Quotes About Poems

I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.

I do bring my teaching together with my writing. I make students write in class, and do the same prompts I give them. I'm always on the lookout for teaching poems - poems that inspire me and my students to write poems in response.

Southern poets are still writing narrative poems, poems in forms, dramatic poems.

I guess that would have been 1968. I was a freshman in college and I wasn't writing good poems, but I was at least trying to write poems then.

I also like poems that are haunted by a structure or a narrative, or poems that frisk flirtatiously at the boundary of sense.

I'd rather call prose poems something else, for clarity - something like "poetic prose," prose that contains a quality of poetry, but not poems.

With ferocity and extraordinary craft, Lizzie Harris has made a book of poems that resonates far beyond the personal stories it tells. Stop Wanting reveals, in every lyric, its author's profound metaphorical gifts. In its ironies and intensities, it brings to mind a writer like the young Sylvia Plath, though what is startling about Harris' s work is the way it combines those gifts with a muted, deft self-awareness. Most of all, these are wonderfully shaped, powerful, and surprising poems-a startling debut.

However, I began to submit poems to British magazines, and some were accepted. It was a great moment to see my first poems published. It felt like entering a tradition.

Writing fiction, for me, is a more indirect form of self-exploration than writing verse. When I'm working on a novel I'm moving characters around and I'm thinking about plot and there's a lot of other things going on at the level of structure and story. With a poem, a single idea or line or emotion can sometimes be enough - there's often a sense, in the best poems, of capturing a single instant. Perhaps poems differ from prose in the degree of solace they can offer - by speaking so personally, so directly, about shared experience. A few lines of poetry can provide comfort.

Too many poets write poems which are only difficult on the surface, difficult because the dramatic situation is easily misunderstood. It's not difficult to write poems that are misunderstood. A drunk, a three-year-old-they are easily misunderstood. What is difficult is being clear and mysterious at the same time. The dramatic situation needs to be as clear in a poem as it is in a piece of good journalism. The why is part of the mystery, but the who, what, where, and when should all be understood.

When you think of things that influenced your life, Mother Goose influenced more people than almost any other thing, the rhythms of those poems. Everything after that was a bare imitation of some of those mysterious and materialistic poems.

I am a relatively rational being and I like to create order in poems. I like meter, I like rhyme, but ultimately I don't know where the poems come from, and I feel, at least in the beginning, that I'm taking dictation from my own dream that I don't remember.

Poems are language turned into art; sound and sense matter; they can be as long or longer than The Odyssey or as short or shorter than a haiku. Not very helpful.

I wanted a perfect ending. Now I've learned, the hard way, that some poems don't rhyme, and some stories don't have a clear beginning, middle and end.

I definitely notice the absence of character in most poetry, which is not so say that I'm an innovator in that regard. Character-based poems are not weird or new by any stretch but they feel strange and new because the atmosphere is one in which no one does that. People always talk about, and with good reason, poetry's unpopularity. When people say that they forget or they brush aside the fact that in the middle part of the last century poetry was immensely popular. Dylan Thomas was basically a rock star; so was Anne Sexton.

I have a little tiny Emily Dickinson so big that I carry in my pocket everywhere. And you just read three poems of Emily. She is so brave. She is so strong. She is such a sexy, passionate, little woman. I feel better.

In the power and splendor of the universe, inspiration waits for the millions to come. Man has only to strive for it. Poems greater than the Iliad, plays greater than Macbeth, stories more engaging than Don Quixote await their seeker and finder.

I am preparing myself for death. When I go to sleep, I try to keep myself smiling. So that when I die, I have a smile on my lips. I want an electric cremation. I don't want any poems or fuss after that. And for heaven's sake, don't bring back my ashes. Flush them down the toilet if the crematorium refuses to keep them. If they tell you that I am dead, I want you to give a big laugh.

I like when a poem ends on its "receipts," meaning it gives me something tactile or tangible to dwell on as I exit the reading experience. So I strive to end my own poems that way as well.

Mythologies, in other words, mythologies and religions are great poems and, when recognized as such, point infallibly through things and events to the ubiquity of a

I've said what I'm prepared to say in my poems, and then journalists think that you're going to tell them a whole lot more.

A lot of young poets today, from what I've heard and experienced, can't get their heads past George W. Bush, and I've heard so many poems about this democracy and this era of politics that I'm kind of bored by it

I am pretty interested in hybrid forms. I love graphic novels and I think there should be more graphic poems in the world.

