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.

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.

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.

Being president is as difficult as writing the perfect poem. And being president is as effortless as writing the perfect poem. Always a Reckoning, my first collection of poetry, was described by Booklist as 'keenly evocative.'

Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important.

Poetry is a really helpful instrument. It's so physical; the musicality becomes a sort of expression of the body. The mind is there too, in the formal aspects of the poem. The emotions are there in the way the senses gather things into the poem.

The impulse to create begins - often terribly and fearfully - in a tunnel of silence. Every real poem is the breaking of an existing silence, and the first question we might ask any poem is, What kind of voice is breaking silence, and what kind of silence is being broken?

I do think that the long poem speaks for an inner need for continuity. We live in a time of so many losses, disruptions, and distractions, that the need for a sense of the ongoing is quite real. The long poem is very satisfying in offering the psyche a model of coherence.

When I start writing a poem, I can usually know quite early on whether it's a lineated or prose poem, but I don't think I can explain how. It's like deciding whether to wear a skirt or a pair of pants.

You don’t read or overhear the voice in the poem, you are the voice in the poem.

I entered a poem in a poetry contest around 1987, and the poem won and I received $1,000 for it. That made me realize that maybe what I was writing was worth reading to people. After that, for some reason, I turned to novels and I've written mainly novels ever since.

Reading a poem is a real thing, a worthy thing. So to be there right with the reader at that moment is part of the effect of a title like "Poem for" something or other. Matt Rohrer does this a lot in his titles, and I think I might have gotten some of the idea to do this, or at least been reminded of how it can work, from his recent amazing books.

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.

The art has to have a life of its own and not merely illustrate. I've always felt a great illustration can make a good poem even better. That's the advantage I have in illustrating my own work - I have the freedom to leap far from the poem.

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.

I can't read my poem "Distracted by an Ergonomic Bicycle" without thinking of Seattle, where the events of the poem took place, and I can't read "In Defense of the Semicolon" without thinking of Toronto - but why should that matter to anyone else? If another reader imagines "In Defense of the Semicolon" taking place in New Orleans, great.

She was sitting cross-legged on her bed in her white kimono, writing in a notebook with an ink pen she dipped in a bottle. 'Never let a man stay the night,' she told me. 'Dawn has a way of casting a pall on any night magic.' The night magic sounded lovely. Someday I would have lovers and write a poem after.

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.

To begin with, I wanted that truth to life to possess a concrete reliability, and rejoiced most when the poem seemed most direct, an upfront representation of the world it stood in for or stood up for or stood its ground against.

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

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

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.

After I saw my first poem published, I became interested in the immortalization of words and the fact that you could put something out there that you felt and that meant something to you, and that it could be interpreted by many different people to mean many different things.

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've stood in long lines, in the rain and under the sun, just to buy a pack of butter or a box of paper napkins. I've seen mothers running after the corpses of their martyred sons, oblivious to whether their headscarves or their chadors or their stockings and shoes were slipping off or not. I won't say any more. In the light of all this, how did you expect my poetry to be joyful or, as in my recent poem, to speak of love? Even so, more than half of my poetry is joyful and these are the products of the moments when I've felt happy.

Abstract understanding doesn't mean arbitrary sloshing and messing. Abstract art is controlled visual magic based on laws and methodology. Abstraction generally involves implication, suggestion and mystery rather that obvious description. Like a good poem, a good abstraction attacks your feelings before your understanding. Abstraction within realism adds zest and excitement to otherwise dull subject matter. Abstract understanding takes time and patience.

Writing a poem ... is a kind of possible love affair between something like the heart (that courageous but also shy factory of emotion) and the learned skills of the conscious mind.

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.

When I cannot write a poem, I bake biscuits and feel just as pleased.

Let your poem be kept nine years.

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

I don't like crows. In the poem "C," crows are predatory, killing other birds and so forth. But in my morning walks, there were always crows, particularly at certain times of the year. And they're very aggressive, very visible and loud. They're not at all likable, but they have to be dealt with. They are part of the picture, the art in the morning. You cannot deny their reality.

The writing of a poem is like a child throwing stones into a mineshaft. You compose first, then you listen for the reverberation.

I thought a bit of poetry might be interesting - I even write a few lines myself. I composed a short poem for my mum's 70th birthday recently. When I recited it I saw the glint of a tear in her eye...although I guess it wasn't the quality of the poetry was that making her cry!

God wrote His loveliest poem on the day He made the first silver poplar tree, And set it high upon a pale-gold hill For all the new enchanted earth to see.

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

A good poem looks life straight in the face, unflinching, sincere, equal to revelation through loss or gain.

I have met with women whom I really think would like to be married to a Poem and to be given away by a Novel.

I think Hemingway's [book] titles should be awarded first prize in any contest. Each of them is a poem, and their mysterious power over readers contributes to Hemingway's success. His titles have a life of their own, and they have enriched the American vocabulary.

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.

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.

Every word was once a poem. Every new relation is a new word.

No poem is intended for the reader, no picture for the beholder, no symphony for the listener.

When Cynthia smiles, said young Bingo, the skies are blue; the world takes on a roseate hue; birds in the garden trill and sing, and Joy is king of everything, when Cynthia smiles. He coughed, changing gears. When Cynthia frowns - What the devil are you talking about?I'm reading you my poem. The one I wrote to Cynthia last night. I'll go on, shall I?No!No?No. I haven't had my tea.

The simple truth is that being a creative artist takes courage; it’s not a job for the faint of heart. It takes courage each and every time you put a book or poem or painting before the public, because it is, in fact, enormously revealing.

Every single soul is a poem, written on the back of God's hand

When death comes…. I want to step through the door full of curiosity, wondering: what it’s going to be like, that cottage of darkness? And therefore I look upon everything as a brotherhood and a sisterhood, and I look upon time as no more than an idea, and I consider eternity as another possibility, and I think of each life as a flower, as common as a field daisy, and as singular, and each name a comfortable music in the mouth, tending, as all music does, toward silence, and each body as a lion of courage, and something precious to the earth. [from the poem "When Death Comes"]

Nature and books belong to the eyes that see them. It depends on the mood of the man, whether he shall see the sunset or the fine poem. There are always sunsets, and there is always genius; but only a few hours so serene that we can relish nature or criticism. The more or less depends on structure or temperament. Temperament is the iron wire on which the beads are strung. Of what use is fortune or talent to a cold and defective store?