Quotes About Poems

There is nothing “still” in the remarkably visceral poems of Alexander Long's third collection, Still Life, and nothing is at rest in these restless and edgy poems. Conversational and kinetic, these poems chart the traces left by the shifting overlays of the templates of literature, rock-and-roll, and contemporary culture. As each poem in Still Life attempts to fix a focus upon a scene or subject, the protean natures under view draw the poet into the eddies and complexities of reflection. This is a powerful and moving collection of 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.

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've been working on a collection of prose vignettes about girls I've had crushes on, from the age of six to the age of eighteen. This manuscript is thematic and organized in a way my poems about my friends aren't. My friends get into the poems simply because they mean a lot to me.

As for the differences between audio and the printed page, the sonic aspects of poetry are important to me. I read my poems aloud to myself as I'm composing them. And I enjoy reading to an audience. I think people get tone more easily when they hear a writer read her work. Some people have told me they hear more humor in my poems at a live reading than when they see them on the page. I think that may be a matter of pacing. On the other hand, I've listened to a lot of poetry readings and I know how much you can miss. If you stop to really register one line, you miss the next three or so.

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.

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.

My sense of the poet is classical - the poet is one who makes poems. In each book, I develop and repeat certain general themes - time, place, memory, God, history, class, race, beauty, love, poetry, identity. The core identity is the poet making the poems.

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

Sometimes people come up and they get infatuated with some little brief imagistic poem or something, and they say, "Oh, I really like your Zen poems." And I say, "Which ones are not Zen poems?"

I've changed over my writing life. If I can generalize, I would say that the more recent poems - believe it or not - are more pointedly political; although, if the earlier poems were more existential, they were still political; though, in their own way, had a complicated presence.

But give thanks, at least, that you still have Frost's poems; and when you feel the need of solitude, retreat to the companionship of moon, water, hills and trees. Retreat, he reminds us, should not be confused with escape. And take these poems along for good luck!

I've always believed that poetry must speak of realities as least as complicated as those spoken of in prose. I've read books of poems, even single poems, which are, for me, at least the equivalent of a short story or a novel. Martin Amis, in an interview with Saul Bellow in the early eighties, quotes Bellow asking, "Why not address 'the mysterious circumstance of being', say what it's like to be alive at this time, on this planet?" This has been and still is my ambition.

New friends may be poems but old friends are alphabets. Don't forget the alphabets because you will need them to read the poems.

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.

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.

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.

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.

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.

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

True love requires action. We can speak of love all day long, we can write notes or poems that proclaim it, sing songs that praise it, and preach sermons that encourage it but until we manifest that love in action, our words are nothing but sounding brass, or a tinkling cymbal.

There are real facts in my poems, but facts mixed up in the perverse stubborn stew of imagination, add a pinch or two of revenge and retribution, a dash of amplification and reparation.

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'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.

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.

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

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

My face responds without authorization from my brain, so the resulting smile feels like the biggest, most unguarded, goofiest smile I’ve ever unleashed in my entire life. I didn’t even know my face could do this. It’s like there were hidden zippers in my cheeks. Jesus. This must be what feelings are. This is why people write poems! I get it now. I get it, and I want more.

I try to hold both history and wilderness in mind, that my poems may the true measure of things and stand against the unbalance and ignorance of our times.

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

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.

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

In HEATHEN, R. Flowers Rivera remixes the classical and the Biblical, the usual and the typical until what we thought we knew of ourselves and others is new again. The mythic becomes particular; the particular becomes mythic in these fascinating poems of personalities and personas. Rivera’s work is rich in empathy and invention. Heathen is a book of psalms for the present day.

Like all my poems, 'Negotiations' has several sources. It deals with aging lovers and the often silent deals they make. Thinking about bargains made me think of The Little Mermaid and that made me remember something I had just read about the incredibly complex process by which tadpoles (actual little mermaids) are somehow able to reabsorb their tails and fashion their future frog legs.

Outrage and possibility are in all the poems we know.

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

I don't know if we ever have enough distance to "see" our own trajectory. We're in the muddled middle of it. Who knows what will last, what poems will take hold of the imaginations of the future.

The passages in which Milton has alluded to his own circumstances are perhaps read more frequently, and with more interest, than any other lines in his poems.

Gabriel Levin's book is a journey through time and through entrenched animosities of the Middle East. What's astonishing and refreshing is his ability to combine the reporter's perspective with a deep knowledge of poetry, including pre-Islamic Arab poems. A brilliant poet is at work here-a poet in the rugged landscape of conflict and pain.

I wrote poems and an essay about that weird language. We still remember it to a certain extent, and it still comes up when we're all together. It's so fundamental to how I think.

Ye are better than all the ballads That ever were sung or said; For ye are living poems, And all the rest are dead.

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.

I was writing poems when I was young, you know, because my father was a poet, so it was absolutely normal to follow my father.

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

I already read everything. I read poems and plays and novels and newspapers and comic books and magazines. I read tins in supermarkets and leaflets that come through the door, unsolicited mail. None of it lasts long and it doesn't give me answers. Reading too fast is not soothing.

Beauty is a hard thing. Beauty is a mean story. Beauty is slender girls who die young, fine-featured delicate creatures about whom men write poems. Beauty, my first girlfriend said to me, is that inner quality often associated with great amounts of leisure time. And I loved her for that.

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.

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