If Only Poems Quotes & Sayings

We writers are the worst kind of cruel,
Because we worship our own stories and poems,
And what human can compete with metaphors?
Writers stand still and yet vacate our homes
Inside our fantasies. We are word-whores,
With libidos and egos of balsa wood.
We'd have sex with our books, if only we could. — Sherman Alexie

Fame wouldn't exist if it weren't for education. It's only of concern to schoolteachers. Oh no, we are not talking about fame, but what I call eternity. Believers call it the kingdom of God. The way I see it, all of us more demanding people, those of us who long for something better and have that one dimension too many, would be incapable of living if, apart from this world's atmosphere, there weren't another air to breathe; if, apart from time, eternity didn't also exist, the kingdom of authentic life. Mozart's music is a part of it, as are the poems of your great writers. So too are the saints who performed miracles, died as martyrs and set a great example to people. But the image of every authentic act, the strength of every authentic emotion, are just as much a part of eternity, even if nobody knows about them, witnesses them, writes them down and preserves them for posterity. There is no such thing as posterity in eternity, only contemporaneity. — Hermann Hesse

If Laura was so prolific with poems, and in truth she was, then what was the problem with Megan's request? Couldn't Laura, with a little doing, keep stringing together line after line of words and construct, in time, a novel? It seemed logical, but there was the matter of finding an idea and sustaining it. Only fire could do that. The fire of rebellion.
Mario Vargas Llosa had not used the term "fire" exactly, but rather had discussed the presence of "seditious roots" that could "dynamite the world" the writer inhabited. He claimed that writing stories was an exercise in freedom and quarreling - out-and-out rebellion, whether or not the writer was conscious of it. And this rebellion, Vargas Llosa reminded his readers, was why the Spanish Inquisition had strictly censored works of fiction, prohibiting them for three hundred years in the American colonies. — L.L. Barkat

Fate was not kind, life was capricious and terrible, and there was no good or reason in nature. But there is good and reason in us, in human beings, with whom fortune plays, and we can be stronger than nature and fate, if only for a few hours. And we can draw close to one another in times of need, and live to comfort each other.

And sometimes when the black depths are silent, we can do even more. We can then be gods for moments, stretch out a commanding hand and create things which were not there before and which, when they are created, continue to live without us. Out of sounds, words and other frail and worthless things, we can construct playthings--songs and poems full of meaning, consolation and goodness, more beautiful and enduring than the grim sport of fortune and destiny. — Hermann Hesse

I think a lot about the poems I wasn't able to write ... I masturbrated ... Solitude is essentially a matter of pride; you bury yourself in your own scent. The issue is the same for all real poets. If you've been happy for too long, you become banal. By the same token, if you've been unhappy for a long time, you lose your poetic power ... Happiness and poverty can only coexist for the briefest time. Afterword either happiness coarsens the poet or the poem is so true it destroys his happiness. — Orhan Pamuk

The Planet On The Table
Ariel was glad he had written his poems.
They were of a remembered time
Or of something seen that he liked.
Other makings of the sun
Were waste and welter
And the ripe shrub writhed.
His self and the sun were one
And his poems, although makings of his self,
Were no less makings of the sun.
It was not important that they survive.
What mattered was that they should bear
Some lineament or character,
Some affluence, if only half-perceived,
In the poverty of their words,
Of the planet of which they were part. — Wallace Stevens

Success"

If you want a thing bad enough
To go out and fight for it,
Work day and night for it,
Give up your time and your peace and your sleep for it

If only desire of it
Makes you quite mad enough
Never to tire of it,
Makes you hold all other things tawdry and cheap for it

If life seems all empty and useless without it
And all that you scheme and you dream is about it,

If gladly you'll sweat for it,
Fret for it,
Plan for it,
Lose all your terror of God or man for it,

If you'll simply go after that thing that you want.
With all your capacity,
Strength and sagacity,
Faith, hope and confidence, stern pertinacity,

If neither cold poverty, famished and gaunt,
Nor sickness nor pain
Of body or brain
Can turn you away from the thing that you want,

