Quotes About Poets

There are two types of poets: People who write poetically about their lives, and poets that live poetically and write about it.

I think that what's happening today, with all the young poets rushing from one college to another, lecturing at the drop of a hat and so on, is not too good; I think it might have a bad effect on a great many of the young poets. They - to quote Mark Twain - "swap juices" a little too much, so that they are in danger of losing their own identity and don't give themselves time enough in which to work out what's really of importance to them - they're too busy.

All poets who, when reading from their own works,m experience a choked feeling, are major. For that matter, all poets who read from their own works are major, whether they choke or not.

Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.

I'm more than a little suspicious of humor in poems, because I think it can at times be a way of getting a reaction out of a reader, or an audience, that is something closer to relief: i.e., thank god this isn't poetry, but stand-up comedy. Some poets are really funny, but more often poets are fourth rate stand up comics at best. But they benefit from the sheer relief of the audience.

I have just been to a city in the West, a city full of poets, a city they have made safe for poets. The whole city is so lovely that you do not have to write it up to make it poetry; it is ready-made for you. But, I don't know - the poetry written in that city might not seem like poetry if read outside of the city. It would be like the jokes made when you were drunk; you have to get drunk again to appreciate them.

I worked privately, and sometimes I feel that might be better for poets than the kind of social workshop gathering. My school was the great poets: I read, and I read, and I read.

My biggest poetic influences are probably 20th-century British and Irish poets. So I suppose I'm always listening for the music I associate with that poetry, the telling images, the brevity. I want to hear it in my own work as well as in the poetry I read. However, I think I'm generally more forgiving of other poets than myself.

You have to give your art everything you can - I don't mean only writing, but studying other poets and poetics, thinking, reading what poets have written other than their poetry.

In general, I would think that at present prose writers are much in advance of the poets. In the old days, I read more poetry than prose, but now it is in prose where you find things being put together well, where there is great ambition, and equal talent. Poets have gotten so careless, it is a disgrace. You can’t pick up a page. All the words slide off.

Malcolm X is a person who has inspired - he has been the muse of several generations of black cultural workers, artists, poets, playwrights.

I love to publish new writers, and we do so consistently. But a lot of contemporary American poets sound alike to me. They want to bring spoken, prosy language into poetry and I understand that desire. But they don't edit. It's not very curated work. It seems very lackluster, very uncareful. It may be the un-carefulness is also something they intend but there's a kind of "So what?" quality to a lot of it.

Religion, mysticism and magic all spring from the same basic 'feeling' about the universe: a sudden feeling of meaning, which human beings sometimes 'pick up' accidentally, as your radio might pick up some unknown station. Poets feel that we are cut off from meaning by a thick, lead wall, and that sometimes for no reason we can understand the wall seems to vanish and we are suddenly overwhelmed with a sense of the infinite interestingness of things.

The Irish believed that gods, druids, poets, and others in touch with the magical world could be literal shape-shifters

Because philosophy arises from awe, a philosopher is bound in his way to be a lover of myths and poetic fables. Poets and philosophers are alike in being big with wonder.

Do you want to guess what's in here?" I asked Dash. "I think I've got it figured out already. There's a new supply of red notebooks in there, and you want us to fill them in with clues about the works of, say, Nicholas Sparks." "Who?" I asked. Please, no more broody poets. I couldn't keep up. "You don't know who Nicholas Sparks is?" Dash asked. I shook my head. "Please don't ever find out," he said.

There are no mute, inglorious Miltons, save in the hallucinations of poets. The one sound test of a Milton is that he functions as a Milton.

People wish to be poets more than they wish to write poetry, and that's a mistake. One should wish to celebrate more than one wishes to be celebrated.

Ireland is a land of poets and legends, of dreamers and rebels. All of these have music woven through and around them. Tunes for dancing or for weeping, for battle or for love.

Robert Frost really started this whole thing rolling. He was, I believe, the first poet who started going to colleges. Before that, poets didn't give public readings very often, certainly not - there was no circuit of schools.

In Plato's republic, poets were considered subversive, a danger to the republic. I kind of relish that role. So I see my present role as a gadfly, to use my soapbox to promote my various ideas and obsesions.

Saints and martyrs had never interested Maggie so much as sages and poets.

At university, I had been obsessed with reading about the lives of Rimbaud and Baudelaire, and I was steeped in the crazy poets, and I came to view my early subjects through that prism.

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.

Words are the only bullets in truth's bandolier. And poets are the snipers.

