Quotes About Poem

The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.

I think that poetry is an act of celebration, that anytime you're writing a poem, it means that you're celebrating something, even if it's a sad poem, if it's an angry poem, a political poem or anything at all. The fact that you're taking the time and energy to pick up this thing and hold it to the light, and say, "Let's take some time to consider this," means that you've deemed it worthy enough to spend time on - which, in my opinion, is celebrating.

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.

I'm old-fashioned enough to really still believe that the poem is an object to be memorized, venerated... I still believe in that kind of poem. A lot of poets today don't, they want to get away from the poem as object. They want something looser. Unfortunately, a lot of it is boring to me.

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 poet is in the end probably more afraid of the dogmatist who wants to extract the message from the poem and throw the poem away than he is of the sentimentalist who says, "Oh, just let me enjoy the poem."

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.

Poetry is like a portrait of a moment or person, and the poem is almost like looking at a photograph; it slaps you in the face and kisses you at the same time. Nothing else does that, with that brevity. Songs try to do it, but that's three minutes. A poem, you read it and it kind of changes your life and you don't know how it happened and you can never forget it. It's like the best song lyric, the best line from a film-everything in the world that's short and great put together.

I am probably going to pay for this at some point, but I think pretty much everyone I come into contact with is fair game. So I use real names sometimes if the poem says it happened like that. It feels right if I use the real person I reference. Of course the poem is all lies, even when it's true, so I guess I can sleep at night.

I approach writing a poem in a much different state than when I am writing prose. It's almost as if I were working in a different language when I'm writing poetry. The words - what they are and what they can become - the possibilities of the words are vastly expanded for me when I'm writing a poem.

I've always been intrigued with the male characters in novels like 'Pride and Prejudice' such as Mr. Darcy, and this poem is part of a series of poems that explore desire and obsessions. The poems have been sitting in a drawer for a few years, so I decided to dust them off and work on them again since I have not written a new poem in more than three years. I'm not sure anything will become of the series, but at least it gives me something to work on in a period where I feel very uncreative.

I stop writing the poem to fold the clothes. No matter who lives or who dies, I'm still a woman. I'll always have plenty to do. I bring the arms of his shirt together. Nothing can stop our tenderness. I'll get back to the poem. I'll get back to being a woman. But for now there's a shirt, a giant shirt in my hands, and somewhere a small girl standing next to her mother watching to see how it's done.

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.

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.

I write first drafts with only the good angel on my shoulder, the voice that approves of everything I write. This voice does'nt ask questions like, Is this good? Is this a poem? Are you a poet? I keep this voice at a distance, letting only the good angel whisper to me: Trust yourself. You can't worry a poem into existence.

The writing of an assay-type poem or a poem investigating perspective isn't an exercise of rational or strategic mind. Poems for me are acts of small or large desperation. They grapple with surfaces too steep to walk in any other way, yet which have to be traveled.

A poem is energy transferred from where the poet got it (he will have some several causations), by way of the poem itself to, all the way over to, the reader.

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.

Each poem seems to demand its own formal approach. In both drafting and revision, I'll play around with line lengths and stanza formations, eventually letting the poem settle into what I think is its own best form.

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 have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.

I did a film recently in the Republic of Georgia [upcoming 'Halo of Stars'] which was based on a long poem written by the director. We found that all these words were beautiful as a poem, but for humans it was more about the emotion or a look than just saying what was there.

Historically, there are hierarchies of purity. Certain aspects of poetry are very, very pure. The lyric poem can't be anything but the lyric poem.

If after I read a poem the world looks like that poem for 24 hours or so I'm sure it's a good one—and the same goes for paintings.

It does not need that a poem should be long. Every word was once a poem.

I had a dream, in 1985, I believe, when a friend I'd gone to school with was sick - one of the first people I knew who'd gotten the AIDS virus. I had a dream of him in his bedroom with an angel crashing through the ceiling. I wrote a poem called 'Angels in America.' I've never looked at the poem since the day I wrote it.

Every poem holds the unspeakable inside it. The unsayable... The thing that you can't really say because it's too complicated. It's too complex for us. Every poem has that silence deep in the center of it.

Because I love narrative but am more lyrically inclined, I've learned that if I freight titles with narrative information (the who, what, when, where, why of the poem), I can get to my main interest, which is the language, and where it wants to take me. If I can establish the poem's occasion in the title, then so much the better for my freedom to associate.

For me, intuitive thinking means associative thinking; intuition causes us to introduce narrative or figurative elements into a poem before we're able to explain why those elements belong.

If the poem can be improved by the author's explanations, it never should have been published.

I do believe that a poem needs to remind the reader of his or her own humanity, of what they are, of what they're capable of. Awaken them, in a sense, to the fact that there's a world in front of their eyes, that they have a body, they're going to die, the sky is beautiful, it's fun to be in a grassy field when the sun is shining—those kinds of things.

Poetry is the enemy of the poem.

Rhime being no necessary Adjunct or true Ornament of Poem or good Verse, in longer Works especially, but the Invention of a barbarous Age, to set off wretched matter and lame Meeter...the troublesom and modern bondage of Rimeing.

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 make a poem, take one newspaper, one pair of scissors, snip the words one by one and put them in a bag. Shake gently, draw them out at random, and copy them conscientiously... DADA est mort. DADA est idiot. Vive DADA!

I take pictures, and they are there for the taking. I'll tell you a quote that I have always thought about. Arthur Miller said, I try to create the poem from the evidence.

I think writing a poem is like being a greyhound. Writing a novel is like being a mule. You go up one long row, then down another, and try not to look up too often to see how far you still have to go.

The true poem rests between the words.

Yet there are times when a deeper need enters, when we want the poem to be not only pleasurably right but compellingly wise, not only a surprising variation played upon the world, but a re-tuning of the world itself.

That perhaps is your task--to find the relation between things that seem incompatible yet have a mysterious affinity, to absorb every experience that comes your way fearlessly and saturate it completely so that your poem is a whole, not a fragment; to re-think human life into poetry and so give us tragedy again and comedy by means of characters not spun out at length in the novelist's way, but condensed and synthesized in the poet's way--that is what we look to you to do now.

History is a cyclic poem written by time upon the memories of man.

To write about the monstrous sense of alienation the poet feels in this culture of polarized hatreds is a way of staying sane. With the poem, I reach out to an audience equally at odds with official policy, and I celebrate our mutual humanness in an inhuman world.

However, if a poem can be reduced to a prose sentence, there can't be much to it.

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.

if Saint Bruce doesn't like your poem, he chops your head off.

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.

“A living poem” had always been the words that came to mind when he tried to describe her to others.