Quote of the Day
- Page 7
The long poem cannot be a digressive, expansive, boring exposition. It is really made of very sharp, Imagistic, quintessential poetic elements.
I'm writing a poem right now about a nose. I've always wanted to write a poem about a nose. But it's a ludicrous subject. That's why, when I was younger, I was afraid of something that didn't make a lot of sense. But now I'm not. I have nothing to worry about. It doesn't matter.
My best days do seem like a distillation of all that was best about school. Write a story! Paint a picture! Write a poem! Make a print!
For many years, I thought a poem was a whisper overheard, not an aria heard.
In working on a poem, I love to revise. Lots of younger poets don't enjoy this, but in the process of revision I discover things.
A translation is no translation, he said, unless it will give you the music of a poem along with the words of it.
John Millington Synge
I see the poem or the novel ending with an open door.
With several different kinds of poetry to choose from, a man would decide that he would like best to be an epic poet, and he would set out, in conscious determination, on an epic poem.
If you read quickly to get through a poem to what it means, you have missed the body of the poem.
M. H. Abrams
I keep the drafts of each poem in color-coded folders. I pick up the folders according to how I feel about that color that day.
When you read and understand a poem, comprehending its rich and formal meanings, then you master chaos a little.
A poem in form still has to have voice, gesture, a sense of discovery, a metaphoric connection, as any poetry does.
Every poem probably has sixty drafts behind it.
The novel is born of disillusionment; the poem, of despair.
It was early on in 1965 when I wrote some of my first poems. I sent a poem to 'Harper's' magazine because they paid a dollar a line. I had an eighteen-line poem, and just as I was putting it into the envelope, I stopped and decided to make it a thirty-six-line poem. It seemed like the poem came back the next day: no letter, nothing.
I don't see that a single line can constitute a stanza, although it can constitute a whole poem.
What is it precisely, that feeling of 'returning' from a poem? Something is lighter, softer, larger - then it fades, but never completely.
The point of an experiment is not to arrive at a predetermined end point, to prove or disprove anything, but to deliver a poem that reveals much about the process taken.
An experienced reader uses the poem as an agent of inquiry. This makes poetry very exciting, unstable, and interactive.
Twitter was like a poem. It was rich, real and spontaneous. It really fit my style. In a year and a half, I tweeted 60,000 tweets, over 100,000 words. I spent a minimum eight hours a day on it, sometimes 24 hours.
One of the rules of Greek lament poetry is that it mustn't mention the dead by name in case of invoking a ghost. Maybe the 'Iliad,' crowded with names, is more than a poem. Maybe it's a dangerous piece of the brightness of both this world and the next.
A poem with grandly conceived and executed stanzas, such as one of Keats's odes, should be like an enfilade of rooms in a palace: one proceeds, with eager anticipation, from room to room.
'Love' is so short of perfect rhymes that convention allows half-rhymes like 'move.' The alternative is a plague of doves, or a kind of poem in which the poet addresses his adored both as 'love' and as 'guv' - a perfectly decent solution once, but only once, in a while.
One of my greatest joys is poetry. I read it almost every day, and I've even taken a stab at writing some of my own. A poem I wrote for my mother when she was dying really helped me get through that hard time.
In a poem the excitement has to maintain itself. I am governed by the pull of the sentence as the pull of a fabric is governed by gravity.
John F. Kennedy
Martin Luther King, Jr.
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