Quotes About Poems

I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.

These are crystalline - oftentimes incandescent - translations of Juarroz's powerful metaphysical poems where eternity and silence jut up against a world where “writing infects the landscape” and there are “more letters than leaves” - The kind of match one hopes for where both the translator and the poet are in luck; new poems which don't leak and yet old poems in which the original passion shines.

I'm working on poems about work, I guess. Or related to work. Which sounds dull as drywall but I'm having great fun working the vernacular of work into poems. I'm also writing some poems about family. And I don't know, just writing. Taking breaks. Writing some more.

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."

I play with language a great deal in my poems, and I enjoy that. I try to condense language, that is, I try to express complicated but I hope real emotions as simply as possible. But that doesn't mean the poems are simple, just that they are as truthful as I can make them.

We had collaborated with Allen Ginsberg on one of his last projects just before he died in the spring of '97, a book called Illuminated Poems - it was Allen's poems and songs and I illustrated them. Or, I illuminated them with paintings and drawings that bounced off of them. You want the picture to relate to the text without it slavishly regurgitating it or merely illustrating it, because that's redundant. You want to show another angle of what the text is saying.

I write poems for children to help them celebrate the joy and wonder of their world and to look at their lives from the inside out. I write humorous poems to tickle the funny bone of their imaginations.

I was unnerved to learn in my twenties that the poems of Emily Dickinson that I had memorized as a girl were not the poems as she had written them.

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.

As a university student, I tried hard to write poems in Korean. It was at that time that I foresaw my death and the world's death. I think my poems started at that time.

I would read the Shel Silverstein poems, Dr. Seuss, and I noticed early on that poetry was something that just stuck in my head and I was replaying those rhymes and try to think of my own. In English, the only thing I wanted to do was poetry and all the other kids were like, "Oh, man. We have to write poems again?" and I would have a three-page long poem. I won a national poetry contest when I was in fourth grade for a poem called "Monster In My Closet.

Lily Brown writes with and against things in poems that are coiled up tight as springs (or snakes). A believer in the power of the line, she writes, 'I think the plastics/and sink them' then 'Where is the sand/man hiding the dirt.' These terse, biting poems will make you look around and wonder.

And the view was suddenly clear to me. The world opened out to its grim beyonds and I realized that, at forty, one must learn the rigors of acceptance. Capitalize it: Acceptance. I needed to accept what was put before me--be it a watery grave in Ireland's only natural fjord, or a return to the city and its grayer intensities, or a wordless exile in some steaming Cambodian swamp hole, or poems or no poems, or children or not, lovers or not, illness or otherwise, success or its absence. I would accept all that was put in my way, from here on through until I breathed my last.

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.

At another level, though, poems can craft an eraser - we can't revise the past, but poems allow us some malleability, an increased freedom of response, comprehension, feeling. Choice, what choices are possible for any given person, is another theme that's run through my work from the start.

My poems are certainly in the lyric tradition, but perhaps a reader can tell me more precisely who I am as a poet. How can I be so old and not know? I have always been deeply grateful for the urge to write, the desire to create, that's certain. Writing has always been the way I make sense of life. Perhaps my poems define me, rather than the other way around. They do constantly surprise me.

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.

As a poet I hold the most archaic values on earth . . . the fertility of the soil, the magic of animals, the power-vision in solitude, the terrifying initiation and rebirth, the love and ecstasy of the dance, the common work of the tribe. I try to hold both history and the wilderness in mind, that my poems may approach the true measure of things and stand against the unbalance and ignorance of our times.

I like poems that affect me emotionally and also provoke me to further, deeper thought. I enjoy challenge, but not, I think, for its own sake.

Keats, it must be remembered, was a sensualist. His poems ... reveal him as a man not altogether free from the vulgarities of sensualism, as well as one who was able to transmute it into perfect literature.

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.

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.

I wonder why we always deny love. I remember in middle school, if you were accused of the crime of loving, you screamed denials constantly and stopped ever even looking at the boy you were accused of liking. The boys could destroy each other by yodeling, "An-drew lo-oves Jen-nie," and both Andrew and Jennie would flinch and blush. Love is this great thing that most songs and books and poems and lives are all about. So the minute we actually think there might be love around, we start laughing and pretending and hiding from it.

I am preparing myself for death. When I go to sleep, I try to keep myself smiling. So that when I die, I have a smile on my lips. I want an electric cremation. I don't want any poems or fuss after that. And for heaven's sake, don't bring back my ashes. Flush them down the toilet if the crematorium refuses to keep them. If they tell you that I am dead, I want you to give a big laugh.

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.

I'm partial to coffee shops, brain work, and poems on the page. I write after midnight. Sometimes, twisty syntax happens, and I surrender.

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

You ever hear guys with small cocks talk about sex? Can't talk about it enough. They even got poems. They'll say, 'It's not the motion of the ocean, it's the boat of the lotion.' I've even heard variants..., it's not the tree or the size, it's the axe that you wax.' It's a whole sub-genre of poetry now that's taught in many of our finer institutions.

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

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.

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

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

I have seen the universe! It is made of poems!

Poems seem to have a life of their own. They tell you when enough is enough.

If art doesn't require an audience, can an intimate conversation be a work of art? Can a thought be a work of art? Maybe. I don't know. These questions are completely hypothetical for me, because I love interacting with audiences. I want my poems to be heard.

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.

Mrs. James, my fifth-grade teacher, introduced us to some of the great literature of African American culture. I won my first blue ribbon reciting the vernacular poems of Paul Lawrence Dunbar, in particular "Little Brown Baby."

While guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and find a new order of things that would restore the balance between heaven and hell.

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.

A writer who has never explored words, who has never searched, seeded, sieved, sifted through his knowledge and memory...dictiona ries, thesaurus, poems, favorite paragraphs, to find the right word, is like someone owning a gold mine who has never mined it.

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.

Many of my poems try to use a comic element to reach a place that isn't comic at all. The comic element works as a surprise. It is unexpected and energizing.

One of the greatest, most noble, and most sublime poems which either this age or nation has produced.

When I hear Khmer poets, when they recite their poems, I know what they're talking about, I get it right away.

I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems.

Poems reach up like spindrift and the edge of driftwood along the beach, wanting! They derive from a slow and powerful root that we can’t see. Stop the words now. Open the window in the center of your chest, and let the spirits fly in and out.