If dogged and grim you besiege and beset it,
You'll get it! — Berton Braley

But there was something more precious than his poems; something far away he didn't yet possess and longed for - manliness; he knew that it could only be attained by action and courage; and if courage meant courage to be rejected, rejected by everything, by the beloved woman, by the painter, and even by his own poems - so be it: he wanted to have that courage. And so he said:
"Yes, I know that the revolution has no need for my poems. I regret that, because I like them. But unfortunately my regret is no argument against their useless-ness.
Again there was silence, and then one of the men said: "This is dreadful," and he actually shuddered as if a chill had run down his spine. Jaromil felt the horror his words had produced in everyone there, that they were seeing in him the living disappearance of everything they loved, everything that made life worthwhile.
It was sad but also beautiful: within the space of an instant, Jaromil lost the feeling of being a child. — Milan Kundera

One day I'll paint the perfect sunset--
if I can only find the words. — Atticus Poetry

To have touched the feet of Christ is no excuse for mistakes in punctuation.
If a man writes well only when he's drunk, then I'll tell him: Get drunk. And if he says that it's bad for his liver, I'll answer: What's your liver? A dead thing that lives while you live, whereas the poems you write live without while. — Fernando Pessoa

3. Learn the Will Skill. Many people believe that fitness and exercise are all about willpower - whether you have it or not. Will is important, but people forget that willpower is a skill with its own rules and tricks to practice. For example, recent research shows that if people can distract their attention for just a few minutes, they can suppress negative urges and make better decisions.8 Sharman W. used this idea to help her avoid cheating on her diet. She listed the ten reasons she wanted to lose weight and created the following rule: She could cheat on her diet, but only after reading her list and calling her sister. This extra step introduced a delay and brought in social support from her sister. Other strategies our Changers use include taking short walks, repeating poems they have memorized, and drinking a glass of water. The key is to be aware of the impulse and to focus on something different until the impulse goes away. — Kerry Patterson

There are probably very few people who have not at some time of their lives had some quality of genius. If they have not had such, it is probable that they have also been without great sorrow or great pain. They would have needed only to live sufficiently intently for a time for some quality to reveal itself. The poems of first love are a case in point, and certainly such love is a sufficient stimulus. — Otto Weininger

Monster a person though monster not human.
Monster like music. Like Beatles! Like Schumann!
World full of stupid. World full of noise.
Monster feel ANGRY. No birthday. No joys.
World full of JUNK monster not comprehend.
What is a childhood? What is a friend?
Monster and human both want the same.
Want conversation. Want love. WANT NO PAIN.
If monster speak heart: monster life only worsen.
Monster not human: BUT MONSTER A PERSON! — Jennifer Finney Boylan

The memory was the only recording instrument of the great part of the population. Deeds and transfers were made permanent by beating young retainers so they would remember. The training of the Welsh poets was not practice but memorizing. On knowing 10,000 poems, one took a position. This has always been true. Written words have destroyed what must have been a remarkable instrument. The Pastons speak of having the messenger read the letter so that he could repeat it verbatim if it was stolen or lost. And some of these letters were complicated. If Malory were in prison, it is probably true that he didn't need books. He knew them. If I had only twelve books in my library I would know them by heart. And how many men had no memory in the fifteenth century? No - the book owned must have been supplemented by the book borrowed and thus by the book heard. The tremendous history of the Persian Wars of Herodotus was known by all Athenians and it was not read by them, it was read to them. — John Steinbeck

I said it before and I'll say it again: books are dead, plays are dead, poems are dead: there's only movies.
Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I'd be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don't write movies. You make movies. — Stephen Fry

Books help to form us. If you cut me open, you will find volume after volume, page after page, the contents of every one I have ever read, somehow transmuted and transformed into me. Alice in Wonderland. the Magic Faraway Tree. The Hound of the Baskervilles. The Book of Job. Bleak House. Wuthering Heights. The Complete Poems of W H Auden. The Tale of Mr Tod. Howard's End. What a strange person I must be. But if the books I have read have helped to form me, then probably nobody else who ever lived has read exactly the same books, all the same books and only the same books as me. So just as my genes and the soul within me make me uniquely me, so I am the unique sum of the books I have read. I am my literary DNA. — Susan Hill

He was weary of himself, of cold ideas and brain dreams. Life a poem? Not when you went about forever poetizing about your own life instead of living it. How innocuous it all was, and empty, empty, empty! This chasing after yourself, craftily observing your own tracks
in a circle, of course.
This sham diving into the stream of life while all the time you sat angling after yourself, fishing yourself up in one curious disguise or another! If he could only be overwhelmed by something
life, love, passion
so that he could no longer shape it into poems, but had to let it shape him! — Jens Peter Jacobsen

