Song of Myself. Won't you help support Day. Poems? 1. 81. 9- 1. I celebrate myself, and sing myself. And what I assume you shall assume. For every atom belonging to me as good belongs to you. I do not know what it is any more than he. I do not laugh at your oaths nor jeer you; ).

The President holding a cabinet council is surrounded by the great. On the piazza walk three matrons stately and friendly with twined arms. The crew of the fish- smack pack repeated layers of halibut in the hold. The Missourian crosses the plains toting his wares and his cattle. As the fare- collector goes through the train he gives notice by the. The floor- men are laying the floor, the tinners are tinning the.

In single file each shouldering his hod pass onward the laborers. Seasons pursuing each other the indescribable crowd is gather'd, it.

Seventh- month, (what salutes of cannon and small arms!). Seasons pursuing each other the plougher ploughs, the mower mows. Tekken 3 Para Ps1 Downloader here.

Off on the lakes the pike- fisher watches and waits by the hole in. The stumps stand thick round the clearing, the squatter strikes deep. Flatboatmen make fast towards dusk near the cotton- wood or pecan- trees. Coon- seekers go through the regions of the Red river or through. Tennessee, or through those of the Arkansas. Torches shine in the dark that hangs on the Chattahooche or Altamahaw.

Patriarchs sit at supper with sons and grandsons and great- grandsons. In walls of adobie, in canvas tents, rest hunters and trappers after. The city sleeps and the country sleeps. The living sleep for their time, the dead sleep for their time. The old husband sleeps by his wife and the young husband sleeps by his wife. And these tend inward to me, and I tend outward to them.

And such as it is to be of these more or less I am. And of these one and all I weave the song of myself. I resign myself to you also- -I guess what you mean.

I behold from the beach your crooked fingers. I believe you refuse to go back without feeling of me. We must have a turn together, I undress, hurry me out of sight of the land. Cushion me soft, rock me in billowy drowse.

Job Interview Practice Test Why Do You Want This Job? Answer this job interview question to determine if you are prepared for a successful job interview. Get information, facts, and pictures about Jamaica at Encyclopedia.com. Make research projects and school reports about Jamaica easy with credible articles from our. The Brethren of France have spent considerable time over the past 18 months planning, programming, organising and inviting Masonic Researchers from around the globe. Sophie Turner, Jennifer Lawrence, and Other Stars Who’ve Been Asked to Lose Weight for Roles. At 21, Sophie Turner hasn’t been in Hollywood for long, but she’s.

Dash me with amorous wet, I can repay you. I will accept nothing which all cannot have their. I am possess'd! Iowa, Oregon, California? O welcome, ineffable grace of dying days! I plead for my brothers and sisters. Comment on Day. Poems?

If you are like us, you have strong feelings about poetry, and about each poem you read. Let it all out! Comment on this poem, any poem, Day. Poems, other poetry places or the art of poetry at Day.

Poems Feedback. Won't you help support Day. Poems? Click here to learn more about how you can keep Day. Poems on the Web .

All rights reserved. The authors of poetry and other material appearing on Day. Poems retain full rights to their work. Any requests for publication in other venues must be negotiated separately with the authors. The editor of Day. Poems will gladly assist in putting interested parties in contact with the authors.

New Jersey Repertory Company - Year- Round Professional Theater on the Jersey Shore. Walls Come Down, Curtain Goes Up Upper WET Side, October 9, 2. Busy playwright, sometimes actor and even occasionally bar- band musician Jack Canfora is back at New Jersey Repertory with a new drama, JERICHO, kicking off its world premiere engagement in Long Branch beginning October 1. He chuckles when we call him The Prophet of the Suburbs — but neither does Jack Canfora dispute the observation that he finds his dramatic subject matter behind the large and meticulously decorated doors of the upper middle class enclaves; the manicured exteriors that just barely conceal the lies and deceit and outright treachery that paid for these happy homes. The last time that New Jersey Repertory Company invited the Long Island based playwright into their house, it was for the world premiere of a drama called Poetic License — an angst- filled domestic drama, in which a seemingly upbeat occasion results in a respected academic standing exposed as a fraud (and worse) to the family who thought they knew him. As directed by Evan Bergman, it was a study in unrelenting emotional brutality, in which characters are stripped clean of everything they held true and precious — in our review for the Asbury Park Press, we called it “a play of complex emotions, with no guarantee of closure. Directed once again by Evan Bergman and featuring an ensemble cast highlighted by Carol Todd (as a scarily organized wife for whom even domestic upheaval must occur on a tightly delineated timetable) and Canfora himself, the seriocomic Place Setting elicited our observation that “the tag- team bugaboos of brutal honesty and lapsed inhibitions wreak havoc on this New Year’s Eve get- together.

