Quotes About Poem

Lucky accidents seldom happen to writers who don't work. You will find that you may rewrite and rewrite a poem and it never seems quite right. Then a much better poem may come rather fast and you wonder why you bothered with all that work on the earlier poem. Actually, the hard work you do on one poem is put in on all poems. The hard work on the first poem is responsible for the sudden ease of the second. If you just sit around waiting for the easy ones, nothing will come. Get to work.

Poetry is perhaps the oldest art form. We can go back to an age-old idea of naming things, the Adamic impulse - to give something a name has always been an immensely powerful thing. To name something is to own it, to capture it. A poem is still a kind of spell, an incantation. Historically, a poem also invoked: it was a blessing, or a curse, or a charm. It had a motile power, was able to summon something into being. A poem is a special kind of speech-act. In a good poem there's the trance-like effect of language in its most concentrated, naked form.

I feel like the older I get, the truer it feels that I'm only going have an investment in a poem if it allows or forces me to bring something that's supremely me onto the page. I used to think that the speaker of a poem was talking to someone else, to some ideal reader or listener, but now I think that speakers - poets - are talking to themselves. The poem allows you to pose questions that you have you ask of yourself knowing that they are unanswerable.

Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.

Poetry has no goal other than itself; it can have no other, and no poem will be so great, so noble, so truly worthy of the name of poem, than one written uniquely for the pleasure of writing a poem.

I hope any poem I've ever written could stand on its own and not need to be a part of biography, critical theory or cultural studies. I don't want to give a poetry reading and have to provide the story behind the poem in order for it to make sense to an audience. I certainly don't want the poem to require a critical intermediary - a "spokescritic." I want my poems to be independently meaningful moments of power for a good reader. And that's the expectation I initially bring to other poets' writing.

If you're angry, you don't have to write a poem dealing with the cause of your anger. But it needs to be an angry poem. So go ahead... write one. I know you're at least a little bit angry with me. And when you're done with your poem, decipher it as if you'd just found it printed in a textbook and know absolutely nothing about its author. The results can be amazing...and scary. But it's always cheaper than a therapist.

It has been said that a poem should not mean but be. This is not quite accurate. In a poem, as distinct from many other kinds of verbal societies, meaning and being are identical. A poem might be called a pseudo-person. Like a person, it is unique and addresses the reader personally. On the other hand, like a natural being and unlike a historical person, it cannot lie.

Then I found another one, grandpa's poem. It turned out it had been written by Emily Brontë and it wasn't my grandfather's poem at all, although my response to it, I think, was pretty much the same, I just had the author wrong.

A poem is true if it hangs together. Information points to something else. A poem points to nothing but itself.

A beautiful poem is like a beautiful sky and a beautiful sky is like a beautiful poem!

[The publication of his first poem] was wonderful ... but it taught me early on that the only thing that really matters is writing the next poem. Publication is best seen as a happy accident.

This poem has been called obscure. I refuse to believe that it is obscurer than pity, violence, or suffering. But being a poem, not a lifetime, it is more compressed.

If I thought that any poem of mine could have been written by anyone else, either a contemporary or a forerunner, I should suppress it with a blush; and I should do the same if I ever found I were imitating myself. Every poem should be new, unexpected, inimitable, and incapable of being parodied.

I think what gets a poem going is an initiating line. Sometimes a first line will occur, and it goes nowhere; but other times - and this, I think, is a sense you develop - I can tell that the line wants to continue. If it does, I can feel a sense of momentum - the poem finds a reason for continuing.

I do not suppose that anyone not a poet can realize the agony of creating a poem. Every nerve, even every muscle, seems strained to the breaking point. The poem will not be denied; to refuse to write it would be a greater torture. It tears its way out of the brain, splintering and breaking its passage, and leaves that organ in the state of a jelly-fish when the task is done.

If I begin writing a poem that means I'm intrigued in some way by whatever it's about and that if I'm not trying to find something new and pushing the envelope in the poem I can't expect my reader to be particularly excited about it either.

In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever.

I need scarcely observe that a poem deserves its title only inasmuch as it excites, by elevating the soul. The value of the poem is in the ratio of this elevating excitement. But all excitements are, through a psychal necessity, transient.

Durable, memorable poetry is usually alert to complexity. A really good poem gives you a reason to read it 20 times, because the language in a good poem is doing a lot of work emotionally and a lot of work intellectually. That means durable poetry can help us think about complexity, can help us resist easy answers and help us step back. And it can help us sometimes calm down, and sometimes it can help us stay upset.

The poet must not only write the poem but must scrutinize the world intensely, or anyway that part of the world he or she has taken for subject. If the poem is thin, it is likely so not because the poet does not know enough words, but because he or she has not stood long enough among the flowers--has not seen them in any fresh, exciting, and valid way.

So I realized when I was successful in a piece, it was because I didn't abandon a notion early on what it ought to be, and I let it take me along. So I've had songs that started out as being about the environment and ended up being love songs and love songs that ended up being about the environment. I've had things that I thought would be a poem and realized that it was just too big for that. I've got to do something larger and it became a play. I wrote one poem that started a whole play.