Patricia Smith is one of the best poets around and has been for a long time. Her Blood Dazzler is full of capacious soul and formal inventiveness: the compassion and artfulness necessary to capture the tragedies and Tragedy of Katrina. Smith is herself a storm of beautiful, frightening talent. Her words will wash you or wash you away. I consider this new book a major literary event.

I feel like the older I get, the truer it feels that I'm only going have an investment in a poem if it allows or forces me to bring something that's supremely me onto the page. I used to think that the speaker of a poem was talking to someone else, to some ideal reader or listener, but now I think that speakers - poets - are talking to themselves. The poem allows you to pose questions that you have you ask of yourself knowing that they are unanswerable.

In the mind of all, fiction, in the logical sense, has been the coin of necessity;—in that of poets of amusement—in that of the priest and the lawyer of mischievous immorality in the shape of mischievous ambition,—and too often both priest and lawyer have framed or made in part this instrument.

You might learn as much about how to write by reading Shakespeare, Tolstoy, Wallace Stevens, Raymond Chandler, Saul Bellow, Paul Muldoon or a hundred other good novelists or poets than by seeing another round of John Ford revivals.

In England, coffeehouses were dubbed penny-universities, because for the admission price of one cent, a person could sit and be edified all day long by scholars, merchants, travelers, community leaders, gossips, and poets.

And some poets are far better read off the page because they're very bad speakers. I'm thinking of one in particular whom I won't name, a good poet, and he reads in such a dry, boring way, your eyes start drooping.

Why can't poets just say what they want to say and then shut up?

When you recite you're giving a performance, in the way that an actor or a singer performs, and some poets are not interested in doing that, maybe because they're writing for a readership as opposed to an audience, or because they see poetry as a very private art.

Black actors on the road, flying around the country working as poets. Those people are inspirations for millions of kids who write.

Poetry is not a silent art. The poem must perform, unaided, in its reader's head. Educated readers give themselves a good performance. Educated listeners compare performance with text and with other performances. Good poets use the full resources of language.

We have been led to imagine all sorts of things infinitely more marvelous than the imagining of poets and dreamers of the past. It shows that the imagination of nature is far, far greater than the imagination of man. For instance, how much more remarkable it is for us all to be stuck-half of us upside down-by a mysterious attraction, to a spinning ball that has been swinging in space for billions of years, than to be carried on the back of an elephant supported on a tortoise swimming in a bottomless sea.

I just think that the world of workshops - I've written a poem that is a parody of workshop talk, I've written a poem that is a kind of parody of a garrulous poet at a poetry reading who spends an inordinate amount of time explaining the poem before reading it, I've written a number of satirical poems about other poets.

There are still many writers out in the Bay, extraordinary writers like Gina Valdez, a poet who I just saw in Portland. We have young people like Eduardo Corral, who won the Yale Younger Poets Award. José Antonio Rodriguez, published by Luis Rodriguez. But there are only a few of us who are paid attention to in New York. There are legions behind us who are not.

Universities are filled with poets and novelists conducting demure and careful lives in imitation of Eliot and Forster and those others who (through what seems to be have been discretion) made it.

For me the journey of making a film is a journey of discovery as to what that film is. I mean what I do is what other artists do, painters, novelists, people that make music, poets, sculptors, you name it. It's about starting out and working with the material and discovering through making, working with the material the artifact.

Poets are political, they have to be reflections of their times [because] they're living in their times... Poetry is political in that it's standing in opposition to fascism. Good poetry asks a bunch of questions and asks the audience to interact with themselves or see themselves in it; maybe you like it or you don't like it. But the fascist sort of stuff plays on your fears and tells you to jump on the party line and gives some simple excuses - blame this person.

Very few people are accepted as creative: A few painters, a few poets - one in a million. This is foolish! Every human being is a born creator. Watch children and you will see: all children are creative. By and by, we destroy their creativity.

American poets celebrate their bodies, very specifically, as Whitman did.

Lyrics have to be underwritten. That's why poets generally make poor lyric writers because the language is too rich. You get drowned in it.

There's this pet phrase about writing that is bandied around particularly in workshops about "finding your own voice as a poet", which I suppose means that you come out from under the direct influence of other poets and have perhaps found a way to combine those influences so that it appears to be your own voice.

Poetry is the inner life of a culture, its nervous system, its deepest way of imagining the world. A culture that ignores its poets, chokes off its nervous system and becomes mortally ill.

Poets are interested mostly in death and commas.

Tennyson and Browning are poets, and they think; but they do not feel their thought as immediately as the odour of a rose. A thought to Donne was an experience; it modified his sensibility.