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One Christmas I had no money, and so I went home and just, like, wrote a poem; I mean, I didn't write them, but I just handed out poems as Christmas presents. Like, 'Here's a Pablo Neruda poem that really made me think of you.'
June Diane Raphael
Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important.
I think you can have the greatest lyrics in the world and if it doesn't have the best tune in the world it will suck. I mean if the music wasn't important it would just be a poem.
When I was 18 years old I went to Shakespeare Company, the school, and I wrote a poem about my leaves - I felt like a tree that had no leaves. That is the life at 18.
From the reader's view, a poem is more demanding than prose.
A writer's work often reflects what he or she has been exposed to in life; experiences which are the groundwork of a poem or a story.
The poem, for me, is simply the first sound realized in the modality of being.
There's no artist in this world that doesn't enjoy the dream that if they have bad reviews now, the story of Keats can redeem them, in their fantasy or imagination, in the future. I think Keats' poem 'Endymion' is a really difficult poem, and I'm not surprised that a lot of people pulled it apart in a way.
Writing can sometimes be exploitative. I like to take a few steps of remove in order to respect the privacy of the subject. If readers make the link, they have engaged with the poem.
It took some time to gather the research and develop it into the storyline, and to finally finish an origin myth poem that I had been working on for twenty years.
Jean M. Auel
I have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.
To say a poem is absolute is saying nothing, because an ink blot can be absolute. Yet you put into it what you like. So it becomes totally relative.
I do not usually revise much, though I often cut, particularly the end or toward the end of a poem.
Usually a poem takes shape accoustically - a line or a pair of lines will repeat itself in my ear.
I have never written a play, a story, a poem, or my one film - anything - unless something was troubling me enough, wrecking me, in fact, to drive me back into the absurdity of writing. I do not enjoy writing.
Knowing some Greek helped defuse forbidding words - not that I counted much on using them. You'll find only trace elements of this language in the poem.
I deliberately wrote a poem in my last book where I was suggesting that there are other passions as great as or more important than the passion of sex.
The poem 'What Teachers Make' is not without its detractors. This one person wrote to me and said: 'Gee, Mr. Mali. You don't possibly have a teacher-God complex, do you?' And that was the first time I'd ever heard of that expression. So, yeah, I'm sure I have a teacher-God complex.
I like connecting the abstract to the concrete. There's a tension in that. I believe the reader or listener should be able to enter the poem as a participant. So I try to get past resolving poems.
Just as a new scientific discovery manifests something that was already latent in the order of nature, and at the same time is logically related to the total structure of the existing science, so the new poem manifests something that was already latent in the order of words.
A thing may fail as a poem because it tries to do what a poem cannot do: it tries to become a treatise on cosmic truth... We can best be exact about the cosmic things - God and truth, beauty, eternity and love - by not talking directly about them.
Wanted: a needle swift enough to sew this poem into a blanket.
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.
In a manner of speaking, the poem is its own knower, neither poet nor reader knowing anything that the poem says apart from the words of the poem.
A poet can feel free, in my estimation, to write a poem for himself. Or a painter can paint a painting for himself. You can write a short story for yourself. But for me, comedy by its nature is communal. If other people don't get it, I'm not sure why you are doing it.
A poem is learned by heart and then not again repeated. We will suppose that after a half year it has been forgotten: no effort of recollection is able to call it back again into consciousness.
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