Quotes About Poem

I keep feeling that there isn't one poem being written by any one of us - or a book or anything like that. The whole life of us writers, the whole product I guess I mean, is the one long poem - a community effort if you will. It's all the same poem. It doesn't belong to any one writer - it's God's poem perhaps. Or God's people's poem.

The poem is not, as someone put it, deflective of entry. But the real question is, 'What happens to the reader once he or she gets inside the poem?' That's the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.

I want each poem to be ambiguous enough that its meaning can shift, depending on the reader's own frame of reference, and depending on the reader's mood. That's why negative capability matters; if the poet stops short of fully controlling each poem's meaning, the reader can make the poem his or her own.

Readers bring their own experiences, their own range of - their own wisdom, their own knowledge, their own insights to poem and the meaning of a poem takes place in the negotiation between the poet, the poem and the reader.

The religion of the short poem, in every age and in every literature, has a single commandment: Less is always more. The short poem rejects preamble and summary. It's about all and everything, the metaphysics of a few words surrounded by much silence. …The short poem is a match flaring up in a dark universe.

Writing a poem is a more personal experience, I think, than writing prose. And perhaps reading a poem is a more personal experience than reading prose, though that's harder to say.

I have never started a poem yet whose end I knew. Writing a poem is discovering.

The poem might come to you as you're preparing to teach a lecture, right? And when you say, "no" to that occasion, that poem is gone.

The true poem is not that which the public read. There is always a poem not printed on paper,... in the poet's life. It is what hehas become through his work. Not how is the idea expressed in stone, or on canvas or paper, is the question, but how far it has obtained form and expression in the life of the artist. His true work will not stand in any prince's gallery.

Never write a poem about anything that ought to have a poem written about it.

There's something immediate about the experience of reading a poem - whether it's the music or some other element of it - that just seems to access another part of the brain. You know, Charles Olson talks about this transfer of energy that happens between the writer and the reader of the poem. I guess there's something essential to me about acknowledging upfront the immensity of it - the difficulty of it - and even allowing that to be the subject.

The form of a poem is invisible. A poem is not an "object." This is hard to accept in a mechanical age.

Let us dismiss, as irrelevant to the poem per se, the circumstance ... which, in the first place, gave rise to the intention of composing a poem that should suit at once the popular and the critical taste.

I know that in a poem, even when the speaker is speaking from the poet's experience, there's always something that's borrowed, some authority that sits outside of the poet that the poem has claimed. There's a dramatic pitch that makes the speaker capable of saying something more courageous or stranger or simply other than what the poet would be able to say.

I hope the poem, as it goes on, gets more complicated, a little more demanding, a little more ambiguous or speculative, so that we're drifting away from the casual beginning of the poem into something a little more serious.

Listeners are kind of ambushed... if a poem just happens to be said when they're listening to the radio. The listener doesn't have time to deploy what I call their 'poetry deflector shields' that were installed in high school - there's little time to resist the poem.

Sometimes I am puzzling over something for months and months and the poem gets created in small bursts and rewritten a hundred times, and chopped up and put back together, etc. Occasionally, though rarely, a poem just plops out of my head fully-formed. But always it is a blueprint of what my brain is trying to navigate at that moment.

I believe every space and comma is a living part of the poem and has its function, just as every muscle and pore of the body has its function. And the way the lines are broken is a functioning part essential to the life of the poem.

A poem has a certain - a different time. For instance, a poem is a very private experience, and it doesn't have a driving tempo. In other words, you know, you can go back and forward; you can comeback; you can linger. You know, it's a completely different time reference.

Anything Can Happen is also, incidentally, a poem that arose from teaching. I'd talked about the Horace Ode (I, 34) [on which the poem is based] in a lecture I gave at Harvard in the fall of 2000 entitled Bright Boltsand remembered it after the Twin Towers attack.

In the past I have declined to comment on my own work: because, it seems to me, a poem is what it is; because a poem is itself a definition, and to try to redefine it is to be apt to falsify it; and because the author is the person least able to consider his work objectively

In seventh grade I had a magical teacher, her name was Mrs. Fried. She wore only pink, she drove a pink Mustang, and she was half out of her head. But very inspiring. And one day she said, "Take out a paper and pen and write something about peace." For some reason I wrote a poem on Noah - I don't know why I chose Noah - and it turned out it was for a contest for the UN. I ended up winning and reading the poem in front of the UN. I remember Mrs. Fried telling me, "When you write your first book, dedicate it to me." That was like, "Whoa."

