Daylight does not lend itself to terror: objects and people are plain to see; and we encounter there only those things which dare to show themselves in the glare of day. But night, opaque night denser than walls, night, empty and infinite and so black and fathomless that terrifying things reach out and touch us, night when we feel horror stirring, mysteriously prowling__ight seemed to him to hide some unknown, imminent, threatening danger. What could it be?

There was an ocean above us, held in by a thin sac that might rupture and let down a flood at any second.

There are some days we can claim and there are other days that claim us.

Stop waiting for the perfect day or the perfect moment... Take THIS day, THIS moment and lead it to perfection.

Even a little adventure in the day will make that day a real day!

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.