Experience Poems And Quotes & Sayings

A man is lying under machine-gun fire on a street in an embattled city. He looks at the pavement and sees a very amusing sight: the cobblestones are standing upright like the quills of a porcupine. The bullets hitting against their edges displace and tilt them. Such moments in the consciousness of a man judge all poets and philosophers. Let us suppose, too, that a certain poet was the hero of the literary cafes, and wherever he went was regarded with curiosity and awe. Yet his poems, recalled in such a moment, suddenly seem diseased and highbrow. The vision of the cobblestones is unquestionably real, and poetry based on an equally naked experience could survive triumphantly that judgment day of man's illusions. — Czeslaw Milosz

From the Diary of the Duchess of Roxburghe
I vow, I cannot seem to walk past a window without seeing my great-nephew carrying Miss Balfour somewhere. All great romantic poems have such scenes where the hero, in a fit of passion, sweeps the heroine off her feet. Sadly, it appears that Sin's technique is questionable.
I'm surprised that, with all of his supposed experience with the gentler sex, he doesn't realize that women do not like to be carried in a way that musses their hair and leaves them with unattractively red faces.
Sadly, yet another conversation I shall have to have with that boy. — Karen Hawkins

The Complete Work is essentially dramatic, thought it takes different forms - prose passages in this first volume, poems and philosophies in other volumes. It's the product of the temperament I've been blessed or cursed with - I'm not sure which. All I know is that the author of these lines (I'm not sure if also of these books) has never had just one personality, and has never thought or felt except dramatically - that is, through invented persons, or personalities, who are more capable than he of feeling what's to be felt. — Fernando Pessoa

Daniel was twenty-three, a year younger than I was, and though he hadn't yet published a book of poems he seemed to have spent his time better, or more imaginatively, or maybe what could be said is that he felt a pressure to go places, meet people, and experience things that, whenever I have encountered it in someone, has always made me envious. — Nicole Krauss

I am interested in the movement of my own thoughts and in trying make the poems feel more accurate to experience, including the experience of thinking. — Rachel Zucker

I suppose it's useful in designating writing that tends to come from personal experience, work that delineates an "I," but it's a loose lasso, one which may rope certain poems by one poet and not others. — Matthea Harvey

Harriet Levin [is] a shining poet in her generation ... The dynamics of her language and her vigorous voice distinguish all her poems. Levin's fearless willingness to tackle any subject combines with her subtle intelligence to produce a rare reading experience, the moving, psychologically sophisticated and intriguing work of a poet with both guts and craft — Molly Peacock

Writing is for stories to be read, books to be published, poems to be recited, plays to be acted, songs to be sung, newspapers to be shared, letters to be mailed, jokes to be told, notes to be passed, recipes to be cooked, messages to be exchanged, memos to be circulated, announcements to be posted, bills to be collected, posters to be displayed and diaries to be concealed. Writing is for ideas, action, reflection, and experience. It is not for having your ignorance exposed, your sensitivity destroyed, or your ability assessed. — Frank Smith

I grew up in a bookless house - my parents didn't read poetry, so if I hadn't had the chance to experience it at school I'd never have experienced it. But I loved English, and I was very lucky in that I had inspirational English teachers, Miss Scriven and Mr. Walker, and they liked us to learn poems by heart, which I found I loved doing. — Carol Ann Duffy

Here in the United States, we speak with reverence of authentic experience. We write poems about our daddies taking us fishing and breaking our hearts by making us throw the little fish back into the river. We even tell the reader the kind of car we were driving, the year and the model, to give the impression that it's all true. It's because we think of ourselves as journalists of a kind. Like them, we'll go anywhere for a story. Don't believe a word of it. As any poet can tell you, one often sees better with eyes closed than with eyes wide open. — Charles Simic

Frederick Turner comes across in his poems as a man of impressively broad experience, intellectual brilliance, and originality. ... He's at his best when he unleashes his extraordinary powers of observation. — Richard Tillinghast

On hearing of the interesting events which have happened in the course of a man's experience, many people will wish that similar things had happened in their lives too, completely forgetting that they should be envious rather of the mental aptitude which lent those events the significance they possess when he describes them ; to a man of genius they were interesting adventures; but to the dull perceptions of an ordinary individual they would have been stale, everyday occurrences.
This is, in the highest degree, the case with many of Goethe's and Byron's poems, which are obviously founded upon actual facts; where it is open to a foolish reader to envy the poet because so many delightful things happened to him, instead of envying that mighty power of fantasy which was capable of turning a fairly common experience into something so great and beautiful. — Arthur Schopenhauer

