysis of June leaves something out, which is your feeling for her beyond knowledge, or in spite of knowledge. I often see how you sob over what you destroy, how you want to stop and just worship; and you do stop, and then a moment later you are at it again with a knife, like a surgeon.What will you do after you have revealed all there is to know about June? Truth. What ferocity in your quest of it. You destroy and you suffer. In some strange way I am not with you, I am against you. We are destined to hold two truths. I love you and I fight you. And you, the same. We will be stronger for it, each of us, stronger with our love and our hate. When you caricature and nail down and tear apart, I hate you. I want to answer you, not with weak or stupid poetry but with a wonder as strong as your reality. I want to fight your surgical knife with all the occult and magical forces of the world.

You can__ exist on this plane for long purely one thing or another. A totally evil creature is so destructive that it obliterates itself. A totally good one_ the same. So, we mix a bit of coffee with our cream.

Always choose the adventure ... unless, it's chilly outside and there's a cup of warm coffee resting near a book and comfy sofa.

They were learning that New York had another life, too _ subterranean, like almost everything that was human in the city _ a life of writers meeting in restaurants at lunchtime or in coffee houses after business hours to talk of work just started or magazines unpublished, and even to lay modest plans for the future. Modestly they were beginning to write poems worth the trouble of reading to their friends over coffee cups. Modestly they were rebelling once more.

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.

You can tell the number of hours spent on a work by counting the number of coffee rings on your desk.