Quotes About 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.

I want to reiterate that my understanding of the poem is not the poem's core, true meaning. Once a poem goes out into the world, the poet is just one more reader.

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?

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.

If I begin writing a poem that means I'm intrigued in some way by whatever it's about and that if I'm not trying to find something new and pushing the envelope in the poem I can't expect my reader to be particularly excited about it either.

In the past I have declined to comment on my own work: because, it seems to me, a poem is what it is; because a poem is itself a definition, and to try to redefine it is to be apt to falsify it; and because the author is the person least able to consider his work objectively

No poem, not even Shakespeare or Milton or Chaucer, is ever strong enough to totally exclude every crucial precursor text or poem.

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.

It seems to me that the desire to make art produces an ongoing experience of longing, a restlessness sometimes, but not inevitably, played out romantically, or sexually. Always there seems something ahead, the next poem or story, visible, at least, apprehensible, but unreachable. To perceive it at all is to be haunted by it; some sound, some tone, becomes a torment — the poem embodying that sound seems to exist somewhere already finished. It’s like a lighthouse, except that, as one swims towards it, it backs away.

When the Divine Artist would produce a poem, He plants a germ of it in a human soul, and out of that soul the poem springs and grows as from the rose-tree the rose.

I've always been more than a little mystified by poets who seem to think talking to people as directly as possible is a bad thing. I mean, I don't want to set up a straw man here: I understand that for many poets - and for me, at times - writing truly means writing in a way that is difficult, simply because the poem is trying to grasp for something elusive. So the difficulty of the poem is just unavoidable, and not in any way artificially imposed. So "as possible" is the key part of the phrase above, I suppose.

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.

The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.

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.

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

When words become a poem, it makes sense to me, but I don't know how to explain to someone why the words are the way they are. It's just the logic of the poem to me.

If you can explain a poem, it is not a poem. Poetry has to be inexplicable.

Do I start with the lyrics? No. Quite honestly, it's the opposite. I generally get the melody first - I kinda fiddle around on the guitar and work out a melody. The lyrics are there to flesh out the tone of the music. I've tried before to do things the other way around, but it never seems to work. Obviously, I spend a lot of time on my lyrics, I take them very seriously, but they're kinda secondary. Well, equal, maybe. I think sometimes that if you write a poem, it should remain as just a poem, just... words.

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.

If I were to agree to write the music for your beautiful poem, it would tie your poem up for some years as I have agreements and obligations which I must respect.

Ordering a man to write a poem is like commanding a pregnant woman to give birth to a red-headed child.

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.

My best times are midnight to six actually. I'll leaf through my notebooks and if something catches my eye and I feel like I want to transfer it from the notebook to the page, I do, and then comes this very strange process which is difficult to describe in that I'll write until I get stuck or I can't go any further or I'm boring myself or whatever and then I might go to another poem.

Artist Allen Crawford brings Whitman's undying text to new life in gorgeous hand-lettering and illustrations, transforming the 60-page poem originally published in 1855 as the centerpiece of Leaves of Grass into a breathtaking 256-page piece of art.

The true poem rests between the words.

Written in support of abolishing the Corn Laws, it became Elliott's most famous poem. The Peoples Anthem When wilt thou save the people Oh, God of mercy! When? Not kings and lords, but nations! Not thrones and crowns, but men! Flowers of thy heart, of God they are. Let them not pass like weeds, away Their heritage a sunless day! God save the people! When wilt thou save the people? Oh, God of mercy! When? The people Lord the people! Not thrones and crowns, but men! God save the people! Thine they are, Thy children, as thy angels fair, Save them from bondage and despair. God save the people!

The art and science of memory is about developing the capacity to quickly create images that link disparate ideas. Creativity is the ability to form similar connections between disparate images and to create something new and hurl it into the future so it becomes a poem, or a building, or a dance, or a novel. Creativity is, in a sense, future memory.

My first performance poem was about how sometimes I was teased for being manly, or a tomboy or whatever. It was saying how just because I looked a certain way and displayed myself a certain way didn't mean that I wasn't also a feminine human...a woman if you will.

Yes, there is a Nirvanah; it is leading your sheep to a green pasture, and in putting your child to sleep, and in writing the last line of your poem

I think a lot about the poems I wasn't able to write...I masturbrated...Solitude is essentially a matter of pride; you bury yourself in your own scent. The issue is the same for all real poets. If you've been happy for too long, you become banal. By the same token, if you've been unhappy for a long time, you lose your poetic power...Happiness and poverty can only coexist for the briefest time. Afterword either happiness coarsens the poet or the poem is so true it destroys his happiness.

I should be writing a poem every morning but I'm not.

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.

The poet should try to give his poem the quiet swiftness of flame, so that the reader will feel and not think while he is reading. But the thinking will come afterwards.

I think that when a poem can move readers across generations and across its specific class or race then it becomes truly classic.

I wasn't quite used to writing a diary - I didn't understand why people did it - but I wrote down notes and they went into a poem.

I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.

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.

Writing poetry is a process of discovery...you can smell the poem before you see it....Like some animal.

But in reading great literature I become a thousand men and yet remain myself. Like the night sky in the Greek poem, I see with a myriad eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do.

On occasions, after drinking a pint of beer at luncheon, there would be a flow into my mind with sudden and unaccountable emotion, sometimes a line or two of verse, sometimes a whole stanza, accompanied, not preceded by a vague notion of the poem which they were destined to form a part of.... I say bubble up because, so far as I could make out, the source of the suggestions thus proffered to the brain was the pit of the stomach.

Try making a poem as if it were a table, clear and solid, standing there outside you.

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 my prose - mine and that of others - sometimes slips into a cadence or rhythm that can replicate or come close to the music in a wonderful poem, and then it returns to the sound of prose.

I am a poem. There is no way out.

Do three things each night before you go to bed: read a poem, read a short story, read an essay.

Poetry is not a silent art. The poem must perform, unaided, in its reader's head. Educated readers give themselves a good performance. Educated listeners compare performance with text and with other performances. Good poets use the full resources of language.

One way poetry connects is across time. . . . Some echo of a writer's physical experience comes into us when we read her poem.

Can individual psychic wounds really heal in an abusive and fragmented society? Audre Lorde has a poem which begins, "What do we want from each other/ after we have told our stories?" Where do we go to explore our stake with others in such a society?