I think what life experience has brought to my poems is compassion. When you work hard to make a living, raise a child up into the world, fail at marriage and try again, teach and fail, travel and fall, become ill, well again, weak but grateful, you learn patience, forbearance. — Dorianne Laux

The poet lives and writes at the frontier between deep internal experience and the revelations of the outer world. There is no going back for the poet once this frontier has been reached; a new territory is visible and what has been said cannot be unsaid. The discipline of poetry is in overhearing yourself say difficult truths from which it is impossible to retreat. Poetry is a break for freedom. In a sense all poems are good; all poems are an emblem of courage and the attempt to say the unsayable; but only a few are able to speak to something universal yet personal and distinct at the same time; to create a door through which others can walk into what previously seemed unobtainable realms, in the passage of a few short lines. — David Whyte

If the poem is so moving that even if you have no experience in that particular setting be it 1920's Harlem let's say. You still are so moved that you can put yourself in that position. That means that the writer has managed to go beyond the personal and touch the humanity in all of us and it's really a blast to read it because I realize how that this does hold true for the truly great poems. — Rita Dove

The animal encounter poem is now so distinct a genre that it would be possible to create a full-length anthology from deer encounter poems alone, and many varieties of experience would emerge from such an exercise. — John Burnside

When teachers participate in a literary experience with a professionally presented children's play, they are offering their students a text quite different from anything that they will experience within their classrooms. Within this literary experience, teachers join as equals with their students, and each, as audience members within the darkened space of the performance, create their own poems to hold within themselves or share with others. — James Hugh Comey

I wrote a number of poems about Kah Tai lagoon, when Safeway was building that huge, ugly store down there where I used to love to watch the birds nest. That political poem, or environmental poem, was unsuccessful because Safeway built there anyway. And yet the poem has something to say today, as it did then. And I speak here only of my own poems. The agenda for every poet has to be different because most of us write from direct human experience in the world. — Sam Hamill

Well, 'The Wellspring' was written from 1983 to 1986. And it had a section in the beginning that was poems that began from others' experience. — Sharon Olds

Hardy's poetry is pre-eminently about ways of seeing. This is evident in the numerous angles of vision he employs in so many poems. Sometimes it involves creating a picture, as in 'Snow in the Suburbs', which allows the eye to follow the cascading snow set off by a sparrow alighting on a tree; or it employs the camera effect, as in 'On the Departure Platform', which tracks the gradually diminishing form and disappearance of a muslin-gowned girl among those boarding the train. However, Hardy is also a poet of social observation. His humanistic sympathies emerge in a variety of poems drawing upon his experience of both Dorset and London. — Geoffrey Harvey

The dark man is ubiquitous. People from all times and in all places have recorded their experiences of him in stories, poems, paintings, songs, stone, dance, crafts and prayers. Saint or sinner, scientist or theologian, agnostic or true believer, it makes little difference as the dark man has walked beside us since the very beginning and he will stay with us until the end. He is so intrinsic to the human experience that everyone has at least one dark man story to tell... — Deborah Wells

I would say there are different kinds of poems. There are things that poets in the history of poetry hit upon when they're very young that can never be outdone and it's a remarkable, strange experience when you think of say Arthur Rimbaud who write poetry between the ages of 17 and 21 whose career was over by the time he was 22. — Edward Hirsch

'Hard Hit,' a YA collection of poems, explores the country of grief and survival. Mark, a 16-year-old boy and skilled pitcher, must confront the coming death of his beloved father with the help of his friends, family, baseball, and an idiosyncratic belief in God. I used my own experience of my parents' deaths to inform this journey. — Ann Turner

When I first encountered the poems of Jon Woodward, I was stunned into the state that is my life's joy-I was in the presence of the inimitable. Uncanny Valley extends that experience-almost into another dimension. These apocalyptic, pixilated poems forge a mythology of our ravaged culture, one that might have been written in the future. If you want poetry to give you a persimmon on a plate, look elsewhere; if you want to know what happens when seven trees fall on the highway and the story is told by a stutterer, this is the book, and it could only have been written by Woodward. — Mary Ruefle

Paul Otremba's remarkable first book, The Currency, is an intriguing foray into lyric epistemology that tries to come to ter ms with the implacable, paradox-ridden nature of knowledge and experience. These are deeply felt, deeply meditated poems guided by a sensibility highly attenuated to the physical world. In their openness to friendship and love and in their fearless directness, they remind me of the work of Larry Levis and Jon Anderson. Like Levis and Anderson, Otremba promises to be an influential and important voice for his generation. — Michael Collier

