Quotes About Poetry

But most love poetry is awful; nobody knows how to write good love poetry either. But that's not a reason not to write love poetry. Some of the best poetry ever written has been love poetry, and some of the greatest poetry ever written has been political poetry.

I'm educating myself more about world poetry. I know a lot about contemporary American poetry, so I felt I needed to learn more about figures like Borges, Akhmatova, Neruda, etc. I felt I needed a bigger lens to see poetry through. It really helps to see poetry as a world language, and not just something American.

When you think intensely and beautifully, something happens. That something is called poetry. If you think that way and speak at the same time, poetry gets in your mouth. If people hear you, it gets in their ears. If you think that way and write at the same time, then poetry gets written. But poetry exists in any case. The question is only: are you going to take part, and if so, how?

I would not recommend poetry as a career. In the first place, it's impossible in this time and place - in this culture - to make poetry a career. The writing of poetry is one thing. It's an obsession, the scratching of a divine itch, and has nothing to do with money. You can, however, make a career out of being a poet by teaching, traveling around, and giving lectures. It's a thin living at best.

The United States' poetry emerged when there was a high literacy rate in the United States, even in the 19th century. People read the poetry when it was written. In Ireland, there was a poor literacy rate and people remember that poetry. That was handed on as a memorial tradition.

I wrote poetry in middle school and high school and even through college. It was bad. I just don't think I'm very good at writing poetry. I mean, the distillation, I think, is hard for me, but I love poetry.

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.

What's important about poetry in the context of leadership is that most of the time, power has to do with dominance. But poetry is never about dominance. Poetry is powerful but it cannot even aspire to dominate anyone. It means making a connection. That's what it means.

The language of politics is poetry, not prose. Jackson is poetry. Cuomo is poetry. Dukakis is a word processor.

I think the connection between poetry and theology, which is profound in Western tradition - there is a great deal of wonderful religious poetry - both poetry and theology push conventional definitions and explore perceptions that might be ignored or passed off as conventional, but when they are pressed yield much larger meanings, seem to be part of a much larger system of reality.

I'm not against sentimentality. I think you need it. I mean, I don't think you get a true picture of people without it in writing... It's a kind of poetry, it's an emotional poetry, and, to bring it back to the literary scene, I don't think anything is true that doesn't have it, that doesn't have poetry in it.

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.

To be honest, I wasn't crazy about the kind of poetry I found in high school English books. I didn't get really excited about poetry until I discovered Lorca in college. If it wasn't for surrealism, I'm not sure I'd have become so involved in poetry. I was attracted by the extravagant imagery and elements of fantasy. This was in the '70s and it seemed to fit the psychedelic mood of the times. I found it liberating.

Italian is a very different poetic situation and there are these hard and fast rhythmic periods, settenari, ottonari of seven and eight syllables. These are fundamental to the way people speak and write and breaking them is more radical in Italian than when we break a line. I'm sure there are Italian poets who want to write poetry as prose and break these Petrarchan rules. And breaking them is fun and a valid thing to do. But I'm more interested in trying to write poetry that absorbs tradition and uses it in new ways, and doesn't throw it out.

My verses are my diary. My poetry is a poetry of proper names.

Poetry is ordinary language raised to the Nth power. Poetry is boned with ideas, nerved and blooded with emotions, all held together by the delicate, tough skin of words.

Most poetry is the utterance of a man in some state of passion, love, joy, grief, rage, etc., and no doubt this is as it should be. But no man is perpetually in a passion and those states in which he is amused and amusing, detached and irreverent, if less important, are no less amusing. If there were no poets who, like Byron, express these states, Poetry would lack something.

To think of writing poetry as a "career" is not only ridiculous, it's dangerous. To the imagination. To the way one thinks of art. The reason poetry as a genre is so special is because it cannot be made a commodity.

I was reading poetry to my girlfriends, and they were like, you're really good. You should go to some poetry readings or something. And I eventually went and got a, you know, somewhat of a name for myself and a little bit of a following.

Poetry is not like reasoning, a power to be exerted according to the determination of the will. A man cannot say, 'I will compose poetry.' The greatest poet even cannot say it; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness...and the conscious portions of our natures are unprophetic either of its approach or its departure.

