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 don't think I did write any poems to fill narrative gaps. Not consciously, anyway. As much as possible, I try to discover my poems' subject matter through the act of writing, instead of deciding ahead of time what my poems will be about.

The poem in Where Good Swimmers Drown are love poems. But love poems that defy the divisions between emotion and intellect, private and public, life and art, writer and reader. To read Elbe's poems is to discover not only what it means to be in love, but what it means to be alive.

I like poems that are daggers that sing. I like poems that for all the power of the sentiments expressed, and all the power to upset and offend, are so well made that they’re achieved things. However much they upset you, they also affect you.

I love to read long books. I enjoy experiencing that extension. But it's not something I feel comfortable with and not something I think I can gain comfort with by practice. It was a real struggle for me while writing memoir to get past three pages or so. In poems, I can write long poems. But length in prose: no.

Poems have ideas. The ideas of poems come out of their emotions and their emotions are carried on images.

I know I'll keep writing poems. That's the constant. I don't know about novels. They're hard. It takes so much concentrated effort. When I'm writing a novel it's pretty much all I can do. I get bored. It takes months. Movies do the same thing. It's all-encompassing. It feels like I'm going to end up writing poems, short stories and screenplays.

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.

Writing for me is an ongoing practice of facing and countering fears. And so, in that sense, I have always been responding to phobias. I am often most surprised by the writing that comes from facing fears that strike closest to home, poems that explore internalized phobias about gender identity, sexuality, and the body, poems that struggle with a question like do I deserve love?

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.

I remember in school - in elementary school - I used to recite poems. We'd have to recite poems. And I would always just, like, roll on the floor, like, just make it such a huge, melodramatic portrayal of whatever it was.

The most exhilarating for the writer and the reader, are gift-things-poems which arrive on their own energy, poems that in William Shakespeare's term "slip" from you.

The nobility of Teresa Leo's poems is that they are not disposed to hide from the dark-rather, they display a mind that tends toward obsession and brooding, that works against fatality like fingers at a knot. The firm, attentive mind on display and the lucid unfolding of the poems are the life instinct seeking and finding its way through again and again. Love and beauty are the argument, but they don't win easily. Bloom in Reverse works through elegy toward survival with moving persistence, both driven and compelling.

So for whatever reason those short lines just felt right to me, in my physical self. They were right for the movement of the poems. Some poems in the book have longer lines.

Keats's odes are among my favorite poems ever. As are Neruda's. So yes, I think my poems are odes, though I really just see those titles as ways of more or less orienting the poem. I've never thought about this until now, but I guess you could say that one effect of all the titles, their pervasiveness in the book, might be to once again, as so many other things do, put into question the meaning of the word "for," which I suppose is one of the great human questions: what is all this for? Why, and for whom, are we doing whatever we are doing?

It is always hard for poets to believe that one says their poems are bad not because one is a fiend but because their poems are bad.

Hyesims poems: transformative as walking high granite mountains by moonlight, with fragrant herbs underfoot and a thermos of clear tea in the backpack. Their bedrock is thusness, their images beauty is pellucid and new, their view without limit. The shelf of essential Zen poets for American readers grows larger with this immediately indispensable collection.

If you stuff yourself full of poems, essays, plays, stories, novels, films, comic strips, magazines, music, you automatically explode every morning like Old Faithful. I have never had a dry spell in my life, mainly because I feed myself well, to the point of bursting. I wake early and hear my morning voices leaping around in my head like jumping beans. I get out of bed to trap them before they escape.

I had been dreaming a complicated dream about helping poets revise their poems, so that each ending would open like a flower. I was not arguing, but engaged in a rousing discussion.

My songs were influenced not so much by poetry on the page but by poetry being recited by the poets who recited poems with jazz bands.

Writing poems is my way of celebrating with the world that I have not committed suicide the evening before.

The best poems take long journeys. I like poetry best that journeys--while remaining in the human scale--to the other world, which may be a place as easily overlooked as a bee's wing

I'm filled with admiration, delight, and gratitude at discovering James Lasdun's poems in A Jump Start. He has wit, speed, intelligence, a keen eye, precision, and imagination of a high order.

