Quotes About Poem

The mind wraps itself around a poem. It is almost sensual, particularly if you work on a computer. You can turn the poem round and about and upside down, dancing with it a kind of bolero of two snakes twisting and coiling, until the poem has found its right and proper shape.

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 each poem to be ambiguous enough that its meaning can shift, depending on the reader's own frame of reference, and depending on the reader's mood. That's why negative capability matters; if the poet stops short of fully controlling each poem's meaning, the reader can make the poem his or her own.

It has been said that a poem should not mean but be. This is not quite accurate. In a poem, as distinct from many other kinds of verbal societies, meaning and being are identical. A poem might be called a pseudo-person. Like a person, it is unique and addresses the reader personally. On the other hand, like a natural being and unlike a historical person, it cannot lie.

The poet is in the end probably more afraid of the dogmatist who wants to extract the message from the poem and throw the poem away than he is of the sentimentalist who says, "Oh, just let me enjoy the poem."

I have never started a poem yet whose end I knew. Writing a poem is discovering.

I've always been intrigued with the male characters in novels like 'Pride and Prejudice' such as Mr. Darcy, and this poem is part of a series of poems that explore desire and obsessions. The poems have been sitting in a drawer for a few years, so I decided to dust them off and work on them again since I have not written a new poem in more than three years. I'm not sure anything will become of the series, but at least it gives me something to work on in a period where I feel very uncreative.

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.

I don't know what started me, I just wrote poetry from the time was quite small. I guess I liked nursery rhymes and I guess I thought I could do the same thing. I wrote my first poem, my first published poem, when I was eight-and-a-half years old. It came out in The Boston Traveller and from then on, I suppose, I've been a bit of a professional.

[The publication of his first poem] was wonderful ... but it taught me early on that the only thing that really matters is writing the next poem. Publication is best seen as a happy accident.

The judges who awarded the 1980 Commonwealth Poetry Prize to my first collection of poems, Crossing the Peninsula and Other Poems, cited with approval and with no apparent conscious irony my early poem, "No Alarms." The poem was composed probably sometime in 1974 or 1975, and it complained about the impossibility of writing poetry - of being a poet - under the conditions in which I was living then.

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

And when my second book had come out, "Wild Gratitude," I went to Pearl London's class and she worked through different drafts of poems and there were the drafts of my poem, "Wild Gratitude," and I saw that I had begun the poem with the title "August 13th."

Anything Can Happen is also, incidentally, a poem that arose from teaching. I'd talked about the Horace Ode (I, 34) [on which the poem is based] in a lecture I gave at Harvard in the fall of 2000 entitled Bright Boltsand remembered it after the Twin Towers attack.

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

Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.

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.

Often you've read another poem that you think is so beautiful that you'd like to make something like that. And so you try to make a sonnet that works in a certain kind of way, or you try to make something that's songlike, or you create a refrain, or you love the way a poem works in two line stanzas and you try to do that.

In a poem, the words happen; they just come. I let them. Otherwise, I wouldn't write. To interfere with what is happening is to distort the poem. Just a very small degree of intelligence and supervision is necessary. Very tactful. Any revision later that violates the text as it came, that begins rewriting the words, is fake.

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.

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

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.

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.

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.

Poems have a different music from ordinary language, and every poem has a different kind of music of necessity, and that's, in a way, the hardest thing about writing poetry is waiting for that music, and sometimes you never know if it's going to come.

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.

Writing a poem is unwriting a knot, like untying a shoelace that is clubbing your foot.

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

Have endless patterns and repetitions accompanying your thoughtlessness, as if to say let go of that other more linear story, with its beginning, middle, and end, with its transcendent end, let go, we are the poem, we have come miles of life, we have survived this far to tell you, go on, go on.

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

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.

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.

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

What is the poem, after it is written? That is the question. Not where it came from or why.

There are some situations which men understand by instinct, by which reason is powerless to explain; in such cases the greatest poet is he who gives utterance to the most natural and vehement outburst of sorrow. Those who hear the bitter cry are as much impressed as if they listened to an entire poem, and when th sufferer is sincere they are right in regarding his outburst as sublime.

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 visited Paterson many years ago - 20 some years ago as a kind of day trip because of William Carlos Williams, because of Allen Ginsberg having lived there. And I went to the Great Falls and sat really in the exact same spot as Adam Driver does as Paterson. And I walked around the factory buildings, and I was rereading - I was reading at the time the epic length poem "Paterson" by Williams.

If a poem hasn't ripped apart your soul; you haven't experienced poetry.

Rome was a poem pressed into service as a city.

Like every other form of art, literature is no more and nothing less than a matter of life and death. The only question worth asking about a story — or a poem, or a piece of sculpture, or a new concert hall — is, Is it dead or alive?

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

a poem is like a wine glass in which you can hold up a little bit of reality and taste it.

If you cannot be a poet, be the poem.

Each poem in becoming generates the laws by which it is generated: extensions of the laws to other poems never completely take.

Just as a child is really a thing that wants to become a man, so is the poem an object of nature that wants to become an object ofart.

Poetry’s medium is the individual chest and throat and mouth of whoever undertakes to say the poem.

You have weak artificial intelligence, which is a robot or a computer system that follows a list of protocols and it's like yes/no answers that can be as complex as you want, and then you have strong A.I., which is basically like a human, like something that can think up a thought that's never been thought up or paint a painting or write a poem.

No one wants to read poetry. You have to make it impossible for them to put the poem down--impossible for them to stop reading it, word after word. You have to keep them from closing the book.