Poems, even when narrative, do not resemble stories. All stories are about battles, of one kind or another, which end in victory or defeat. Everything moves towards the end, when the outcome will be known.
Poems, regardless of any outcome, cross the battlefields, tending the wounded, listening to the wild monologues of the triumphant or the fearful. They bring a kind of peace. Not by anaesthesia or easy reassurance, but by recognition and the promise that what has been experienced cannot disappear as if it had never been. Yet the promise is not of a monument. (Who, still on a battlefield, wants monuments?) The promise is that language has acknowledged, has given shelter, to the experience which demanded, which cried out. — John Berger

LIFE IS AN ENTHUSIASM. MY EXPERIENCE OF LIFE, MY VISION ALL ARE MENTION IN MY BOOKS. WRITING LANGUAGE - MALAYALAM. I BORN AND BROUGHT UP IN KERALA. MY LIFE PERIOD MORE THAN 28 YEARS WORKING IN THE MIDDLE EAST. IN MY LIFE EXPERIENCE INVOLVED IN MY ALL LITERARY WORKS - POEMS, DRAMA, NOVELS, TRAVELOGUES, SHORT STORIES & SCREENPLAY. — Saravan Maheswer

Poems 1959-2009_

I turn into the man they photograph.
I think I'll ask him for his autograph.
He's older than I am and more distinguished.
The beauty of the boy has been extinguished.
He smiles a lot and then not.
Hauteur is the new hot.
He tilts his nose up and looks imperious.
He wants to make sure he looks serious.
He smiles at the photographer but not
The camera. He thinks cold is the look that's hot.
You know the poems. It's an experience.
The way that Shylock is a Shakespearience.
A Jew found frozen on the mountain at the howling summit,
Immortally preserved singing to the dying planet from it. — Frederick Seidel

Writing, then, was a substitute for myself: if you don't love me, love my writing & love me for my writing. It is also much more: a way of ordering and reordering the chaos of experience. — Sylvia Plath

Our bodies are garbage heaps: we collect experience, and from the decomposition of the thrown-out eggshells, spinach leaves, coffee grinds, and old steak bones out of our minds, come nitrogen, heat, and very fertile soil. Out of this fertile soil bloom our poems and stories. But this does not come all at once. It takes time. Continue to turn over and over the organic details of your life until some of them fall through the garbage of discursive thoughts to the solid ground of black soil. — Natalie Goldberg

Robert Creeley has forged a signature style in American poetry, an idiosyncratic, highly elliptical, syntactical compression by which the character of his mind's concentrated and stumbling proposals might be expressed ... Reading his poems, we experience the gnash of arriving through feeling at thought and word. — Forrest Gander

As we joined the line of people getting off at the last stop before Sofia, I looked once more at the little boy, whom I felt I would never forget, though maybe it wasn't exactly him I would remember, I thought, but the use I would make of him. I had my notes, I knew I would write a poem about him, and then it would be the poem I remembered, which would be both true and false at once, the image I made replacing the real image. Making poems was a way of loving things, I had always thought, of preserving them, of living moments twice; or more than that, it was a way of living more fully, of bestowing on experience a richer meaning. But that wasn't what it felt like when I looked back at the boy, wanting a last glimpse of him; it felt like a loss. Whatever I could make of him would diminish him, and I wondered whether I wasn't really turning my back on things in making them into poems, whether instead of preserving the world I was taking refuge from it. — Garth Greenwell

The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry, is a kind of circuit that takes place between a poet, a poem and a reader, and that meaning doesn't exist or inhere in poems alone. — Edward Hirsch

I'm interested in connecting with readers and strangers through poetry. I want to create real intimacy with my poems. Whether I do that through pulling from my personal life or using my fantasy life - or say history, whether that history is personal history or our collective histories - what's important is that an experience is created. An experience that will hopefully matter to people and feel real. I want my poems to move people and make them want to live their lives, however complicated and impossible those lives may be. I think a poem can speak to the life you currently live but also to the lives you've lived before, the ones to come and also those you've yet to imagine. What else can do that? Not sex or money or other people. — Alex Dimitrov

I just know from experience that reading a funny poem aloud, especially at the beginning of a public reading, can have a certain effect. Somehow narrowing the spectrum of possible emotional reactions. So while I like it when people laugh at my poems, and I definitely enjoy being funny in them, I don't really think that's the most important thing that's going on, at least not to me. — Matthew Zapruder