Author: Wallace Stevens

Cited by

• John Banville (3)
  • IN: Dr Copernicus (1976) Fiction, Irish
    EPIGRAPH: You must become an ignorant man again / And see the sun again with an ignorant eye / And see it clearly in the idea of it.
    FROM: Notes Towards a Supreme Fiction, (1942), Poem, UK
  • IN: The Blue Guitar (2015) Fiction, Irish
    EPIGRAPH: Things as they are, Are changed upon the blue guitar
    FROM: "The Man with the Blue Guitar", (1937), Poem, US
  • IN: Doctor Copernicus (1976) Fiction, Irish
    EPIGRAPH: You must become an ignorant man again And see the sun again with an ignorant eye And see it clearly in the idea of it.
    FROM: "Notes Toward a Supreme Fiction", (1942), Poem, US
• Nicholson Baker (1)
  • IN: Room Temperature (1990) Fiction, Novel, American
    EPIGRAPH: I placed a jar in Tennessee...
    FROM: Anecdote of the Jar, (1919), Poem, US
• George Szirtes (1)
  • IN: New & Collected Poems (2008) Poetry, British
    EPIGRAPH: Look round you as you start, brown moon, At the book and shoe, the rotted rose At the door.
    FROM: God is Good, It is a Beautiful Night, (1947), Poem, US
• Kerry Greenwood (1)
  • IN: Cocaine Blues (1989) Fiction, Australian
    EPIGRAPH: Will go, like the centre of sea-green pomp ... upon her irretrievable way.
    FROM: The Paltry Nude Starts on a Voyage, (1919), NULL, US
• Buck Song Koh (1)
  • IN: The Ocean of Ambition (2003) Poetry, Singaporean
    EPIGRAPH: leaping fences real or manufactured makes an enemy of the state if headlines tell us so
    FROM: Tiger Shootings, (None), Poem, US
• Terence Heng (1)
  • IN: Live a Manic Existence With a Cup of Sanity in Your Hand (1997) Poetry, Singaporean
    EPIGRAPH: It must / Be the finding of a satisfaction, and may / Be of a man skating, a woman dancing, a woman / Combing. The poem of the act of the mind.
    FROM: Of Modern Poetry, (1942), Poem, US
• Kathleen Donohoe (1)
  • IN: Ashes of Fiery Weather (2016) Fiction, American
    EPIGRAPH: These are the ashes of fiery weather, Of nights full of the green stars from Ireland, Wet out of the sea, and luminously wet, Like beautiful and abandoned refugees.
    FROM: Our Stars Come from Ireland, (1950), Poem, US
• Adam Foulds (1)
  • IN: In the Wolf's Mouth (2014) Fiction, British
    EPIGRAPH: There may be always a time of innocence. There is never a place.
    FROM: The Auroras of Autumn, (1950), Book, US
• Russell Banks (1)
  • IN: Continental Drift (1985) Fiction, American
    EPIGRAPH: I am free. High above the mast the moon Rides clear of her mind and the waves make a refrain Of this: that the snake has shed its skin upon The floor. Go on through the darkness. The waves fly back.
    FROM: Farewell to Florida, (None), Poem, US
• Laura Kasischke (1)
  • IN: Mind of Winter (2014) Fiction, American
    EPIGRAPH: Which is the sound of the land Full of the same wind That is blowing in the same bare place...
    FROM: The Snow Man, (1921), Poem, US
• Rosamund Lupton (1)
  • IN: The Quality of Silence (2015) Fiction, American
    EPIGRAPH: It is deep January. The sky is hard. The stalks are firmly rooted in ice. It is in this solitude, a syllable, Out of these gawky flitterings, Intones its single emptiness, The savagest hollow of winter-sound.
    FROM: No Possum, No Sop, No Taters, (1947), Poem, US
• O' Loughlin, Ed (1)
  • IN: Minds of Winter (2016) Fiction, American
    EPIGRAPH: One must have a mind of winter To regard the frost and the boughs Of the pine-trees crusted with snow; And have been cold a long time To behold the junipers shagged with ice, The spruces rough in the distant glitter Of the January sun; and not to think Of any misery in the sound of the wind, In the sound of a few leaves, Which is the sound of the land Full of the same wind That is blowing in the same bare place For the listener, who listens in the snow, And, nothing himself, beholds Nothing that is not there and the nothing that is.
    FROM: The Snow Man, (1921), Poem, US
• Gregory Benford (1)
  • IN: Across the Sea of Suns (1984) Novel, Science Fiction, Speculative fiction, American
    EPIGRAPH: After the final no there comes a yes. And on that yes the future world depends. No was the night. Yes is this present sun.
