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Ada Limon

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“When she was dying, it was impossible to see forward to the next minute. What was happening — for whole weeks — was all that was happening and happening and happening. Months before that, I got the dumb soup wrong. How awful. It was all she wanted and I had gotten it wrong. Then, in the airless days when it was really happening, we started to power panic that we didn’t know enough. What should we do with your ashes? Water or dirt. Water or dirt. Once, she asked to just be thrown into the river where we used to go, still alive, but not living anymore. After it was done, I couldn’t go back to my life. You understand, right? It wasn’t the same. I couldn’t tell if I loved myself more or less. It wasn’t until later, when I moved in with him and stood outside on our patchy imperfect lawn, that I remembered what had been circling in me: I am beautiful. I am full of love. I am dying.”

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“Six horses died in a tractor-trailer fire. There. That's the hard part. I wanted to tell you straight away so we could grieve together. So many sad things, that's just one on a long recent list that loops and elongates in the chest, in the diaphragm, in the alveoli. What is it they say, heartsick or downhearted? I picture a heart lying down on the floor of the torso, pulling up the blankets over its head, thinking the pain will go on forever (even though it won't). The heart is watching Lifetime movies and wishing, and missing all the good parts of her that she has forgotten. The heart is so tired of beating herself up, she wants to stop it still, but also she wants the blood to return, wants to bring in the thrill and wind of the ride, the fast pull of life driving underneath her. What the heart wants? The heart wants her horses back.”

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“But somehow, I’ve stopped praising you. How the valley when you first see it—the small roads back to your youth—is so painfully pretty at first, then, after a month of black coffee, it’s just another place your bullish brain exists, bothered by itself and how hurtful human life can be. Isn’t that how it is? You wake up some days full of crow and shine, and then someone has put engine coolant in the medicine on another continent and not even crying helps cure the idea of purposeful poison.”

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Book:Bright Dead Things
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“Annie Dillard once wrote, “How we spend our days is of course how we spend our lives. What we do with this hour and that one is what we are doing.” I think about this a lot when I’m planning my day and what sort of pleasure I might suck out of its marrow during these tumultuous times of constant upheaval and war. Sometimes that means noticing even the most mundane of tasks in order to know we are alive, that we are living.”

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“Humans are so strange in the ways that we are either recovering too quickly from something or holding on to pain forever. There seems to be no middle ground. We bounce back or we wallow. But remembering the hardest moments of grief or loss and letting them be present for you in the good moments is something I’ve found useful and grounding as I age. It feels like a way of remembering that balance does exist. This too. This grief. This joy. Together always intertwined.”

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“Does poetry have its issues? One hundred percent. Does poetry have its limitations? One hundred percent. It’s not going to cure disease or feed the hungry, but it might help us to understand someone else's experience just a little bit better. Or maybe it’ll make us mad and then we’ll have to interrogate why we’re mad, or implicated, or why we feel left out. Like many of the arts, poetry can be the way of recognizing our own beauty and our own flaws.”

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“I imagine what it must be like to stay hidden, disappear in the dusky nothing and stay still in the night. It’s not sadness, though it may sound like it. I’m thinking about people and trees and how I wish I could be silent more, be more tree than anything else, less clumsy and loud, less crow, more cool white pine, and how it’s hard not to always want something else, not just to let the savage grass grow.”

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Book:Bright Dead Things
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“I spend a lot of time thinking about hunger. Too much time really. I’m from a family who starts planning their next meal while they are sitting down to their first meal. I have read books on hunger. How to feel full. How to know when you are hungry or just bored or maybe sad. But hunger is also something else isn’t it? It’s not just the physical need to eat, but sometimes it is the want to be made satisfied, to feel, for once, like we have enough. I love watching children push away a plate when they’ve discovered fullness. It is a gift to be full and to know it. But me? I’m greedy with food. I love it. I over order from restaurants, and cook too much food at home. I want to feel not just full but fixed in some way. As if each meal will be my last and I must take it in, like the world, all at once.”

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“I like the lady horses best, how they make it all look easy, like running 40 miles per hour is as fun as taking a nap, or grass. I like their lady horse swagger, after winning. Ears up, girls, ears up! But mainly, let’s be honest, I like that they’re ladies. As if this big dangerous animal is also a part of me, that somewhere inside the delicate skin of my body, there pumps an 8-pound female horse heart, giant with power, heavy with blood. Don’t you want to believe it? Don’t you want to lift my shirt and see the huge beating genius machine that thinks, no, it knows, it’s going to come in first.”

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Book:Bright Dead Things
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“I remember the first year after my stepmother’s death. I saw her in everything. It wasn’t on purpose. I wasn’t looking for her, she just showed up. Unexpected and alive and also not alive in my life. I remember walking in Brooklyn and there was a woman who looked just like her… ducking into the Blue Stove bakery and I thought very simply, “Of course. She loves good food.” And then of course, I knew it wasn’t her, it was only the back of someone’s head really. And then it turned out to be a woman who did not look like her at all. That’s how it happens, right? All of you who have lost someone, you know it, you’ve seen it. The visitation seems like a gift and also a hard memory of grief.”

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Author:Ada Limon
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“The other day someone I know posted a quote from the poet Mary Oliver, “Listen, are you breathing just a little, and calling it a life?” And I almost began to cry. I kept thinking of how scared I’ve been, how scared many of us have been during these years of the pandemic. And of course, it’s not just the pandemic, so many overwhelming fears. I read that quote and I suddenly longed for breath. For relief. For the end of fear.”

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“The thing that makes me break down in tears the most often is not grief, but human resilience. To watch someone dress their kids and get them to school, ship them off with backpacks and N95 masks knowing how hard the world is. To watch someone keep going with some sort of unfathomable fortitude, no matter how rough the human waters, that is what astounds me. And still we go on, the world seems to say.”

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Author:Ada Limon
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“I sometimes tell my students to do a writing exercise that’s just something on their desk. An object they’ve had with them for a while, a photograph, a stone from the ocean, a shell. I tell them just to explore it, interrogate it, just turn it over in your head and see what might happen. And the most amazing thing happens: they really find they love those objects, and can write about them for a long time. That they carried that black stone home from a day with their father just weeks before he died, that the small elephant was a gift from a friend on a day of heartbreak. We start talking about those objects and soon it feels like our whole life is full of small stories to be grateful for. So many small things we pass all the time without holding them up to the light.”

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Author:Ada Limon
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“Precise, graceful, and generous, the poems in SuperLoop, seem to be born out of a deep, careful attention and a profound compassion. Sometimes the quiet observer, sometimes the kid in the center of the messed-up carnival, these poems are the fireflies you’ve missed all winter, the longed-for return of the bees. Unaffected and inherently hopeful, Callihan’s work is as merciful as it is moving.”

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Author:Ada Limon
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“I mean, it's hard to talk about death without realizing that's our end too, right? I am constantly aware of death. It's not that I want to be, but it's a fascination of the mind and it plays a role in why I want to live my life a certain way. The more I am aware of my mortality the better person I am and the better I am at choosing a life that is aware of its beauty.”

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Author:Ada Limon
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“I think, as poets, we are in the odd position of constantly defending our art form. Which is funny and also sort of invigorating, too. No one really says, "Oh you're a lawyer? I've never understood the law. In fact, I kind of hate it." Or, "Oh you wait tables? I didn't know that was something people did." I say it can be invigorating because, on some level, we have to evaluate what we do and why we do it almost daily. We have to explain ourselves to people all the time. We have to say, "Yes, I am a unicorn, believe in me."”

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