Quotes About Poems

Poems give us permission to be unsure, in ways we must be if we are ever to learn anything not already known. If you look with open eyes at your actual life, it's always going to be the kind of long division problem that doesn't work out perfectly evenly. Poems let you accept the multiplicity and complexity of the actual, they let us navigate the unnavigable, insoluble parts of our individual fates and shared existence.

When I first encountered the poems of Jon Woodward, I was stunned into the state that is my life's joy-I was in the presence of the inimitable. Uncanny Valley extends that experience-almost into another dimension. These apocalyptic, pixilated poems forge a mythology of our ravaged culture, one that might have been written in the future. If you want poetry to give you a persimmon on a plate, look elsewhere; if you want to know what happens when seven trees fall on the highway and the story is told by a stutterer, this is the book, and it could only have been written by Woodward.

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

Poems are taught as though the poet has put a secret key in his words and it is the reader's job to find it. Poems are not mystery novels.

I see my poems as interlinked. No poem gives an answer. It may offer other questions, it may instigate other questions that then become poems.

When I'm assembling a book I concentrate as though I were writing a poem. A truly imagined arrangement will indicate gaps and generate new poems. I re-read the new poems in my folder in the hope that this might happen.

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.

What if this young woman, who writes such bad poems, in competition with her husband, whose poems are equally bad, should stretch her remarkably long and well-made legs out before you, so that her skirt slips up to the tops of her stockings?

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.

S. E. Smith's I Live in a Hut has a deceptively simple title, considering that the brain in that hut contains galaxies-worth of invention: At night when your soldiers are praying ceaselessly for less rain and more underwear my soldiers make underwear out of rain. These poems seesaw between despair and delight but delight is winning the battle. Smith is a somersaulting tightrope walker of a poet and her poems will make you look at anything and everything with new eyes: For days I tried to rub the new freckle // off my hand until I realized what it was / and began to grant it its sovereignty.

It is clear that we do not exactly choose our poems; our poems choose us.

Anna Journey, in her new book of poems, Vulgar Remedies, creates an alchemical self whose shimmering limbic / alembic lyrics distill the mysterious terrors of childhood, the dangerous passions of adults, into her own honey-dusk 'voodun': protective, purified to gold. Poetry is always a time machine: here we are invisible travelers to a bewitched past, a beautifully occluded future. These poems are erotic, vertiginous, revelatory, their dazzling lyric force reflecting profound hermetic life.

Read poems to yourself in the middle of the night. Turn on a single lamp and read them while you're alone in an otherwise dark room or while someone else sleeps next to you. Read them when you're wide awake in the early morning, fully alert. Say them over to yourself in a place where silence reigns and the din of the culture — the constant buzzing noise that surrounds us — has momentarily stopped. These poems have come from a great distance to find you.

I tend to like poems that engage me - that is to say, which do not bore me.

Of course the other and more serious way in which it all happens is that one finds in poems and language some quality one appropriates for oneself and wishes to reproduce.

I still read Donne, particularly his love poems

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

Well, 'The Wellspring' was written from 1983 to 1986. And it had a section in the beginning that was poems that began from others' experience.

I thought poems were songs for people with bad voices.

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.

I liked the kid who wrote me that he had to do a term paper on a modern poet and he was doing me because, though they say you have to read poems twice, he found he could handle mine in one try.

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'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 consider my films to be poems that are all as personal as my writing and as hand-made.

I prefer always to think that I am creating a book, not a series of stand-alone poems.

Years ago I used to set my alarm for 4 am, so that I could wake up in the middle of a dream and move directly into writing. I guess my favorite poems contain a mixture of intuitive and analytical thought.

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.

Poems are other people's snapshots in which we see our own lives.

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

The language with which I make my poems has nothing to do with one spoken here, or anywhere.

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.

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

To walk into Bill Olsen's poems is to enter a mind so weirdly curious, you can't be released to sadness, not yet: it's just too surprising. But this book-half microscope, half telescope-shadows grief, our shared and ordinary life where an old neighbor obsessively gathers twigs to wish back the tree, where the moon is regularly ‘sawn in half,’ where sprinklers give off ‘little wet speeches.’ What else? It's brilliantly instead and odd.

One of the hardest things for me to do is be fully open in a poem. By that I mean, honest and not trying to amplify some mythological version of myself. I was a poor, geeky black kid in Indianapolis. There is nothing mythological about that. So to try to truly render the kind of economic and racial inequity I grew up in, I had to find a way to be more honest about what happened. And it wasn't fun to write, even though the poems aren't 100% autobiographical.

I started out in life as a poet, I was only writing poetry all through my 20s, it wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels, I liked them.

I just think that the world of workshops - I've written a poem that is a parody of workshop talk, I've written a poem that is a kind of parody of a garrulous poet at a poetry reading who spends an inordinate amount of time explaining the poem before reading it, I've written a number of satirical poems about other poets.

Go back to The October Palace, which came out in 1994, and there are poems with windows, doors, the rooms of the gorgeous and vanishing palace that is this ordinary world and ordinary life. Jungian archetype would say the house is a figure for the experienced, experiencing self.

I think I'm a very good reader of poetry, but obviously, like everybody, I have a set of criteria for reading poems, and I'm not shy about presenting them, so if people ask for my critical response to a poem, I tell them what works and why, and what doesn't work and why.

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.

I think many poets, including myself, write both for the voice and for the page. I certainly write for the person alone in the library, who pulls down a book and it opens to a poem. I am also very conscious of what it means to read these poems aloud.

I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything. Or these lines will come into my head and I'll write 'em down in a little book, just little sets of lines, but I won't try to make stories or poems out of them. I'm doing a lot of that now, just the lines.

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.

Re: Robert Montgomery's Poems His writing bears the same relation to poetry which a Turkey carpet bears to a picture. There are colours in the Turkey carpet out of which a picture might be made. There are words in Mr. Montgomery's writing which, when disposed in certain orders and combinations,have made, and will make again, good poetry. But, as they now stand, they seem to be put together on principle in such a manner as to give no image of anything in the heavens above, or in the earth beneath, or in the waters under the earth.

There are some books in which every poem is a facet of the same thing. So the book is like a piece of music. And there are books of poems that I love so much that I carry them around with me.

I think we defy entropy and impermanence with our films and our poems. We hold onto each other a little harder and say, 'I will not let go. I do not accept the ephemeral nature of this moment. I'm going to extend it...forever. Or at least I'm going to try.'

The number of people writing poems is vast, and their reasons for doing so are many, that much can be surmised from the stacks of submissions.

I think I've been writing black poems all along, wearing my white mask. I'm always the victim ... but no longer!

I don't know why Sinclair Lewis fell in love with me. He didn't get even the slightest response from me. But his letters were lovely. And the poems he wrote me were lovely. I used some of them in my book.