    FROM: The Well Dressed Man With a Beard, (1954), Poem, US
• John Updike (2)
  • IN: Bech at Bay (1998) Fiction, American
    EPIGRAPH: Something of the unreal is necessary to fecundate the real.
    FROM: preface to William Carlos William's Collected Poems, (1934), Book, US
  • IN: Rabbit Is Rich (1981) Fiction, American
    EPIGRAPH: The difficulty to think at the end of day, When the shapeless shadow covers the sun And nothing is left except light on your fur...
    FROM: "A Rabbit as King of the Ghosts", (1942), Poem, US
• Lewis Robinson (1)
  • IN: Water Dogs (2009) Fiction, American
    EPIGRAPH: It was evening all afternoon. IT was snowing. And it was going to snow.
    FROM: "Thirteen Ways of Looking at a Blackbird", (1917), Poem, US
• Cynthia Ozick (1)
  • IN: Heir to the Glimmering World (2004) Fiction, American
    EPIGRAPH: The absence of imagination had Itself to be imagined.
    FROM: The Plain Sense of Things, (1954), Book, US
• Ruth Padel (1)
  • IN: Where the Serpent Lives (2010) Fiction, British
    EPIGRAPH: This is where the serpent lives, the bodiless. His head is air. Beneath his tip at night Eyes open and fix on us in every sky. Or is this another wriggling out of the egg, Another image at the end of the cave, Another bodiless for the body's slough? This is where the serpent lives. This is his nest, These fields, these hills, these tinted distances, And the pines above and along and beside the sea.
    FROM: The Auroras of Autumn, (1950), Book, US
• Mark T. Mustian (1)
  • IN: The Gendarme (2010) Fiction, American
    EPIGRAPH: To the Roaring Wing. What syllable are you seeking, Vocalissimus, In the distances of sleep? Speak it.
    FROM: "To the Woaring Wind", (1917), Poem, US
• Martha Grimes (2)
  • IN: The Black Cat (2010) Fiction, Mystery Fiction, American
    EPIGRAPH: That would be waving and that would be crying, Crying and shouting and meaning farewell
    FROM: Waving Adieu, Adieu, Adieu, (1936), Poem, US
  • IN: The End of the Pier (1992) Fiction, Mystery Fiction, American
    EPIGRAPH: Ramon Fernandez, tell me, if you know, Why, when the singing ended and we turned Toward the town, tell why the glassy lights. The lights in the fishing boats at anchor there, As the night descended, tilting in the air, Mastered the night and portioned out the sea, Fixing emblazoned zones and fiery poles, Arranging, deepening, enchanting night. Oh! Blessed rage for order, pale Ramon, The maker's rage to order words of the sea, Words of the fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds.
    FROM: "The Idea of Order at Key West", (1934), Poem, US
• T. C. Boyle (1)
  • IN: Stories II (2013) Fiction, Anthology Fiction, American
    EPIGRAPH: I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after.
    FROM: "Thirteen Ways of Looking at a Blackbird", (1917), Poem, US
• William Boyd (1)
  • IN: The Blue Afternoon (1993) Fiction, British
    EPIGRAPH: He brushed away the thunder, then the clouds, Then the colossal illusion of heaven. Yet still The sky was blue. He wanted imperceptible air. He wanted to see. He wanted the eye to see And not be touched by blue... ... Had he been better able to suppose: He might sit on a sofa on a balcony Above the Mediterranean, emerald Becoming emeralds. He might watch the palms Flap green ears in the heat. He might observe A yellow wine and follow a steamer's track And say, "The thing I hum appears to be The rhythm of this celestial pantomime."
    FROM: "Landscape with Boat", (1942), Poem, US
• Michael Cunningham (1)
  • IN: A Home at the End of the World (1990) Fiction, American
    EPIGRAPH: There it was, word for word The poem that took the place of a mountain. He breathed in its oxygen, Even when the book lay turned in the dust of his table. It reminded him how he had needed A place to go to in his own direction, How he had recomposed the pines, Shifted the rocks and picked his way among clouds, For the outlook that would be right, Where he would be complete in an unexplained completion: The exact rock where his inexactnesses Would discover, at last, the view toward which they had edged, Where he could lie and, gazing down at the sea, Recognize his unique and solitary home.
    FROM: The Poem That Took the Place of a Mountain, (1954), Poem, US
• Philip Roth (1)
  • IN: Letting Go (1961) Fiction, American
    EPIGRAPH: It may be that one life is a punishment For another, as the son's life for the father's. But that concerns the secondary characters. It is a fragmentary tragedy Within the universal whole. The son And the father alike and equally are spent, Each one, by the necessity of being Himself, the unalterable necessity Of being this unalterable animal.
    FROM: "Esthétique du Mal", (1944), Poem, US