Quotes About Poetry

That's one of those questions that would just love to have a pat answer. You know, poetry's job is to make us feel good. Poetry exists to allow us to express our innermost feelings. There isn't one role for poetry in society. There are many roles for poetry. I wrote a poem to seduce my wife. I wrote a poem when I asked her to marry me. Poetry got me laid. Poetry got me married.

To different minds, poetry may present different phases. To me, the reverent faith of the people I lived among, and their faithful everyday living, was poetry; blossoms and trees and blue shies were poetry. God himself was poetry.

There are only three things in the world, one is to read poetry, another is to write poetry, and the best of all is to live poetry.

Certainly for me prose has a dilatory capacity, insofar as I don't trust my abilities in prose. I imagine I could have done the same thing in poetry, but sometimes I feel more fluent in poetry than in prose, and as a consequence perhaps I might pass too quickly by a thing that I might, in prose, have struggled merely to articulate. That struggle creates space, and it seems to me a particular kind of space into which memory flows easily. I suspect I think better in poetry, however.

Is beauty a reminder of something we once knew, with poetry one of its vehicles? Does it give us a brief vision of that 'rarely glimpsed bright face behind/ the apparency of things'? Here, I suppose, we ought to try the impossible task of defining poetry. No one definition will do. But I must admit to a liking for the words of Thomas Fuller, who said: 'Poetry is a dangerous honey. I advise thee only to taste it with the Tip of thy finger and not to live upon it. If thou do'st, it will disorder thy Head and give thee dangerous Vertigos.

I've never been able to write poetry without having vast tracts of dead time. Poetry requires a certain kind of disciplined indolence that the world, including many prose writers, doesn't recognize as discipline. It is, though. It's the discipline to endure hours that you refuse to fill with anything but the possibility of poetry, though you may in fact not be able to write a word of it just then, and though it may be playing practical havoc with your life. It's the discipline of preparedness.

Loneliness is necessary for pure poetry. When someone intrudes into the poet's life (and any sudden personal contact, whether in the bed or in the heart, is an intrusion) the poet loses his or her balance for a moment, slips into being what he or she is, uses his or her poetry as one would use money or sympathy. The person who writes the poetry emerges, tentatively, like a hermit crab from a conch shell. The poet, for that instant, ceases to be a dead person.

I was a violent, self-destructive teenager, who was adopted right at the end of World War II. I was lied to and abused by my parents. I hated life in Utah. I resented the Mormon Church, its sense of superiority and its certitude. I escaped through the Beat writers and discovered poetry and have devoted my entire life to the practice of poetry in varying ways. Poetry gave me a reason for being. And I'm not exaggerating when I say that.

My erotic poetry is not poetry that uses vernacular words. It is a very erotic poetry, but I never use anything, for example, that is not in the dictionary. I don't like to be ugly, I seek out what is beautiful, and if my great search is for freedom and beauty, I can't be vulgar, ordinary.

When power leads man toward arrogance, poetry reminds him of his limitations. When power narrows the area of man's concern, poetry reminds him of the richness and diversity of existence. When power corrupts, poetry cleanses.

For me, poetry has a strong link to my filmmaking. My films learn from my poetry. In poetry, you're free. You start in the corner and you don't know where it leads you. I have no message, I have nothing I want to tell, I just start and I see where it leads, and it's a big surprise and relief if it's good. That's the ideal state for filmmaking.

I don't know anything about chemistry, but I know that there's a whole world of chemistry, of professional chemists. They have their prizes, they have their publications, they have their work. Just because I don't know about it, doesn't mean that it doesn't exist. A lot of people say, "Isn't poetry in trouble today?" Or: "Nobody really reads poetry anymore." And I say, "You're crazy." There's a huge world of poetry out there. You may not know about it, but it's there.

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry is a kind of circuit that takes place between a poet, a poem and a reader and that meaning doesn't exist or in here in poems alone.

If you want to change people by talking about God, then there is only one way: instead of teaching God, you must live God. Because: "teaching" God is unthinkable in any other way than the way you would teach love or poetry. You teach love only through love, poetry only through writing poetry, faith in God only through a contagious way of trusting.

I would be happier if people who went through MFA programs also were already, by then, deeply committed readers of poetry because we need readers of poetry as much as writers of poetry.

Poetry examines an emotional truth. It's an experience filtered through the personality of the poet. We look to poetry for visions, not scientific truths. The poet's job is to combine new elements. Explore their melting, seeping into one another.

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.

It may be that poetry makes life's nebulous events tangible to me and restores their detail; or conversely, that poetry brings forth the intangible quality of incidents which are all too concrete and circumstantial. Or each on specific occasions, or both all the time.

Poetry is perhaps this: an Atemwende, a turning of our breath. Who knows, perhaps poetry goes its way—the way of art—for the sake of just such a turn? And since the strange, the abyss and Medusa’s head, the abyss and the automaton, all seem to lie in the same direction—is it perhaps this turn, this Atemwende, which can sort out the strange from the strange? It is perhaps here, in this one brief moment, that Medusa’s head shrivels and the automaton runs down? Perhaps, along with the I, estranged and freed here, in this manner, some other thing is also set free?

I have been writing poetry since 1975. My first poetry book was published in 1986.

Poetry relishes ripe fruit - but ripe is one thing and overripe quite another. That's something poetry doesn't like, so it couldn't care less if I were to fall overripe to the ground.

