The voice is raised, and that is where poetry begins. And even today, in the prolonged aftermath of modernism, in places where "open form" or free verse is the orthodoxy, you will find a memory of that raising of the voice in the term "heightened speech".

There is no objection to the proposal: in order to learn to be a poet, I shall try to write a sonnet. But the thing you must try to write, when you do so, is a real sonnet, and not a practice sonnet.

Considering the wealth of poetic drama that has come down to us from the Elizabethan and Jacobean periods, it is surprising that so little of any value has been added since.

The Mormon mission to Africa, as to other dark-skinned parts of the world, was for a long time hobbled by the racism of the movement's scripture.

One does not become a guru by accident.

One problem we face comes from the lack of any agreed sense of how we should be working to train ourselves to write poetry.

Composers need words, but they do not necessarily need poetry. The Russian composer, Aleksandr Mossolov, who chose texts from newspaper small ads, had a good point to make. With revolutionary music, any text can be set to work.