In Canfora’s script, a handful of characters in and around Manhattan (i. Nassau County hamlet, and to that Biblical place where Joshua set the walls to tumbling down. Returning to the NJ Rep stage in this show (a so- called “rolling premiere” from the National New Play Network) is Carol Todd, one of our favorite actresses working the regional scene and one whose powerhouse performances have supercharged such Rep offerings as Apple and Whores. She’s joined in the cast by returning Rep veterans Kathleen Goldpaugh, Andrew Rein, Jim Shankman and Corey Tazmania, as well as relative rookie Matthew Huffman. Meanwhile, on the eve of Jericho’s first previews and opening weekend, upper. WETside tracked down Jack Canfora for a glimpse behind its walls. We’re here to talk about JERICHO, which is a play about which I know next to nothing.

JACK CANFORA: Well, it’s basically about how different people deal with trauma in their personal lives. Two characters in the play suffer direct losses from 9/1. But there are places where people deal with this sort of thing by using humor — sometimes it’s the best approach. So, audiences will be leaving the theater humming the 9/1.

Well, not exactly. I didn’t start out trying to write a 9/1. I’m talking about humor here in the sense of having that detached, glib, ironic outlook that so many people in my generation have gone through life with. For me, growing up in the 8. I’m very guilty of that myself, but as you get older, all that irony becomes kind of hollowing. And the character in Jericho finds that the ironic approach just doesn’t quite work in dealing with this situation, processing all the personal pain.

Whereas another character has a reaction that’s as different as can be — he’s a man who was there at the Twin Towers; one of the lucky ones who made it out, and his way of dealing with the pain, of searching for authenticity, is with violent rage. One of the things that’s most interesting to me is the fact that you’re working once more with Carol Todd, who’s just been so amazing in everything we’ve seen her in. She won me over with this one play, the name of which escapes me all of a sudden, in which she’s a jilted wife who’s dying of cancer. Every now and then you come across a performance that rings so true to you personally that it literally comes across as something aimed just at you.

You’re thinking of Apple, which New Jersey Rep did a few years back. Carol is absolutely on fire here. She really takes the ball and runs with it, and she’s been closely involved with the script from the start. You’ve worked closely with her in the past, both as a writer and a fellow cast member, so did you write this script with her in mind? I can’t out and out tell you that I wrote the play with her in mind specifically, but I had a very early draft of the script together around the time that I got to act with her in Place Setting. In fact, originally the character was not quite within her age range; I found myself thinking how I could push it more towards something that would be perfect for her. Being an actor yourself part of the time, and a musician; just being someone who knows what it’s like to stand in front of an audience — has that informed the way you write? Brief American Pageant 7Th Edition Chapter Notes On Jack.

Have you made a conscious effort to stay mindful of the rhythms of speech; how it all sounds rather than how brilliant it looks on the page? Being an actor has helped me to write for people; to write not so much in a . Even when you’re talking to an interviewer, as I’m doing right now, you find yourself talking more thematically, in more conceptual sort of language than the words that you would put in the characters’ mouths.

But, yeah, it’s great to experience the process from the actors’ side of the equation, and it’s something I really should do more often. I think Place Setting was the last thing I did, and that was several years ago — I want to make it clear that I’m still available for work! It’s something I’d love to continue doing. And, he’s available for kids’ birthdays, sweet sixteens and quincea. Anyway, it seems as though your writing work has been going forth and getting noticed outside the greater New York region.

Well, this is a National New Play Network production; what they call a rolling premiere, so there are a few other theaters doing it. Place Setting, meanwhile, has had readings in London — and a very different version of Poetic License is coming to Off Broadway this winter. Over the summer I got to work with the actor Harris Yulin on a program commemorating the centennial of Tennessee Williams, at Guild Hall out in Montauk — Tennessee at 1. We had people like Mercedes Ruehl, Eli Wallach involved, so that made for an interesting experience. Also over the summer, I worked with Evan Bergman, who we’ve got as director again, on a screenplay, which we’re shopping around now — such a different sort of experience; a new, fun, enjoyable sort of challenge.

I’m sure it’s no coincidence that you find yourself reunited with people like Evan Bergman, Carol Todd — and of course NJ Rep, who’ve always been great believers in your work. There’s something to be said for working with people you’re comfortable with — it makes things easier.

And the people at New Jersey Rep, Suz. Anne and Gabe and everyone, are really like family by this point. It’s such an unusual place — I’ve been lucky to find harbor there. That said, there are some creative people out there who thrive on conflict and tension; that’s how they prefer to get the results they desire. I’ve worked with artists who I didn’t love as people — but of course, you don’t have to have zero conflict with everyone to make great art. Anyway, I’m internally conflicted enough as it is.

It’s been said that the perfect play is one where you’re laughing and feeling good while you’re watching it — and after you leave the theater, you realize that you’ve been stabbed!