I am not concerned with Poetry. My subject is War, and the pity of War. The Poetry is in the pity. Yet these elegies are to this generation in no sense conciliatory. They may be to the next. All a poet can do today is warn. That is why the true Poets must be truthful.

On our earth, before writing was invented, before the printing press was invented, poetry flourished. That is why we know that poetry is like bread; it should be shared by all, by scholars and by peasants, by all our vast, incredible, extraordinary family of humanity.

What has praise and fame to do with poetry? Was not writing poetry a secret transaction, a voice answering a voice? So that all this chatter and praise, and blame and meeting people who admired one and meeting people who did not admire one was as ill suited as could be to the thing itself- a voice answering a voice.

Poetry, from describing external events objectively, is becoming subjectified into a poetry of personal conscious expression.

One of the interesting things about the history of poetry in the 16th, 17th, and 18th centuries is that people who read liked getting their information in rhyme just as much as in prose. The genre that we would think of as nonfiction often was written in verse in forms like the Georgic when people thought that one of the tasks of poetry was conveying arguments and information in a pleasant way.

I write poetry to figure things out. Any time I’m trying to wrap my head around something, poetry is like a puzzle-solving strategy for me.

We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race.

What is a Professor of Poetry? How can poetry be professed?

I have piles of poetry books in the bathroom, on the stairs, everywhere. The only way to write poetry is to read it.

I've never thought of my poems as violent. Violence, to me, has so much negativity attached to it - maybe that's my trouble with the word. But ferocious - indeed, I'll take it. And yes, poetry does need a bit of ferocity. Poetry needs to be alive, unabashedly, and, for me, that entails seeing its complexity - the grit and grimness and jubilance and beauty.

Poetry of all the forms of literature I think is the most suited for the digital age and for the shorter attention spans and all of that. It Twitters very easily, some lyric poems and it's very easy to zip a poem to someone, so that's one of the things I think is wonderful about poetry in the digital age.

There is such a thing as the poetry of a mistake, and when you say, "Mistakes were made," you deprive an action of its poetry, and you sound like a weasel.

The laureateship [of U.S. Children's Poet] has brought me a couple of appealing contracts, including my first anthology, the 200-poem The National Geographic Book of Animal Poetry.Apart from the increased travel, I won't let anything interfere with writing poetry.

We are difficult. Human beings are difficult. We're difficult to ourselves, we're difficult to each other. And we are mysteries to ourselves, we are mysteries to each other. One encounters in any ordinary day far more real difficulty than one confronts in the most “intellectual” piece of work. Why is it believed that poetry, prose, painting, music should be less than we are? Why does music, why does poetry have to address us in simplified terms, when if such simplification were applied to a description of our own inner selves we would find it demeaning?

The judges who awarded the 1980 Commonwealth Poetry Prize to my first collection of poems, Crossing the Peninsula and Other Poems, cited with approval and with no apparent conscious irony my early poem, "No Alarms." The poem was composed probably sometime in 1974 or 1975, and it complained about the impossibility of writing poetry - of being a poet - under the conditions in which I was living then.

I think the culture can absorb so many people writing poetry and trying to earn their living in poetry.

Theater is far superior to film in poetry, in abstract poetry.

I want to welcome folks to poetry, especially those who may have previously felt unwelcome; I want to celebrate everyone who is trying to make sense of this world through poetry the way I try to.

I never really liked poetry readings; I liked to read poetry by myself, but I liked singing, chanting my lyrics to this jazz group.

My favorite subject probably was math. I love math. I think figures just intrigue me. I was really good at math. English probably was my worst subject, but I used to write a lot of poetry. I used to write poetry all the time.

I love poetry. It's at the heart of everything I do. Poetry transforms what we call language, and uses language as the stuff to become something else. I get spun around by what happens in words. When that occurs, it inspires images that seem so original to me as an artist, even though I'm following what the poem has offered.

To the question, ‘Is the cinema an art?’ my answer is, ‘what does it matter?’... You can make films or you can cultivate a garden. Both have as much claim to being called an art as a poem by Verlaine or a painting by Delacroix… Art is ‘making.’ The art of poetry is the art of making poetry. The art of love is the art of making love... My father never talked to me about art. He could not bear the word.

I do believe that one's writing life needs to be kept separate from Po-Biz. Personally, I deal with this by not attending too many poetry readings, primarily reading dead poets or poems in translation, reading Poets & Writers only once for grant/contest information before I quickly dispose of it, and not reading Poetry Daily. Ever.

Poetry's always dead, you know? You don't realize how good poetry is until 15 years later.

What a contrast between the stern and desolate poetry of Ossian, and that of Chaucer, and even of Shakespeare and Milton, much more of Dryden, and Pope, and Gray! Our summer of English poetry, like the Greek and Latin before it, seems well advanced towards its fall, and laden with the fruit and foliage of the season, with bright autumnal tints, but soon the winter will scatter its myriad clustering and shading leaves, and leave only a few desolate and fibrous boughs to sustain the snow and rime, and creak in the blasts of age.

The Gettysburg Adress has been included, of late, in several anthologies of poetry. It actually meets the major requirement of all poetry: It is a mellifluous and emotional statement of the obviously not true. The men who fought for self-determination at Gettysburg were not the Federals but the Confederates.