But in a lot of ways my poems are very conventional, and it's no big deal for me to write a poem in either free verse or strict form; modern poets can, and do, do both.

I'm terrified of switching the computer on because there are so many poems

A painter can turn pennies into gold, for all subjects are capable of being transformed into poems.

The great poems are not about experience, but are the experience itself, felt in the body.

Today is the first of August. It is hot, steamy and wet. It is raining. I am tempted to write a poem. But I remember what it said on one rejection slip: 'After a heavy rainfall, poems titled 'Rain' pour in from across the nation.

Somewhere back a whiskey or so ago I wrote that thinking was a real thing in the world, just like anything else. I mean that very literally, materially. And it's true about poems, too.

When I was about twenty-one, I published a few poems. Maybe I wrote a couple of stories before, but I really began to write stories in my mid-thirties. My kids were still little, and they were in school and day care, and I had begun to think a lot about wanting to tell some stories and not being able to do it in poetry.

Your poems are rather hard to understand, whereas your paintings are so easy. Easy? Of course - you paint flowers and girls and sunsets; things that everybody understands. I never met him. Who? Everybody. Did you ever hear of nonrepresentational painting? I am. Pardon me? I am a painter, and painting is nonrepresentational. Not all painting. No: housepainting is representational. And what does a housepainter represent? Ten dollars an hour. In other words, you don't want to be serious - It takes two to be serious.

Seek wisdom in books, rare manuscripts, and cryptic poems if you will, but seek it out also in simple stones, and fragile herbs, and in the cries of wild birds. Listen to the whisperings of the wind and the roar of water if you would discover magic, for it is here that the old secrets are preserved.

I think it is our job as poets to refuse the terms that society so often sets for usefulness. That, for instance, is what Dickinson did: she refused to be a wife, a homemaker, a standard member of her community. She knew she had to in order to have the space and time to write her poems. Thank god she said no!

Young writers should be encouraged to write, and discouraged from thinking they are writers. If they arrive at college with literary ambitions, they should be told that everything they have done since their first childhood poems, printed in the school paper, has been preparation for entering a long, long apprenticeship.

Poems have their own fates, like children. You have only to give birth to them.

Dark pictures, thrones, the stones that pilgrims kiss Poems that take a thousand years to die But ape the immortality of this Red label on a little butterfly .

That was one of things that surprised me so much when I was writing the poems. The contrasts between the haves and have-nots is so complicated. It's financial of course, but it's also the lifestyle choices. The more money people have the further away from each other they often want to be. So while I loved not being hungry and having new gear, etc. I missed the sounds of my neighbors and the kind of generosity people who are struggling together often show.

A writer who has never explored words, who has never searched, seeded, sieved, sifted through his knowledge and memory...dictiona ries, thesaurus, poems, favorite paragraphs, to find the right word, is like someone owning a gold mine who has never mined it.

I treat myself as one of the sources. And, again, I think that’s accurate. One of the poets I read most frequently is myself. I really do. I read my own poems obsessively.

I thought of all the others who had tried to tie her to the ground and failed. So I resisted showing her the songs and poems I had written, knowing that too much truth can ruin a thing. And if that meant she wasn't entirely mine, what of it? I would be the one she could always return to without fear of recrimination or question. So I did not try to win her and contented myself with playing a beautiful game. But there was always a part of me that hoped for more, and so there was a part of me that was always a fool.

One of the greatest, most noble, and most sublime poems which either this age or nation has produced.

It took me 14 years to write poems about Vietnam. I had never thought about writing about it, and in a way I had been systematically writing around it.

Having examined three thousand haiku poems - two persimmons.

I don't let a poem go into the world unless I feel that I've transformed the experience in some way. Even poems I've written in the past that appear very personal often are fictions of the personal, which nevertheless reveal concerns of mine. I've always thought of my first-person speaker as an amalgam of selves, maybe of other people's experiences as well.

In my godless household, poems were the closest we came to sacred speech -- the only prayers said.

The dark night was the first book of poetry and the constellations were the poems.

If you have no love, do what you will - go after all the gods on earth, do all the social activities, try to reform the poor, the politics, write books, write poems - you are a dead human being. Without love your problems will increase, multiply endlessly.

Poems very seldom consist of poetry and nothing else; and pleasure can be derived also from their other ingredients. I am convinced that most readers, when they think they are admiring poetry, are deceived by inability to analyse their sensations, and that they are really admiring, not the poetry of the passage before them, but something else in it, which they like better than poetry.