Poetry can be dangerous, especially beautiful poetry, because it gives the illusion of having had the experience without actually going through it.

The medium of poetry is not words, the medium of poetry is not lines-it is the motion of air inside the human body, coming out through the chest and the voice box and through the mouth to shape sounds that have meaning. It's bodily.

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.

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.

I feel in poetry there aren't that many rules that you need to absolutely live by depending on your style of poetry.

A lyric, it is true, is the expression of personal emotion, but then so is all poetry, and to suppose that there are several kinds of poetry, differing from each other in essence, is to be deceived by wholly artificial divisions which have no real being.

I have the idea that lyric poetry is a poetry that's driven by a sense of the presence of death. That there's something unbearable about the fact that we're going to die and that we can't stand it and I think you find that out in childhood and you don't really - at least I found it out in childhood and I found it hard to get over.

I'm an actress, primarily. I love to write poetry. I've been writing poetry since I was 12 years old.

Touch your inner space, which is nothingness, as silent and empty as the sky; it is your inner sky. Once you settle down in your inner sky, you have come home, and a great maturity arises in your actions, in your behavior. Then whatever you do has grace in it. Then whatever you do is a poetry in itself. You live poetry; your walking becomes dancing, your silence becomes music.

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 thought poetry could change everything, could change history and could humanize, and I think that the illusion is very necessary to push poets to be involved and to believe, but now I think that poetry changes only the poet.

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

Poetry -- even bad poetry -- may be our final hope.

I should think that many of our poets, the honest ones, will confess to having no manifesto. It is a painful confession but the art of poetry carries its own powers without having to break them down into critical listings. I do not mean that poetry should be raffish and irresponsible clown tossing off words into the void. But the very feeling of a good poem carries its own reason for being... Art is its own excuse, and it’s either Art or it’s something else. It’s either a poem or a piece of cheese.

I began writing for kids because I wanted to effect a change in American society. I continue in that spirit. By the time we reach adulthood, we are closed and set in our attitudes. The chances of a poet reaching us are very slim. But I can open a child's imagination, develop his appetite for poetry, and more importantly, show him that poetry is a natural part of everyday life. We all need someone to point out that the emperor is wearing no clothes. That's the poet's job.

The first night Stephen and I slept together, he whispered numbers into my ear: long, high numbers -- distances between planets, seconds in a life. He spoke as if they were poetry, and they became poetry. Later, when he fell asleep, I leaned over him and watched, trying to picture a mathematician's dreams. I concluded that Stephen must dream in abstract, cool designs like Mondrian paintings.

He lives the poetry that he cannot write. The others write the poetry that they dare not realize

Even though novels were the love of my life, I started off writing poetry. I think because I had a knack for image and lyricism, even though I didn't really have anything to write about, or I didn't know what to write about. I could just couple words together that pleased me and so poetry seemed sort of natural.

I write poetry anyway and have for years and years. For me, putting fiction and poetry together is like the best of both worlds.

All my closest friends came to me through poetry. My wife, too! Other than my family, poetry is the gravitational force of my life.

Stadium rock and commercial rock are the opposite of what poetry needs. An audience of around 200 is ideal for poetry.

Not all poetry wants to be storytelling. And not all storytelling wants to be poetry. But great storytellers and great poets share something in common: They had something to say, and did.

Comic strips introduced me to metaphors. They are pure metaphor, so you learn how to tell a story with symbols, which is a very valuable thing to learn. And I learned that from motion pictures, too, and from poetry. Poetry is mainly metaphor. If it doesn't have a metaphor, it doesn't work.

I like poetry when I don't quite understand why I like it. Poetry isn't just a question of wrapping something up and giving it to someone else to unwrap. It just doesn't work like that.

No definition of poetry is adequate unless it be poetry itself. The most accurate analysis by the rarest wisdom is yet insufficient, and the poet will instantly prove it false by setting aside its requisitions. It is indeed all that we do not know.

The young people have MTV and rock and roll. Why would they go to read poetry? Poetry belongs to the Stone Age. It awakens in us perceptions that go back to those times.

one reason why I like writing poetry - you can say so many things in it that are true in poetry but wouldn't be true in prose.

In order for poetry to exist there has to be not-poetry to contrast it with.