What a need we humans have for confession. To a priest, to a friend, to a psychoanalyst, to a relative, to an enemy, even to a torturer when there is no one else, it doesn't matter so long as we speak out what moves within us. Even the most secretive of us do it, if no more than writing in a private diary. And I have often thought as I read stories and novels and poems, especially poems, that they are no more than authors' confessions transformed by their art into something that confesses for us all. Indeed, looking back on my life-long passion for reading, the one activity that has kept me going and given me the most and only lasting pleasure, I think this is the reason that explains why it means so much to me. The books, the authors who matter the most are those who speak to me and speak for me all those things about life I most need to hear as the confession of myself. — Aidan Chambers

(Page 288)
If my love were an ocean,
there would be no more land.
If my love were a desert,
you would see only sand.
If my love were a star-
late at night, only light.
And if my love could grow wings,
I'd be soaring in flight.
-I love poetry so getting to read something as tiny as this was very refreshing. I think I can relate to Hannah because what she is essentially saying is that she loves a lot to the point that if her love were an object in this world.. the entire world would be consumed by it just to show the amount of love she has. It got me confused because I found it kind of selfish of Hannah writing that poem because if she loved everone as deeply as her poems depict.. why would she leave them? — Jay Asher

When I Read the Book
When I read the book, the biography famous,
And is this then (said I) what the author calls a man's life?
And so will some one when I am dead and gone write my life?
(As if any man really knew aught of my life,
Why even I myself I often think know little or nothing of my real life,
Only a few hints, a few diffused faint clews and indirections
I seek for my own use to trace out here.) — Walt Whitman

Poet, do you think a melody would compliment one of you poems? I was fixing to compose one, fiddling with ideas in my head, but...would that make it a song and not a poem anymore? And I'm not saying I'll jot the tune down, but if I did, if you wanted it...that is to say, if you agreed, would that mean the poem has died? I don't want my lute to kill it, you see. Only when does a poem stop being a poem? Can it be a song, too?" He dropped his head and spoke to my boots. "Can they blend together?"
If only he were truly referring to artistry. — Natalia Jaster

I live alone, perhaps for no good reason, for the reason that I am an impossible creature, set apart by a temperament I have never learned to use as it could be used, thrown off by a word, a glance, a rainy day, or one drink too many. My need to be alone is balanced against my fear of what will happen when suddenly I enter the huge empty silence if I cannot find support there. I go up to Heaven and down to Hell in an hour, and keep alive only by imposing upon myself inexorable routines. I write too many letters and too few poems. — May Sarton

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

If your teachers suggest that your poems are sentimental, that is only half of it. Your poems probably need to be even more sentimental. Don't be less of a flower, but could you be more of a stone at the same time? — Mary Ruefle

If it's art or literature you're interested in, I suggest you read the Greeks. Pure art exists only in slave-owning societies. The Greeks had slaves to till their fields, prepare their meals, and row their galleys while they lay about on sun-splashed Mediterranean beaches, composing poems and grappling with mathematical equations. That's what art is. If you're the sort of guy who raids the refrigerators of silent kitchens at three o'clock in the morning, you can only write accordingly. That's who I am. — Haruki Murakami

they say people only hear what they want to hear,
but i don't know if that is always true, i've been wanting to hear your heart and it's as silent as the moon. — AVA.

There must always be a fringe of the experimental in literature
poems bizarre in form and curious in content, stories that overreach for what has not hitherto been put in story form, criticism that mingles a search for new truth with bravado. We should neither scoff at this trial margin nor take it too seriously. Without it, literature becomes inert and complacent. But the everyday person's reading is not, ought not to be, in the margin. He asks for a less experimental diet, and his choice is sound. If authors and publishers would give him more heed they would do wisely. They are afraid of the swarming populace who clamor for vulgar sensation (and will pay only what it is worth), and they are afraid of petulant literati who insist upon sophisticated sensation (and desire complimentary copies). The stout middle class, as in politics and industry, has far less influence than its good sense and its good taste and its ready purse deserve. — Henry Seidel Canby

Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don't bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: "It's not where you take things from - it's where you take them to."
[MovieMaker Magazine #53 - Winter, January 22, 2004 ] — Jim Jarmusch

Love implies great freedom - not to do what you like. But love comes only when the mind is very quiet, disinterested, not self-centered. These are not ideals. If you have no love, do what you will - go after all the gods on earth, do all the social activities, try to reform the poor, the politics, write books, write poems - you are a dead human being. And without love your problems will increase, multiply endlessly. And with love, do what you will, there is no risk; there is no conflict. Then love is the essence of virtue. And a mind that is not in a state of love is not a religious mind at all. And it is only the religious mind that is freed from problems, and that knows the beauty of love and truth. — Jiddu Krishnamurti

If a man can only write well when drunk, I'll tell him: get drunk. And if he tells me that his liver suffers with it, I'll answer: what's your liver? It's a dead thing that lives as long as you live, and the poems you'll write will live without a as long as. — Fernando Pessoa

He read me another poem, and another one - and he explained the true history of poetry, which is a kind of secret, a magic known only to wise men. Mr. Premier, I won't be saying anything new if I say that the history of the world is the history of a ten-thousand-year war of brains between the rich and the poor. Each side is eternally trying to hoodwink the other side: and it has been this way since the start of time. The poor win a few battles (the peeing in the potted plants, the kicking of the pet dogs, etc.) but of course the rich have won the war for ten thousand years. That's why, on day, some wise men, out of compassion for the poor, left them signs and symbols in poems, which appear to be about roses and pretty girls and things like that, but when understood correctly spill out secrets that allow the poorest man on earth to conclude the ten-thousand-year-old brain-war on terms favorable to himself. — Aravind Adiga

What we all need most urgently now: to realize that transience is not separation - for we, transient as we are, have it in common with those who have passed from us, and they and we exist together in one being where separation is just as unthinkable. Could we otherwise understand such poems if they had been nothing but the utterance of someone who was going to be dead in the future? Don't such poems continually address inside of us, in addition to what is found there now, also something unlimited and unrecognizable? I do not think that the spirit can make itself anywhere so small that it would concern only our temporal existence and our here and now: where it surges toward us there we are the dead and the living all at once. — Rainer Maria Rilke

If poets often commit suicide, it is not because their poems are bad but because they are good. Whoever heard of a bad poet committing suicide? The reader is only a little better off. The exhilaration of a good poem lasts twenty minutes, an hour at most.
Unlike the scientist, the artist has reentry problems that are frequent and catastrophic. — Walker Percy

And sometimes if I want
To imagine I'm a lamb
(Or a whole flock
Spreading out all over the hillside
So I can be a lot of happy things at the same time),
It's only because I feel what I write at sunset,
Or when a cloud passes its hand over the light
And silence runs over the grass outside.
When I sit and write poems
Or, walking along the roads or pathways,
I write poems on the paper in my thoughts,
I feel a staff in my hand
And see my silhouette
On top of a knoll,
Looking after my flock and seeing my ideas,
Or looking after my ideas and seeing my flock,
With a silly smile like someone who doesn't understand what somebody's saying
But tries to pretend they do. — Alberto Caeiro

Vedanta is the teaching of the Upanishads, a collection of dialogues, stories, and poems, some of which go back to at least 800 B.C. Sophisticated Hindus do not think of God as a special and separate super-person who rules the world from above, like a monarch. Their God is "underneath" rather than "above" everything, and he (or it) plays the world from inside. One might say that if religion is the opium of the people, the Hindus have the inside dope. What is more, no Hindu can realize that he is God in disguise without seeing at the same time that this is true of everyone and everything else. In the Vedanta philosophy, nothing exists except God. There seem to be other things than God, but only because he is dreaming them up and making them his disguises to play hide-and-seek with himself. — Alan W. Watts

It's true I've been hurt a few times after revealing myself. There are people who lie in wait for the vulnerable and pounce as a way to feel powerful. But God forgive them. I'm willing to take the occasional blow to find people I connect with. As long as you're willing to turn the other cheek with the mean ones, vulnerability can get you a wealth of friends. Can you imagine coming to the end of your life, being surrounded by people who loved you, only to realize they never fully knew you? Or having poems you never shared or injustices you said nothing about? Can you imagine realizing, then, it was too late? How can we be loved if we are always in hiding? — Donald Miller