Before you go further, let me tell you what a poem brings, first, you must know the secret, there is no poem to speak of, it is a way to attain a life without boundaries.

I'm always writing towards a discovery. When I'm writing poems in particular, I'm often writing because a few images coalesced in my mind and I thought, "I wonder why these images are abrading against each other. I wonder what happens if put them in a poem and explore them." I'm trying to learn something every time I write a poem.

The speaker tentatively reaches out with that feeling and realizes that it's kind of absurd, or at least a dangerous consolation, which is what I think is discovered as that longish sentence at the end of the poem comes to its conclusion. But here I am interpreting my own poem, which is kind of like making out with one's own high school yearbook photo.

You're a poem?' I repeated. She chewed her lower lip. 'If you want. I am a poem, or I am a pattern, or a race of people whose whose world was swallowed by the sea.' 'Isn't it hard to be three things at the same time?' 'What's your name?' 'Enn.' 'So you are Enn,' she said. 'And you are a male. And you are a biped. Is it hard to be three things at the same time?

A poem is a liminal space that can offer a sensation of belonging. A poem won't bring you a cold beer, but it may offer you a stool where you can sit down and feel momentarily at home. LGBT folks need intergenerational spaces where their lives and experiences are foregrounded.

He who would not be frustrate of his hope to write well hereafter in laudable things ought himself to be a true poem.

A poem doesn’t come out and tell you what it has to say. It circles back on itself, eating its own tail and making you guess what it means.

The poem is not a thing we see; it is, rather, a light by which we may see.

Jews have a special relationship to books, and the Haggadah has been translated more widely, and reprinted more often, than any other Jewish book. It is not a work of history or philosophy, not a prayer book, user’s manual, timeline, poem or palimpsest - and yet it is all these things.

Choose Life over the other stuff. Get out of your head. Live. Dress up. Eat. Touch people. Help out. Give up. Love people. Give your best away. There’s more. What’s the problem? Relax. You’re going to die. Throw a party. Eat off my plate. Sing to me. Meet me in the bedroom. Get a massage. Give one. Let your amazement out into the room. Pry open the box you hide your joy in. Be a poem.

To-day I think Only with scents, - scents dead leaves yield, And bracken, and wild carrot's seed, And the square mustard field; Odours that rise When the spade wounds the root of tree, Rose, currant, raspberry, or goutweed, Rhubarb or celery; The smoke's smell, too, Flowing from where a bonfire burns The dead, the waste, the dangerous, And all to sweetness turns. It is enough To smell, to crumble the dark earth, While the robin sings over again Sad songs of Autumn mirth." - A poem called DIGGING.

My best times are midnight to six actually. I'll leaf through my notebooks and if something catches my eye and I feel like I want to transfer it from the notebook to the page, I do, and then comes this very strange process which is difficult to describe in that I'll write until I get stuck or I can't go any further or I'm boring myself or whatever and then I might go to another poem.

Straight photography, following the medium, is intoxicating - trying to wrestle it into the form of a poem.

The dance is a poem of which each movement is a word.

A poem is something sacred. Let no one Take it for anything except itself.

Let your poem be kept nine years.

The writing of a poem is like a child throwing stones into a mineshaft. You compose first, then you listen for the reverberation.

God wrote His loveliest poem on the day He made the first silver poplar tree, And set it high upon a pale-gold hill For all the new enchanted earth to see.

A poem may be worked over once it is in being, but may not be worried into being.

I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.

All they want to do is tie the poem to a chair with a rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.

I'm an old man, and I want to lay out what I think I understand. With poems like "Traitor," I'm examining my feelings, my convictions, my understanding of the world, and testing whether they're really true. So that when you hang your holster up, you can make a judgment on whether you have any integrity at all. That's what I care about. That's why I wrote it. If I can't write that poem, then I've got it wrong somehow.

If I have some extra words and I'm trying to make it fit into that shape, then I just sort of take out the extra words, almost like a sculptor would take a piece of granite. It's almost like cutting out the words that aren't needed in order to make it a stronger poem and still say exactly what I want it to say.

This is a city of absolute enchantment in the literal sense of the word. It loosens all the bonds binding the traveller to his own age and sets him free to live in a past that is vital and crude but never ugly. Herat is as old as history and as moving as a great epic poem - if Afghanistan had nothing else it would have been worth coming to experience this.

There are some situations which men understand by instinct, by which reason is powerless to explain; in such cases the greatest poet is he who gives utterance to the most natural and vehement outburst of sorrow. Those who hear the bitter cry are as much impressed as if they listened to an entire poem, and when th sufferer is sincere they are right in regarding his outburst as sublime.

Poetry is not a silent art. The poem must perform, unaided, in its reader's head. Educated readers give themselves a good performance. Educated listeners compare performance with text and with other performances. Good poets use the full resources of language.