Quotes About Poems

What does it mean to be a used white wife, a mother, a tragic girl writing poems? Sandra Simonds gets into these messy words and then tears them apart. Sometimes with the words of others. And sometimes with poems made from scratch. They aren't all bad, these words. But they aren't all good either. And that is where Mother was a Tragic Girl gets its power. You will at moments be laughing but then you will also at moments just as much be crying. If Antigone was alive and decided to write some poems about the nuclear family, she would write them like Sandra Simonds. These are tough.

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.

Southern poets are still writing narrative poems, poems in forms, dramatic poems.

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 guess that would have been 1968. I was a freshman in college and I wasn't writing good poems, but I was at least trying to write poems then.

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 want to yell about it most days and stop strangers in the street to share my outrage. But my mind is too serpentine to offer instant poem reactions. I can however stand back and examine the deeper ground, or at least that's what I hope my poems are doing. I believe contemplation can be an ethical act and literature can be a profound agent of cultural change, so I hope in some way my poems expand the conversations about environmental decline and social responsibility.

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.

Alienation between the content and form happens frequently in my poems because I obstinately carry on dismantling my body, an act you can also call "dismantling delusion." I think that after I dismantle my female body, I can finally dismantle established lyric poems.

The most exhilarating for the writer and the reader, are gift-things-poems which arrive on their own energy, poems that in William Shakespeare's term "slip" from you.

If poems very different from my own bring pleasure to a group of readers, who am I to say that the poems should have been written differently?

Poems not only demand patience, they demand a kind of surrender. You must give yourself up to them. This is the real food for a poet: other poems, not meat loaf.

Read a lot - poems, prose, stories, newspapers, anything. Read books and poems that you think you will like and some that you think might not be for you. You might be surprised.

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.

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.

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.

In the power and splendor of the universe, inspiration waits for the millions to come. Man has only to strive for it. Poems greater than the Iliad, plays greater than Macbeth, stories more engaging than Don Quixote await their seeker and finder.

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 still read Donne, particularly his love poems

To me, a poem is almost like someone whispering to another person, or you hear the whispering in your head. I hope with my own poems that the reader feels a connection, soul to soul, that'll help us all feel a little less alone on the planet. And it does have the power to direct change. A writer can make the word 'dark' be something positive. You can relieve a word like 'hysterical' of its misogynistic implications. You can make the language your own. That's what poetry is about.

I write a lot, poems and such, and when I look at it the next day, I can analyze what the problem is and find the solution. It's the same when I watch myself on the big screen, but first, my vanity has to go away and so I have to watch it ten times. But when it has gone, and I don't think my nose is too big and everything else, then I start analyzing, and I think it helps me to become a better person.

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

I don't think I'd ever get any better as a poet if I didn't push myself, very deliberately, to grow. My best poems surprise me, as they should, but I fight them at every turn, possibly just because I'm stubborn.

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

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

The world is so great and rich, and life so full of variety, that you can never lack occasions for poems.

I think it is our job as poets to refuse the terms that society so often sets for usefulness. That, for instance, is what Dickinson did: she refused to be a wife, a homemaker, a standard member of her community. She knew she had to in order to have the space and time to write her poems. Thank god she said no!

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."

I was a pretty happy kid, I had to fake it. I had to get into this miserable character before I wrote poems.

Almost anything is too much. I am trying in my poems to have the reader be the experiencer. I do not want to be there. It is not even a walk we take together.

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.

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.

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

Ah men, why do you want all this attention? I can write poems for myself, make love to a doorknob if absolutely necessary. What do you have to offer me I can't find otherwise except humiliation? Which I no longer need.

Each poem in becoming generates the laws by which it is generated: extensions of the laws to other poems never completely take.

Irish history having been forbidden in schools, has been, to a great extent, learned from Raftery's poems by the people of Mayo, where he was born, and of Galway, where he spent his later years.

Most of the poems I write go through forty versions and then stay in a file on my computer. I'm not very good at sending stuff out or feeling that something is ready to send out and I never have been. Part of the problem is that as soon as a poem is finished, it stops being all that interesting to me.

One thing about being a children's poet or a versifier, is that there is a large market for your wares. These things really made the rounds. I would meet people and they'd quote my poems to me. It's great.

Even though we've written epic poems and made incredible films about love, I still don't think anyone can understand what it is, or why it means everything.

The charms of money are distinctly under-represented in literature. There are no songs or poems extolling its virtues. This seems on the face of it strange. The claims of money to be celebrated in verse might well seem to be no less than those of faithful dogs, beautiful women, or jugs of wine.

Do you know, Considering the market, there are more Poems produced than any other thing? No wonder poets sometimes have to seem So much more businesslike than businessmen. Their wares are so much harder to get rid of.

I always wanted to be some kind of writer - I wrote plays and songs and "books" before I realized living and breathing people still wrote poems.

I live alone, perhaps for no good reason, for the reason that I am an impossible creature, set apart by a temperament I have never learned to use as it could be used, thrown off by a word, a glance, a rainy day, or one drink too many. My need to be alone is balanced against my fear of what will happen when suddenly I enter the huge empty silence if I cannot find support there. I go up to Heaven and down to Hell in an hour, and keep alive only by imposing upon myself inexorable routines. I write too many letters and too few poems.

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.

Lucky accidents seldom happen to writers who don't work. You will find that you may rewrite and rewrite a poem and it never seems quite right. Then a much better poem may come rather fast and you wonder why you bothered with all that work on the earlier poem. Actually, the hard work you do on one poem is put in on all poems. The hard work on the first poem is responsible for the sudden ease of the second. If you just sit around waiting for the easy ones, nothing will come. Get to work.

I like having a phrase lying around to get poems started. It's like having a key.

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