Poets need to live where others don’t care to look, and they need to do this because if they don’t they can’t sing to us of all the secret and public domains of our lives. They need to be multiple witnesses around the central masquerades of reality in order to convey fully the unimaginable dimensions of the deity’s terrible and enchanting dance. The great tidal crowds of everyday events pour in one direction, sometimes the poet has to move in the other — often moving directly against them, at other times cutting tangentially across the morning waves of humanity. Poets seem to be set against the world because we need them to show us the falseness of our limitations, the true extent of our kingdom.

We must not force our poets to limit the world any further. That is a crime against life itself. If the poet begins to speak only of narrow things, of things that we can effortlessly digest

and recognise, of things that do not disturb, frighten, stir, or annoy us, or make us restless for more, make us cry for greater justice, make us want to set sail and explore inklings murdered in our youths, if the poet sings only of our restricted angles and in restricted terms and in restricted language, then what hope is there for any of us in this world?

Those of us who want this are cowards, in flesh and in spirit. We fear heroic heights. We dread the recombining of the world, dread a greater harvest of being. We sit lazily and demand that our poets draw the horizon closer. We therefore become separated from our true selves. Then even beauty can seem repugnant. Then, we no longer recognise who we are, and we forget what we used to be, what states we sometimes inhabited, what extended moments of awareness.

The old storytellers were the first real explorers and frontierspeople of the abyss. They brought the world within our souls. They made living within and living without as one.

And I think that now, in our age, in the mid-ocean of our days, with certainties collapsing about us, and with no beliefs by which to steer our ways through the dark descending nights ahead — I think that now we need those fictional old bards and fearless storytellers, those seers. We need their magic, their courage, their love, and their fire more than ever before. It is precisely in a fractured, broken age that we need mystery and a reawoken sense of wonder. We need them in order to begin to be whole again. We need to be reminded of the primeval terror again. We need to be humble again. We need to go down to the bottom, to the depths of the heart, and start to live again as we have never lived before. All the terrors are still there. It’s we who no longer see them. They are getting ready to pounce on us again. Maybe it has already happened.

There is the great suffering that is an intrinsic part of love, the love of one’s work, the love of the world, and of humanity. There is the unbargained-for cost of telling stories — the hounding by dictators, military leaders, spy networks, secret services, all those with their own agendas, all those who like or dislike only through the screen or filter of their ideologies or insecurities. There are other costs — the death-threats, the enmities incurred by the innocence of the word, the demons of rivalry, the degrading competition which leads the best practitioners, if they submit, away from their beautiful journey.

The ages have been inundated with vast oceans of words. We have been virtually drowned in them. Words pour at us from every angle or corner. They have not brought understanding, or peace, or healing, or a sense of self-mastery, nor has the ocean of words given us the feeling that, at least in terms of tranquillity, the human spirit is getting better.

At best our cry for meaning, for serenity, is answered by a greater silence, the silence that makes us seek higher reconciliation.

I think we need more of the wordless in our lives. We need more stillness, more of a sense of wonder, a feeling for the mystery of life. We need more love, more silence, more deep listening, more deep giving.