I hold that a long poem does not exist. I maintain that the phrase, "a long poem," is simply a flat contradiction in terms.

Often you've read another poem that you think is so beautiful that you'd like to make something like that. And so you try to make a sonnet that works in a certain kind of way, or you try to make something that's songlike, or you create a refrain, or you love the way a poem works in two line stanzas and you try to do that.

My theory is that poems are written because of a state of emotional irritation. It may be present for some time before the poet is conscious of what is tormenting him. The emotional irritation springs, probably, from subconscious combinations of partly forgotten thoughts and feelings. Coming together, like electrical currents in a thunder storm, they produce a poem. ... the poem is written to free the poet from an emotional burden.

Sometimes the best revision of a poem is a new poem.

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.

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.

I find myself absolutely fulfilled when I have written a poem, when I'm writing one. Having written one, then you fall away very rapidly from having been a poet to becoming a sort of poet in rest, which isn't the same thing at all. But I think the actual experience of writing a poem is a magnificent one.

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.

Scientific understanding is often beautiful, a profoundly aesthetic experience which gives pleasure not unlike the reading of a great poem.

I got $30 from Nation magazine for a poem and $500 for my first book of poems.

Remember picture books are the closest form of writing to a poem. Even though they don't have to rhyme, they must be poetic. They must be written so the worst actress can read with comfort and expression.

O Lord, may I never want to look good. O Jesus, may I always read it all: out loud and the very way it should be. May I never look at the other findings until I have come to my own true conclusions: May I care for the least of the young: and become aware of the one poem that each may have written; may I be aware of what each thing is, delighted with form, and wary of the false comparison; may I never use the word "brilliant."

So many people think that practicing an art is a good way to make a living. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. I'm talking about singing in the shower, I'm talking about dancing to the radio, I'm talking about writing a poem to a friend.

Our nature as sensitive beings is far too complex to break apart, re-examine and reshape in a poem.

In my world, history comes down to language and art. No one cares much about what battles were fought, who won them and who lost them - unless there is a painting, a play, a song or a poem that speaks of the event.

I can write the saddest poem of all tonight. I loved her, and sometimes she loved me too.

I think that I shall never see a poem lovely as a tree.

By clarity I don't mean that we're always in kind of a simple area where everything is clear and comforting and understood. Clarity is certainly a way toward disorientation because if you don't start out - if the reader isn't grounded, if the reader is disoriented in the beginning of the poem, then the reader can't be led astray or disoriented later.

I think that when a poem can move readers across generations and across its specific class or race then it becomes truly classic.

How does one happen to write a poem: where does it come from? That is the question asked by the psychologists or the geneticists of poetry.

Anybody doesn't like these pitchers don't like potry, see? Anybody don't like potry go home see television shots of big hatted cowboys being tolerated by kind horses. Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the poets of the world. To Robert Frank I now give this message: You got eyes.

Words... They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good any more... I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little or make a poem which children will speak for you when you're dead.

Instead of noting down things I’m unlikely to forget, I will write a poem. Even if I have never written one before and even if I never do so again, I will at least know that I once had the courage to put my feelings into words.

I think my prose - mine and that of others - sometimes slips into a cadence or rhythm that can replicate or come close to the music in a wonderful poem, and then it returns to the sound of prose.

No song or poem will bear my mother's name. Yet so many of the stories that I write, that we all write, are my mother's stories.

Poem (Lana Turner has collapsed!) Lana Turner has collapsed! I was trotting along and suddenly it started raining and snowing and you said it was hailing but hailing hits you on the head hard so it was really snowing and raining and I was in such a hurry to meet you but the traffic was acting exactly like the sky and suddenly I see a headline LANA TURNER HAS COLLAPSED! there is no snow in Hollywood there is no rain in California I have been to lots of parties and acted perfectly disgraceful but I never actually collapsed oh Lana Turner we love you get up