Quotes About Poem

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.

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.

The "truth" is the poem itself. Just because someone writes a poem about a feeling she has does not mean that the feeling will stay forever. The truth of the emotion of the poem remains, even if the particular truth of the poet changes.

I wrote a number of poems about Kah Tai lagoon, when Safeway was building that huge, ugly store down there where I used to love to watch the birds nest. That political poem, or environmental poem, was unsuccessful because Safeway built there anyway. And yet the poem has something to say today, as it did then. And I speak here only of my own poems. The agenda for every poet has to be different because most of us write from direct human experience in the world.

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.

I like the poem on the page and not at the podium. I like to address the poem in peace and quiet, not on the edge of a folding chair with a full bladder. I can't stand hearing a poem that I can't see. I did a reading at Wayne State, and it ended with the comedy such occasions deserve. I'd seated myself on a piano bench, and discovered upon attempting to arise at the end that the varnish had softened and I was stuck fast. The hinge was to the front, under my knees, so that as I tried to get up, I merely opened the lid.

You must believe: a poem is a holy thing - a good poem, that is. The poem, even a short time after being written, seems no miracle; unwritten, it seems something beyond the capacity of the gods.

As a poet who has the tools for interpreting the poem differently, you can begin to deconstruct it. But the human being who's like, "I know about conversation, I know about language, I know about hard times," will approach the poem differently.

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.

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.

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

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.

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.

For me, form is something I locate in the process of writing the poems. What I mean is, I start scribbling, and then try to form the poem - on a typewriter or on my computer - and, by trial and error, try to find the right shape. I just try to keep forming the poem in different ways until it feels right to me.

Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.

The poem is not only the point of origin for all the language and narrative arts, the poem returns us to the very social function of art as such.

In Science we have been reading only the notes to a poem; in Christianity we find the poem itself.

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.

Translation makes me look at how a poem is put together in a different way, without the personal investment of the poem I'm writing myself, but equally closely technically.

If I wrote in a sonnet form, I would be distorting. Or if I had some great new idea for line breaks and I used it in a poem, but it's really not right for that poem, but I wanted it, that would be distorting.

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.

With lines that show an unyielding dedication to craft, these poems are not afraid of meaning or the meaningful. More and more every day, the thinking American asks how she is to believe in love when there is war all about her, and in each of her deeply felt lyrics, Elyse Fenton confronts this question with the kind of tenderness one lover reserves for another. If every poem is indeed a love poem,Clamor is indeed a debut worth reading and about which we must make noise.

Readers have to be sought out and won to the light of the page, poem by poem, one by one by one.

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

A page with a poem on it is less attractive than a page with a poem on it and some tea stains.

All the translations of a poem in all possible languages may add nuance to nuance and, by a kind of mutual retouching, by correcting one another, may give an increasingly faithful picture of the poem they translate, yet they will never give the inner meaning of the original.

The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry is a kind of circuit that takes place between a poet, a poem and a reader and that meaning doesn't exist or in here in poems alone.

In a play, certainly, the subject is of more importance than in any other work of art. Infelicity, triviality, vagueness of subject, may be outweighed in a poem, a novel, or a picture, by charm of manner, by ingenuity of execution; but in a drama the subject is of the essence of the work-it is the work. If it is feeble, the work can have no force; if it is shapeless, the work must be amorphous.

Poetry is sentimental to begin with. To write a sentimental poem is an act of redundancy.

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

It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony.

A poem is the perfect place to celebrate imperfection and exult in the ways you fall short of being the person you want to be.

With several different kinds of poetry to choose from, a man would decide that he would like best to be an epic poet, and he would set out, in conscious determination, on an epic poem.

Why are all reflections lovelier than what we call reality? -- not so grand or so strong, it may be, but always lovelier? Fair as is the gliding sloop on the shining sea, the wavering, trembling, unresting sail below is fairer still...All mirrors are magic mirrors. The commonest room is a room in a poem when I turn to the glass...There must be a truth involved in it, though we may but in part lay hold of the meaning.

Every day, a piece of music, a short story, or a poem dies because its existence is no longer justified in our time. And things that were once considered immortal have become mortal again, no one knows them anymore. Even though they deserve to survive.

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.

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

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

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

Let my life as Poet begin. I want the life of the Poet. I have labored for over twelve years, one thousand pages of prose. Now, I want the easiness of poetry. The brevity of the poem.

When I start writing a poem, I don't think about models or about what anybody else in the world has done.

That night when you kissed me, I left a poem in your mouth, and you can hear some of the lines every time you breathe out.

I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words.

Poetry is, above all, an approach to the truth of feeling. A fine poem will seize your imagination intellectually - that is, when you reach it, you will reach it intellectually too - but the way is through emotion, through what we call feeling.

As a guiding principle I believe that every poem must be its own sole freshly created universe, and therefore have no belief n 'tradition' or a common myth-kitty or casual allusions in poems to other poems or poets, which last I find unpleasantly like the talk of literary understrappers letting you see they know the right people.

A poem is a private story, after all, no matter how apparently public. The reader is always overhearing a confession.

Paul Valery speaks of the 'une ligne donnee' of a poem. One line is given to the poet by God or by nature, the rest he has to discover for himself.

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.