Quotes About Poem

For poetry is, I believe, always an act of the spirit. The poem teaches us something while we make it. The poem makes you as you make the poem, and your making of the poem requires all your capacities of thought, feeling, analysis, and synthesis.

What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up

I began composing the next poem, the one that was to be written next. Not the last poem of those I had read, but the poem written in the head of someone who may never have existed but who had certainly written another poem nonetheless, and just never had the chance to commit it to ink and the page.

Things that I have a hard time being able to fully grasp, sometimes writing the poem helps me work through it. Or I get to the end of the poem and I still haven't figured anything out, but at least I have a new poem out of it.

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.

Writing a poem is a more personal experience, I think, than writing prose. And perhaps reading a poem is a more personal experience than reading prose, though that's harder to say.

I am probably going to pay for this at some point, but I think pretty much everyone I come into contact with is fair game. So I use real names sometimes if the poem says it happened like that. It feels right if I use the real person I reference. Of course the poem is all lies, even when it's true, so I guess I can sleep at night.

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.

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.

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.

In this respect a program is like a poem: you cannot write a poem without writing it. Yet people talk about programming as if it were a production process and measure "programmer productivity" in terms of "number of lines of code produced". In so doing they book that number on the wrong side of the ledger: we should always refer to "the number of lines of code spent".

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.

I think you can perform any poem. But what I believe is that the best examples of spoken word poetry I've ever seen, are spoken word poems that, when you see them, you're aware of the fact they need to be performed. That there's something about that poem that you would not be able to understand if you were just reading it on a piece of paper.

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.

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.

Poetry is like a puzzle-solving strategy for me. I like to poem my way through tricky questions and ideas. That's about the only consistent thread through my poem-creation process.

I'm always writing towards a discovery. When I'm writing poems in particular, I'm often writing because a few images coalesced in my mind and I thought, "I wonder why these images are abrading against each other. I wonder what happens if put them in a poem and explore them." I'm trying to learn something every time I write a poem.

I was walking every morning, and I'd take my iPod and paper and pen. As I walked, I wrote a poem, and then I'd come home - and sometimes it's legible, sometimes not - I typed the poem up. So I have a new, yet to be published, collection of poems now. It's called Walker's Alphabet, and among other things, it is about walking. My most recent collection of poems in 2010, incidentally, was titled WALKING backwards.

I'm never quite sure how the poem is going to resolve itself and that I'm always in some way surprised. I make a discovery in a poem as I write it.

You can tell it's a poem because it's swimming in a little gel pack of white space. That shows it's a poem.

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

To make a poem, take one newspaper, one pair of scissors, snip the words one by one and put them in a bag. Shake gently, draw them out at random, and copy them conscientiously... DADA est mort. DADA est idiot. Vive DADA!

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.

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.

Don’t you love quotations? I am immensely fond of them; a certain proof of erudition.... [I]f you should happen to write an insipid poem... send it to me, and my fiat shall crown you with immortality.

Sometimes a poem starts because I feel the urge to write about something from which I carry a great deal of shame, and I try to sketch out in writing how I am complicit in whatever dynamic it is I am illuminating. And sometimes it comes later, when I step back and challenge myself - am I being honest here?

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.

The true poem rests between the words.

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.

A poem is something sacred. Let no one Take it for anything except itself.

Our nature as sensitive beings is far too complex to break apart, re-examine and reshape in a poem.

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.

In a lot of ways, the task at hand for any poem is to approach something that defies exactness or definition with a kind of exactness or precision.

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.

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.

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.

Anybody doesn't like these pitchers don't like potry, see? Anybody don't like potry go home see television shots of big hatted cowboys being tolerated by kind horses. Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand he sucked a sad poem right out of America onto film, taking rank among the poets of the world. To Robert Frank I now give this message: You got eyes.

We have more poets than judges and interpreters of poetry. It is easier to write an indifferent poem than to understand a good one. There is, indeed, a certain low and moderate sort of poetry, that a man may well enough judge by certain rules of art; but the true, supreme, and divine poesy is equally above all rules and reason. And whoever discerns the beauty of it with the most assured and most steady sight sees no more than the quick reflection of a flash of lightning.

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

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

There are different gradations of personhood in different poems. Some of them seem far away from me and some up close, and the up-close ones generally don't say what I want them to say. And that's true of the persona in the poem who's lamenting this as a fact of a certain stage of life. But it's also true of me as me.

A dark poem is meant to redeem the dark part.

One of my earliest memories as a reader - I don't know how old I was, quite young - was a poem of his, called "Fog," and I remember the first verse, "The fog comes / on little cat feet".

He drew a circle that shut me out- Heretic , rebel, a thing to flout. But love and I had the wit to win: We drew a circle and took him In ! From the poem " Outwitted

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.'

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.

The poem is a confession of faith.

A poem with grandly conceived and executed stanzas, such as one of Keats's odes, should be like an enfilade of rooms in a palace: one proceeds, with eager anticipation, from room to room.