Quotes About Poems

... woman is frequently praised as the more "creative" sex. She does not need to make poems, it is argued; she has no drive to make poems, because she is privileged to make babies. A pregnancy is as fulfilling as, say, Yeats' Sailing to Byzantium.... To call a child a poem may be a pretty metaphor, but it is a slur on the labor of art.

People have explored these questions ['Why am I here?', 'What is life about?'] in poems, not that they found their answers, but in reading [poems], I think, you find a certain beauty in the questioning, and that is then poetry.

I started out wanting to write great poems, then wanting to discover true poems. Now, I want to be the poem.

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.

During the Gulf War, I remember two little third grade girls saying to me - after I read them some poems by writers in Iraq - 'You know, we never thought about there being children in Iraq before.' And I thought, 'Well those poems did their job, because now they'll think about everything a little bit differently.'

What do you have in mind after you graduate?" What I always thought I had in mind was getting some big scholarship to graduate school or a grant to study all over Europe, and then I thought I'd be a professor and write books of poems or write books of poems and be an editor of some sort. Usually I had these plans on the tip of my tongue. "I don't really know," I heard myself say. I felt a deep shock, hearing myself say that, because the minute I said it, I knew it was true.

In Advance of All Parting is a tough, unsentimental examination of marital grief. Musically elegant and inventive, understated and passionate, the poems give us a profound glimpse into how the events of a life can form a center of gravity that fixes the self in its force field. Theres a cold, truth-telling clarity about them that makes them as unsettling as they are beautiful. Ansie Baird has created a richly-drawn world in which this elemental drama plays out, and the result is vivid, startling poems in which pain has left its indelible tracks.

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.

That being said, some of my favorite poets are extremely funny. The aforementioned Matt Rohrer, for instance. Mary Ruefle. James Tate might be the best example of someone who is systematically misread because he can be hilarious. In his poems, as in all great funny poems, the humor is one very appealing version of the surprise and associative movement that is at the heart of all poetry.

Often I find that poems predict what I'm going to do later in my own writing, and often I find that poems predict my life. So I think poetry is the most intense expression of feeling that we have.

The makers of fortunes have a second love of money as a creation of their own, resembling the affection of authors for their own poems, or of parents for their children, besides that natural love of it for the sake of use and profit.

I never intended to write poems, nor to be a photographer, nor to be a film-maker. I just took many, many pictures and I would put them in an album, and then some years later I decided to show them and suddenly I was called a photographer. Same thing with my poetry. They're notes that I'd written in a book and it may be considered poetry.

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.

My father is doing a radio program - classical music. He has a beautiful speaking voice and that's his passion in life, his music. My mother lives in Melbourne and is an avid photographer. She's also started writing for a magazine out there and she submits poems, very funny ones, and articles. In some way or other, my family is always doing something with the media.

No poems can please long or live that are written by water drinkers.

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 think of my best poems as vessels that I can or hope to fill with everything I have.

The finest poems of the world have been expedients to get bread.

Each man has his own batch of poems.

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

The great philosophers are poets who believe in the reality of their poems.

Like so many aspiring writers who still have boxes of things they've written in their parents' houses, I filled notebooks with half-finished poems and stories and first paragraphs of novels that never got written.

I write poems like some people sing in the bathroom.

And Robert Lowell, of course - in his poems, we're not located in his actual life. We're located more in the externals, in the journalistic facts of his life.

Each word bears its weight, so you have to read my poems quite slowly.

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

You must understand the whole of life, not just one little part of it. That is why you must read, that is why you must look at the skies, that is why you must sing and dance, and write poems and suffer and understand, for all that is life.

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

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

Frederick Turner comes across in his poems as a man of impressively broad experience, intellectual brilliance, and originality. … He’s at his best when he unleashes his extraordinary powers of observation.

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.

The poets, therefore, however much they adorned the gods in their poems, and amplified their exploits with the highest praises, yet very frequently confess that all things are held together and governed by one spirit or mind.

Is there an aesthetic "fit" in my work between God and the world? The "I' in my poems has from the beginning identified himself as Catholic, and my books certainly can be read as presenting a Catholic theology "in a very particular sense." Catholicism is a faith morally identified with the human struggle for human dignity and justice. It is a vision of the world incarnationally rooted in the senses, a faith of and in spoken and written words - Scripture, "the Word of God," the Logos.

I've written some poems that are in the middle ground - who are in between very challenging and abundantly clear, but there's a tremendous investment in the challenging poem, and it's been going on so long that the whole infrastructure supporting it, a lot of critics and theorists and so on are deeply invested in maintaining that status.

I like ornament at the right time, but I don't want a poem to be made out of decoration ... When I read the poems that matter to me, it stuns me how much the presence of the heart-in all its forms-is endlessly available there. To experience ourselves in an important way just knocks me out. It puzzles me why people have given that up for cleverness. Some of them are ingenious, more ingenious than I am, but so many of them aren't any good at being alive.

When fiction writers like my poems I feel like I've hit the jackpot.

Poems offer us counter-knowledges. They let us see what is invisible to ordinary looking, and to find in overlooked corners the opulence of our actual lives. Similarly, we usually spend our waking hours trying to be sure of things - of our decisions, our ideas, our choices. We so want to be right. But we walk by right foot and left foot.

Women are not supposed to have uteruses, especially in poems.

Geniuses are people who dash off weird, wild, incomprehensible poems with astonishing facility, & then go & get booming drunk & sleep in the gutter. Genius elevates a man to ineffable speres [sic] far above the vulgar world, & fills his soul with a regal contempt for the gross & sordid things of earth. It is probably on account of this that people who have genius do not pay their board, as a general thing.

With my poems, I finally won even my mother. The longest wooing of my life.

I can't actually explain why my lines got shorter, but they did. Just as I can't explain why my early poems were 'all image' and my current ones are relatively abstract. The sense of the line changed with the theme, somehow my ear (or brain or heart/mind) fell in love with a short line and very very simple words.

In my case, performance is part of the medium. Sometimes I feel that it's my main medium, and that the presentation of my poems on the page is secondary.

I'm not sure I had ever written a fan letter before to a poet I had not met, but that's what I did when I read two poems by Gregory Woods ... I admired them especially for their technical virtuosity, in that it was technique completely used, never for the sake of cleverness but as a component of feeling ... What an enviable talent Gregory Woods has

I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.

I invented animals and birds - I had about two dozen. After working on them for six months, I sat down and just for fun wrote two dozen poems to accompany the drawings. It was for no one to every see, but a friend sent me in to an editor.

I do believe that one's writing life needs to be kept separate from Po-Biz. Personally, I deal with this by not attending too many poetry readings, primarily reading dead poets or poems in translation, reading Poets & Writers only once for grant/contest information before I quickly dispose of it, and not reading Poetry Daily. Ever.

When I was a kid, I suppose I got more praise for being able to draw things and paint things than I did for my little amateur poems I was writing. But the thing that I'm trying to do with my painting is that I'm trying to keep it in the realm of pleasure. I don't show my work, I don't try to sell it.