Quotes About Poem

When I encountered "The Lady of Shallot" (to take a "for instance" allusion from the many in the book, this one from the "Etiology" section) it was still considered a "great poem." What does that poem - or rather a particular presentation of that poem (hey, admire this!) - do to a young woman?

Like a pianist runs her fingers over the keys, I'll search my mind for what to say. Now, the poem may want you to write it. And then sometimes you see a situation and think, 'I'd like to write about that.' Those are two different ways of being approached by a poem, or approaching a poem.

The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.

People I know who succeed don't mind working. Those who are competent seem to like doing things well -- not stopping because they haven't accomplished what they wanted to on the first go-round. They're willing to do it twenty times, if necessary. There's an illusion that the good people can easily do something, and it's not necessarily true. They're just determined to do it right. I was impressed by hearing one of the women at Radcliffe talk about writing a poem, how many revisions a single poem sometimes has to go through -- fifty or sixty revisions to come out with a poem sixteen lines long.

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 don't know where a poem comes from until after I've lived with it a long time. I've a notion that a poem comes from absolutely everything that every happened to you.

If you read quickly to get through a poem to what it means, you have missed the body of the poem.

The poem springs from the half spoken words of the patient.... When asked, how I have for so many years continued an equal interest in medicine and the poem, I reply that they amount for me to nearly the same thing.

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.

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.

There is all this stuff about how sensitive poets are and how in touch with feelings, etc. they are, but really all we care about is language. At least in the initial stages of the process of writing the poem, though later other things start to come in, and a really good poem usually needs something more than just an interest in the material of language to mean anything to a reader.

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.

Poems, to me, do not come from ideas, they come from a series of images that you tuck away in the back of your brain. Little photographic snapshots. Then you get the major vision of the poem, which is like a giant magnet to which all these disparate little impressions fly and adhere, and there is the poem!

I would read the Shel Silverstein poems, Dr. Seuss, and I noticed early on that poetry was something that just stuck in my head and I was replaying those rhymes and try to think of my own. In English, the only thing I wanted to do was poetry and all the other kids were like, "Oh, man. We have to write poems again?" and I would have a three-page long poem. I won a national poetry contest when I was in fourth grade for a poem called "Monster In My Closet.

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.

A poem begins with a lump in the throat; a homesickness or a love sickness. It is a reaching-out toward expression; an effort to find fulfillment. A complete poem is one where an emotion has found its thought and the thought has found words.

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 sometimes talk about the making of a poem within the poem.

I never deny poems when they come; whatever I am doing, whatever I am writing, I lay it aside and attend to the arriving poem.

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.

One must write poetry in such as way that if one threw the poem in a window, the pane would break.

...then he looked at my T-shirt and saw Byron's picture on it and he quoted "She Walks in Beauty," which is like my favorite poem next to the one by Baudelaire about his girlfriend being nothing but worm food, except that Lily called that one first because Baudelaire is her fave poet and so she got the shirt with him on it, even though Byron is way more scrumptious and I would do him on sharp gravel if I had the chance. --from The Chronicles of Abby Normal

Mostly the thought and the verse come inseparably. In my poem Poetics, it's as close as I come to telling how I do it.

And what I've found over time is that for me to write a poem that I think is worthy that I can live with, two things have to happen.

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.

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.

One ought, everyday, to hear a song, read a fine poem, and, if possible, to speak a few reasonable words.

He that works and does some Poem, not he that merely says one, is worthy of the name of Poet.

The fact that The Bridge contains folk lore and other material suitable to the epic form need not therefore prove its failure as a long lyric poem, with interrelated sections.

Re-examine all you have been told in school or church or in any book, and dismiss whatever insults your own soul; and your very flesh shall be a great poem.

Have endless patterns and repetitions accompanying your thoughtlessness, as if to say let go of that other more linear story, with its beginning, middle, and end, with its transcendent end, let go, we are the poem, we have come miles of life, we have survived this far to tell you, go on, go on.

Listening a cultivated person of today that jokes and almost boasts about his scientific ignorance, is as sad as listening a scientist that boasts about not having read any poem.

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.

So much of our lives depends on accidents of birth, time, and geography. This haunts me. In some lives, few "or"s are possible. The pain of that is behind the second stanza of this poem.

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.

If a faultless poem could be produced, I am satisfied it would tire the critics themselves; and annoy the whole reading world with the spleen.

One day, I just got up to read a poem and started singing. I looked around - the reaction was great. And I said, oh, boy. I like this.

One of the hardest things for me to do is be fully open in a poem. By that I mean, honest and not trying to amplify some mythological version of myself. I was a poor, geeky black kid in Indianapolis. There is nothing mythological about that. So to try to truly render the kind of economic and racial inequity I grew up in, I had to find a way to be more honest about what happened. And it wasn't fun to write, even though the poems aren't 100% autobiographical.

I had been thinking about the question, "What do I love about America?" I kept coming back to this idea of community and home, which already obsessed me in my work. But I couldn't quite figure out how to lead beyond my immediate experience. Then I was just standing at the kitchen sink, and I watched the sun rise, and I thought, "How many hundreds of thousands of people are watching the same sun rise right now?" I just knew the poem would go from that line.

The poem I want to write is impossible. A stone that floats.

A poem should not mean but be.

With a poem you can say 'I got my feeling into words for myself. I now have the equivalent in words for that much of what I have felt.'

Poem in other words may or may not result from inspiration but must (in reader and author alike) produce it--

Whoever you are, now I place my hand upon you/ That you may be my poem/ I whisper with my lips close to your ear/ I have loved many women and men, but I love none better than you.

I was always cutting words. I even would write my jokes in my notebook. I still do this, almost like a poem.

Between my finger and my thumb The squat pen rests; snug as a gun. ~from the poem "Digging

No one wants to read poetry. You have to make it impossible for them to put the poem down--impossible for them to stop reading it, word after word. You have to keep them from closing the book.