Quotes About Poems

It's true, there aren't many explicit references to Canada in my book. And not many explicit references to the U.S., either. I try to fill my poems with enough real, observed detail that the poems create a believable world - but I don't write poems for the sake of telling my own story. My life is not important or interesting enough to warrant that kind of documentary. Instead I try to use my experience as a way of understanding situations that are common to many people. I want readers to project their own lives onto my poems.

If you want to write poetry, you must have poems that deeply move you. Poems you can't live without. I think of a poem as the blood in a blood transfusion, given from the heart of the poet to the heart of the reader. Seek after poems that live inside you, poems that move through your veins.

There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.

There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.

It's difficult to talk about [W.S.] Merwin's poems, as it's hard to talk about a feeling or a smell. It is what it is, but so much so that it overwhelms both sense and the senses. I aspire to something about his work, that imbues his poems, though I'm not sure I could say what that is. A purity, maybe, the kind of purity that comes from being beaten, like steel.

When I go to the shore, I take along the poems of Pablo Neruda. I suppose it's because the poems are simultaneously lush and ripe and kind of lazy, yet throbbing with life - like summer itself.

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.

I've always been intrigued with the male characters in novels like 'Pride and Prejudice' such as Mr. Darcy, and this poem is part of a series of poems that explore desire and obsessions. The poems have been sitting in a drawer for a few years, so I decided to dust them off and work on them again since I have not written a new poem in more than three years. I'm not sure anything will become of the series, but at least it gives me something to work on in a period where I feel very uncreative.

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

I like to joke that I started writing long poems out the anxiety over ending and starting poems. It just seemed easier to keep going.

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.

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.'

I see no reason to spend your life writing poems unless your goal is to write great poems.

I was walking every morning, and I'd take my iPod and paper and pen. As I walked, I wrote a poem, and then I'd come home - and sometimes it's legible, sometimes not - I typed the poem up. So I have a new, yet to be published, collection of poems now. It's called Walker's Alphabet, and among other things, it is about walking. My most recent collection of poems in 2010, incidentally, was titled WALKING backwards.

I remember in school - in elementary school - I used to recite poems. We'd have to recite poems. And I would always just, like, roll on the floor, like, just make it such a huge, melodramatic portrayal of whatever it was.

Poem for Liu Ya-tzu I cannot forget how in Canton we drank tea and in Chungking went over our poems when leaves were yellowing. Thirty-one years ago and now we come back at last to the ancient capital Peking. In this season of falling flowers I read your beautiful poems. Be careful not to be torn inside. Open your vision to the world. Don't say that waters of Kumming Lake are too shallow. We can watch fish better here than in the Fuchun River in the south.

I am a relatively rational being and I like to create order in poems. I like meter, I like rhyme, but ultimately I don't know where the poems come from, and I feel, at least in the beginning, that I'm taking dictation from my own dream that I don't remember.

A certain amount of housekeeping also goes on in my poems. I wash doorknobs, do dishes, mop floors, patch carpets, cook.

The "biggest" poems I ever made are based on the psychological principal of the "Johari Window:" what the self freely shares with others; what the self hides from others; what others hide from the self; and what is unknown to the self and others.

I think of myself as a writer who photographs. Images, for me, can be considered poems, short stories or essays. And I've always thought the best place for my photographs was inside books of my own creation.

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

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.

One of the things about landays is that they thrive in a modern context. Early on I went to this incredible Pashtun novelist, Mustafa Salik, who is a bestselling novelist in Afghanistan and works for the BBC in Pashto. With the question of the sanctity of the poems in mind, I asked him, "Aren't you worried? They've been posted on Facebook and such." And he said, "Just the opposite. This is a folk form; they survive and thrive as people share them."

... poetry is not a luxury. It is a vital necessity of our existence. It forms the quality of the light within which we predicate our hopes and dreams toward survival and change, first made into language, then into idea, then into more tangible action. Poetry is the way we help give name to the nameless so it can be thought. The farthest horizons of our hopes and fears are cobbled by our poems, carved from the rock experiences of our daily lives.

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.

It is very difficult to pass from pleasure to work. Accordingly more poems have been swallowed up by sorrow than ever happiness caused to blaze forth in unparalleled radiance.

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?

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 have some weak poems in that new collection, which is why I'm not ready to send the collection out yet.

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

In White Summer, Joelle Biele exhibits a Roethke-like affinity with nature and natures creatures. At times a miniaturist, Biele constructs exquisite addresses to a heron, cicada, spider, catalpa tree, mockingbird, snail, cormorant, and others. These pitch-perfect poems are written with a delicate, meticulous attention to craft and music. Like the joy she takes in her subjects, this collection is a joy to read.

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.

So writing about love or having it infuse the poems that I'm writing has never been something I've set myself to do, except when I write a poem for my wife, for an occasion, such as our anniversary.

I've been an inveterate reader of literary magazines since I was a teenager. There are always discoveries. You're sitting in your easy chair, reading; you realize you've read a story or a group of poems four times, and you know, Yes, I want to go farther with this writer.

The great poems are not about experience, but are the experience itself, felt in the body.

Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic.

I prefer poems that occupy an imaginative sphere. When I lived in Cincinnati, I was occasionally referred to as an "Ohio Poet;" this made me uneasy, not only because I think of myself as a generally American poet but also because I like to think I write out of the country of my own mind.

Poems give you the lives of others and then circle in on your own inner world.

Outrage and possibility are in all the poems we know.

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.

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.

I think my poems immediately come out of the sensuous and emotional experiences I have, but I must say I cannot sympathise with these cries from the heart that are informed by nothing except a needle or a knife, or whatever it is.

I am a guest of the French language. My poems in French are born of my interaction with the French language, which is not the same as that of a French poet.

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.

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

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

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.