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.

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.

If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.

Often when I write poetry I don't quite know what I'm saying myself. I mean, I can't restate the poem. The meaning of the poem is the poem.

Theology is-- or should be-- a species of poetry,which read quickly or encountered in a hubbub of noise makes no sense. You have to open yourself to a poem with a quiet, receptive mind, in the same way you might listen to a difficult piece of music... If you seize upon a poem and try to extort its meaning before you are ready, it remains opaque. If you bring your own personal agenda to bear upon it, the poem will close upon itself like a clam, because you have denied its unique and separate identity, its inviolate holiness.

In high school I was leafing through an anthology that our teachers had given up and I found a poem, I go, "That's so strange. This poem looks so much like my grandfather's poem."

I can't understand how people can settle for having just one life. I remember we were in English class and we were talking about that poem by - that one guy. David Frost. 'Two roads diverged in a yellow wood-' You know this poem, right? 'Two roads diverged in a yellow wood, and sorry I could not travel both and be one traveler, long I stood and looked down one as far as I could, to where it bent in the undergrowth-" "I loved that poem. But I remember thinking to myself: Why? How come you can't travel both? That seemed really unfair to me.

It's difficult to put your own bare ass out on the limb every time you sit down to write a poem. But that's really sort of the ideal. Because if we don't discover something about ourselves and our world in the making of a poem, chances are it's not going to be a very good poem. So what I'm saying is that a lot of our best poets could be better poets if they wrote less and risked more in what they do.

A good poem is not completely a poem until it has received a critical response that grows out of the poem in an almost biological way.

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

To do a poem justice, explain what makes it unique; to get a poem noticed, explain what makes it typical.

To declaim freedom verses seems like a poem within a poem; freedom requires guns, it requires arms, but no feet.

If you want to really hurt you parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.

At the very beginning when I begin writing a poem I try not to think of the audience or anyone at all except for trying to get at the very center of what is driving that poem. In a way it's like analyzing myself.

I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.

Whenever I read a poem that moves me, I know I'm not alone in the world. I feel a connection to the person who wrote it, knowing that he or she has gone through something similar to what I've experienced, or felt something like what I have felt. And their poem gives me hope and courage, because I know that they survived, that their life force was strong enough to turn experience into words and shape it into meaning and then bring it toward me to share.

When a poem might become a song, then certain parts are repeated and might become a refrain or a chorus, so they change in that way. But it's more the nature of the words and what they're saying that determines whether it's a poem or a song.

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.

I can't tell you where a poem comes from, what it is, or what it is for: nor can any other man. The reason I can't tell you is that the purpose of a poem is to go past telling, to be recognised by burning.

The poem . . . is a little myth of man's capacity of making life meaningful. And in the end, the poem is not a thing we see-it is, rather, a light by which we may see-and what we see is life.

The 'idea' for the poem, which may come as an image thrown against memory, as a sound of words that sets off a traveling of sound and meaning, as a curve of emotion (a form) plotted by certain crises of events or image or sound, or as a title which evokes a sense of inner relations; this is the first 'surfacing' of the poem. Then a period of stillness may follow.

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.

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.

It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same for love.

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.

As a poet I would say everything should be able to come into a poem but I can't put toothbrushes in a poem. I really can't.

A poem compresses much in a small space and adds music, thus heightening its meaning. The city is like poetry: it compresses all life, all races and breeds, into a small island and adds music and the accompaniment of internal engines. The island of Manhattan is without any doubt the greatest human concentrate on earth, the poem whose magic is comprehensible to millions of permanent residents but whose full meaning will always remain elusive.

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.

Men are so inclined to content themselves with what is commonest; the spirit and the senses so easily grow dead to the impressions of the beautiful and perfect, that every one should study, by all methods, to nourish in his mind the faculty of feeling these things. ...For this reason, one ought every day at least, to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.

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

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 always see nice images like that but I don't know what to do with them. I guess you share them with someone. Or you write them down in a poem. I had so many of those little images, but I never shared them or wrote any of them down.

To me, a poem is almost like someone whispering to another person, or you hear the whispering in your head. I hope with my own poems that the reader feels a connection, soul to soul, that'll help us all feel a little less alone on the planet. And it does have the power to direct change. A writer can make the word 'dark' be something positive. You can relieve a word like 'hysterical' of its misogynistic implications. You can make the language your own. That's what poetry is about.

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.

What I love about drafts is the experimental nature of them. The draft is what you know about writing a poem running up against what you don't know about the subject. If you're lucky, you get to surprise yourself.

To a poet the mere making of a poem can seem to solve the problem of truth…but only a problem of art is solved in poetry.

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.

A poem is a small machine made of words. . .Its movement is intrinsic, undulant, a physical more than a literary character.

I once was asked to contribute to a mushroom poem anthology. I didn't have anything, and so instead ended up writing the introduction. I think that request made me more alert to mushrooms, and now they've cropped up in my work, the way mushrooms themselves do after rain, quite a lot. But I've only just now taken up mushroom hunting, after going to a class offered at my local library.

When composing a verse let there not be a hair's breath separating your mind from what you write; composition of a poem must be done in an instant, like a woodcutter felling a huge tree or a swordsman leaping at a dangerous enemy.

Usually a life turned into a poem is misrepresented.

And your eyes must do some raining if you're ever gonna grow / When crying don't help, you can't compose yourself / It's best to compose a poem, an honest verse of longing / Or a simple song of hope.

Another trouble with poetry - and I'm gonna stop the list at two - is the presence of presumptuousness in poetry, the sense you get in a poem that the poet takes for granted an interest on the reader's part in the poet's autobiographical life, in the poet's memories, problems, difficulties and even minor perceptions.

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.

I don't believe a good poet is very often deliberately obscure. A poet writes in a way necessary to him or her; the reader may then find the poem difficult.