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In short stories there's more permission to be elliptical. You can have image-logic, or it's almost like a poem in that you can come to a lot of meanings within a short space.
The first time I ever got up on a stage, I did a comedy poem. I don't know how I got there in the first place because I was very, very shy.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
I don't think there's anything wrong with someone having to read a poem twice. Or even a book.
I was actually a poetry major in college before I punted and decided to become a theater major. I wrote the poem that we put on the sauerkraut boxes in the style of Elling.
When Keats says: 'Axioms in philosophy are not axioms until they are proved upon our pulses', what he means is that we don't necessarily believe what a poem is saying if it comes out and tells us in an absolutely head-on, in-your-face way; we only believe it to be true if we feel it to be true.
Back then, I couldn't have left a poem a year and gone back to it.
But most commonly, it's one poem that I work on with a lot of intensity.
The first poem I ever wrote, about loss, when I was 5 years old, expressed the themes of everything I would ever write.
In a Transtromer poem, you inhabit space differently; a body becomes a thing, a mind floats, things have lives, and even non-things, even concepts, are alive.
To a poet the mere making of a poem can seem to solve the problem of truth, but only a problem of art is solved in poetry.
And at least in poetry you should feel free to lie. That is, not to lie, but to imagine what you want, to follow the direction of the poem.
Poe's saying that a long poem is a sequence of short ones is perfectly just.
People are so used to reading novels now, they just read a poem straight through to get the meaning. And that's something totally different from the slow way you read something if it's a tune; which to me a poem has to be.
Elizabeth Barrett Browning could write a poem two pages long. Could she have brought it to a music publisher?
Perhaps first and foremost is the challenge of taking what I find as a reader and making it into a poem that, primarily, has to be a plausible poem in English.
Translation makes me look at how a poem is put together in a different way, without the personal investment of the poem I'm writing myself, but equally closely technically.
It is still true that it is easier to compose a poem in the form of a manual for adjusting a VCR than it is to write a piece using just tuning as a symphony.
I am still interested in the long or serial poem, but have written a few smaller things. I may start sending to journals again in a year or so... that's about it.
The experiment of the poem is mostly intuitive. I write the first draft, pulling in the various elements that interest me, in the hope that their being combined will lead to some kind of insight.
Ginsberg's Collected Poems contains a wonderful poem about making it with Neal Cassady.
The only real evidence that any critic may bring before his gaze is the finished poem.
We know the particular poem, not what it says that we can restate.
A poet's cultural baggage and erudition can interfere with a poem.
The composition of a single melody is born out of a bit of text, perhaps the first line, but it can also be the entire strophe; it can even be the poem's overall form.
A. P. J. Abdul Kalam
John F. Kennedy
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