No, life cannot be understood flat on a page. It has to be lived; a person has to get out of his head, has to fall in love, has to memorize poems, has to jump off bridges into rivers, has to stand in an empty desert and whisper sonnets under his breath... We get one story, you and I, and one story alone. God has established the elements, the setting and the climax and resolution. It would be a crime not to venture out, wouldn't it?" -Donald Miller,Through Painted Deserts

Far off in the red mangroves an alligator has heaved himself onto a hummock of grass and lies there, studying his poems.

As artists, we belong to an ancient and holy tribe. We are the carriers of the truth that spirit moves through us all. When we deal with one another, we are dealing not merely with our own human personalities but also with the unseen but ever-present throng of ideas, visions, stories, poems, songs, sculptures, art-as-facts that crowd the temple of consciousness waiting their turn to be born.

There are not enough poems in praise of bed.

If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.

I've not been a prolific poet, and it always seemed to me to be a bad idea to feel that you had to produce in order to get... credits. Production of a collection of poems every three years or every five years, or whatever, looks good, on paper. But it might not be good; it might be writing on a kind of automatic pilot.

I write a lot, poems and such, and when I look at it the next day, I can analyze what the problem is and find the solution. It's the same when I watch myself on the big screen, but first, my vanity has to go away and so I have to watch it ten times. But when it has gone, and I don't think my nose is too big and everything else, then I start analyzing, and I think it helps me to become a better person.

My poems getting published in Russia doesn't make me feel in any fashion, to tell you the truth. I'm not trying to be coy, but it doesn't tickle my ego.

For it is a mad world and it will get madder if we allow the minorities, be they dwarf or giant, orangutan or dolphin, nuclear-head or water-conversationalist, pro-computerologist or Neo-Luddite, simpleton or sage, to interfere with aesthetics. The real world is the playing ground for each and every group, to make or unmake laws. But the tip of the nose of my book or stories or poems is where their rights end and my territorial imperatives begin, run and rule.

If poets often commit suicide, it is not because their poems are bad but because they are good. Whoever heard of a bad poet committing suicide? The reader is only a little better off. The exhilaration of a good poem lasts twenty minutes, an hour at most. Unlike the scientist, the artist has reentry problems that are frequent and catastrophic.

I require silence to write the way an apple tree requires winter to make fruit. Being with people is intimate and joyous, but at some point, I'll wander off by myself. The paradox is that what began in childhood as an act of necessary solitude has led me straight to a life with others, in which I fly to China or Lithuania or northern Minnesota to read my poems and talk with other people who love language made into a lathe on which a life can be tuned and be turned.

For poems are not, as people think, simply emotions (one has emotions early enough)-they are experiences.

I held her wrists and then I got it through the eyes: hatred, centuries deep and true. I was wrong and graceless and sick. all the things I had learned had been wasted. there was no creature living as foul as I and all my poems were false.

Time sped. And the poet through sorrow Became like his suffering kind. Again he toiled over his poems To lighten the grief of his mind.

I've written poems about gifts. Life is inspirational; sometimes it comes from the most unlikely places.

The genuine remains of Ossian, or those ancient poems which bear his name, though of less fame and extent, are, in many respects,of the same stamp with the Iliad itself. He asserts the dignity of the bard no less than Homer, and in his era, we hear of no other priest than he.

My picture-poems are linguistic margins on visual atolls.

The poems are part of my attempt to understand being in the world in an honest way.

I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.

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!

Besides the actual reading in class of many poems, I would suggest you do two things: first, while teaching everything you can and keeping free of it, teach that poetry is a mode of discourse that differs from logical exposition

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 .

I didn't write poems for a number of years after graduate school because the criticisms of other students in the workshops wouldn't quiet down in my mind when I tried to work.

I was interested in all kinds of things, whether it be Avatar, Mad Men, Troy, 300, Battlestar Gallactica, or the poems of Horace and Sappho. I always joke about this to my students, who can't quite wrap their mind around the fact that you can have a Ph.D in classics, but not do that full time. I never wanted to write anything with footnotes for the rest of my life. I always think of what I do as the kind of conversation you'd have with somebody, like a good friend, when you've gone and seen a movie together, and you come home and you start talking about it.

I have always believed that poems beg to be read aloud, even if the reader is in a world all her own.