This is the disease of sweat and tears,
a road of pain it steers.
In and out like a roaring fire,
can you hear the church choir?
Lives hanging simply by a thread,
lying here, on a death bed.
You can feel yourself burn and ache,
No doctor will admit their mistake.
Loved ones are lost right and left,
Others left shaken by an untimely death.
Their hope was lost,
until a blessing came, frost.
Raging fevers went cool,
robbed the fire of its fuel.
Commons
“How did Faulkner pull it off?” is a question many a fledgling writer has asked themselves while struggling through a period of apprenticeship like that novelist John Barth describes in his 1999 talk "My Faulkner." Barth “reorchestrated” his literary heroes, he says, “in search of my writerly self... downloading my innumerable predecessors as only an insatiable green apprentice can.” Surely a great many writers can relate when Barth says, “it was Faulkner at his most involuted and incantatory who most enchanted me.” For many a writer, the Faulknerian sentence is an irresistible labyrinth. His syntax has a way of weaving itself into the unconscious, emerging as fair to middling imitation.
While studying at Johns Hopkins University, Barth found himself writing about his native Eastern Shore Maryland in a pastiche style of “middle Faulkner and late Joyce.” He may have won some praise from a visiting young William Styron, “but the finished opus didn’t fly—for one thing, because Faulkner intimately knew his Snopses and Compsons and Sartorises, as I did not know my made-up denizens of the Maryland marsh.” The advice to write only what you know may not be worth much as a universal commandment. But studying the way that Faulkner wrote when he turned to the subjects he knew best provides an object lesson on how powerful a literary resource intimacy can be
Rainer Maria Rilke's referred to his poems as 'mystical' poems. This is because his literary pieces contains haunting images, with the combined theme of beauty and suffering, as well as life and death. Rilke's themes in his works is the exact opposite of Shakespeare's. Shakespeare used intellectual symbols rather than physical, while Rilke gives emphasis on physical rather than intellectual symbols.
