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.

When Emily Dickinson's poems were published in the 1890s, they were a best-seller; the first book of her poems went through eleven editions of a print run of about 400. So the first print run out of Boston for a first book of poems was 400 for a country that had fifty million people in it. Now a first print run for a first book is maybe 2,000? So that's a five-time increase in the expectation of readership. Probably the audience is almost exactly the same size as it was in 1900, if you just took that one example.

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.

When I think of someone equating poems and machines, it makes me feel like that person would like poems to have a more obvious use value in society. They're not happy with poetry being this ephemeral, indefinable thing. They want it to be "real."

Some of my favorite poems are "confessional" poems written in the voices of aliens ("Southbound on the Freeway" by May Swenson" and "Report from the Surface" by Anthony McCann), sheep ("Snow Line" by John Berryman) or a yak ("The Only Yak in Batesville, Virginia" by Oni Buchanan).

I think if you put something in a file that says "war poems" or "love poems" that you already restrict the way in which the poem might move.

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?

It's fun to see someone grow as a writer, moving from their first workshopped poems to publishing their earliest poems to having a book accepted for publication. It's great to see poets with persistence succeed.

Good poems ask us to have complex minds and hearts. Even simple-of-surface poems want that. Perhaps those are the ones that want it most of all, since that's where they do their work: in the unspoken complexities, understood off the page.

What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.

Good poems do a lot of things at once. Often, by doing so, they encourage us to acknowledge mixed and incompatible feelings. Good poems, like good works of history, resist monocausal explanations for anything. There's not one reason why I am angry or excited or hopeful, when I feel those things. And there's not one reason why President Obama won two elections. And there's not one reason why Donald Trump won the most recent presidential election.

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.

I believe in creative failing - to contine to write poems that fail and fail and fail until a day comes when you've got a thousand poems behind you and you're relaxed and you finally write a good poem.

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 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.

He thought her beautiful, believed her impeccably wise; dreamed of her, wrote poems to her, which, ignoring the subject, she corrected in red ink.

I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound.

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

Once I planned to write a book of poems entirely about the things in my pocket. But I found it would be too long; and the age of the great epics is past.

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.

A book of poems doesn't just come out by chance, an editor has to select it, a publisher has to distribute it or you will never see it.

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 colleagues in elementary particle theory in many lands [and I] are driven by the usual insatiable curiosity of the scientist, and our work is a delightful game. I am frequently astonished that it so often results in correct predictions of experimental results. How can it be that writing down a few simple and elegant formulae, like short poems governed by strict rules such as those of the sonnet or the waka, can predict universal regularities of Nature?

I loved them all the way one loves at any age -- if it's real at all -- obsessively, painfully, with wild exultation, with guilt, with conflict; I wrote poems to and about them, I put them into novels (disguised of course); I brooded upon why they were as they were, so often maddening don't you know? I wrote them ridiculous letters. I lived with their faces. I knew their every gesture by heart. I stalked them like wild animals. I studied them as if they were maps of the world -- and in a way I suppose they were.

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.

For my best poems were all written when I felt the worst. When I was happy, I didn't write anything.

A number of people have written poems about Trump already, and I salute them. He is so beyond anything we could have imagined and yet, in another way, he has to be seen as a mirror of America. Our country wouldn't have elected him if he didn't reflect something in our country. In my view, it's a negative thing that's being reflected.

Each man has his own batch of poems.

I don't think I'd ever get any better as a poet if I didn't push myself, very deliberately, to grow. My best poems surprise me, as they should, but I fight them at every turn, possibly just because I'm stubborn.

If you look at the Directory of American Poets and Writers, you know there are hundreds of poets in New York City. So therefore, just by specific gravity, it seems like a more significant place. Robert Wrigley is a poet who lives in rural Idaho - I think it's really back-country Idaho - and he writes beautiful poems.

I think it's better if you write poems that look like you.

There's no telling from poem to poem where this brilliant 'conversation' about maleness and gender will lead---there are poems about husbands and wives, parents and children, Elvis, Apollo, Walt Whitman, rhythms of its politics. Manthology is a remarkably honest and enormously heartening collection.

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.

The trauma said, ‘Don’t write these poems. Nobody wants to hear you cry about the grief inside your bones.

There are poems about the internet and about the shipping forecast but very few by women celebrating men.

neither poems nor prose just a length of rope just the wet earth -- that's the way home. neither vodka nor bread just bursts of rage just more new graves -- that's youth and that's love. neither sleep nor waking neither joy nor laughter just tears in the night -- so the rope, paper, knife.

Everyone thinks they're going to write one book of poems or one novel.

In America they have to know just what you are-- novelist, poet, playwright... Well, I've been all of them... I think poems and novels and stories spring from the same seed. It's not like, say, playing polo and knitting.

I've learned that my readings of others' work often has little connection to their intentions. This doesn't mean that my response is wrong, and it doesn't make the author's views less right. Poets, like their poems, are "hopeful monsters".

I've never thought of my poems as violent. Violence, to me, has so much negativity attached to it - maybe that's my trouble with the word. But ferocious - indeed, I'll take it. And yes, poetry does need a bit of ferocity. Poetry needs to be alive, unabashedly, and, for me, that entails seeing its complexity - the grit and grimness and jubilance and beauty.

To see the Summer Sky Is Poetry, though never in a Book it lie— True Poems flee—

Here are poems from a new generation of writers who honor the magnetic fields of the real; who feel and think with full and open-eyed passion; who focus heat as the magnifying glass focuses sun: until the paper catches. Read them.

Poetry of all the forms of literature I think is the most suited for the digital age and for the shorter attention spans and all of that. It Twitters very easily, some lyric poems and it's very easy to zip a poem to someone, so that's one of the things I think is wonderful about poetry in the digital age.

Virtually every beginning poet hurts himself by an addiction to adjectives. Verbs are by far the most important things for poems-especially wonderful tough monosyllables like "gasp" and "cry." Nouns are the next most important. Adjectives tend to be useless.

I never find words right away. Poems for me always begin with images and rhythms, shapes, feelings, forms, dances in the back of my mind.

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

Poems, novels - these things belong to the nation, to the culture and the people. They've been stolen from the people and now the stolen things are being returned to their owners, but I don't think their owners should be grateful to receive them.

The poet, by composing poems, uses a language that is neither dead nor living, that few people speak, and few people understand We are the servants of an unknown force that lives within us, manipulates us, and dictates this language to us.