Poem In Quotes & Sayings

Will and Love practiced
to invoke her Majesty Kundalini
In the world where Adepts die and bloom as Lotuses
The perfection of Union is Silence — Natasa Nuit Pantovic

When people talk about poetry as a project, they suggest that the road through a poem is a single line. When really the road through a poem is a series of lines, like a constellation, all interconnected. Poems take place in the realm of chance, where the self and the universal combine, where life exist. I can't suggest to you that going through a line that is more like a constellation than a road is easy - or that the blurring of the self and the universal doesn't shred a poet a little bit in the process. The terrain of a poem is unmapped (including the shapes of the trees along the constellation-road). A great poet knows never to expect sun or rain or cold or wind in the process of creating a poem. In a great poem all can come to the fore at once. It would be worse yet, if none are there at all. — Dorothea Lasky

In the shining hours of togetherness
Light of the morning on your eyes
Bridge to immortality sang a bird of paradise
Peaceful we laughed on the banks
Where breathed freedom in the eternal river — Kristian Goldmund Aumann

Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy. In the way my body stretches to music and opens into response, hearkening to its deepest rhythms, so every level upon which I sense also opens to the erotically satisfying experience, whether it is dancing, building a bookcase, writing a poem, examining an idea. That self-connection shared is a measure of the joy which I know myself to be capable of feeling, a reminder of my capacity for feeling. And that deep and irreplaceable knowledge of my capacity for joy comes to demand from all of my life that it be lived within the knowledge that such satisfaction is possible, and does not have to be called marriage, nor god, nor an afterlife. — Audre Lorde

I receive the reward for my willingness to participate in the object-subject reversal in the form of a private illumination - in the present case, as an aesthetic movedness. The torso, which has no place that does not see me, likewise does not impose itself - it exposes itself. It exposes itself by testing whether I will recognize it as a seer. Acknowledging it as a seer essentially means 'believing' in it, where believing, as noted above, refers to the inner operations that are necessary to conceive of the vital principle in the stone as a sender of discrete addressed energies. If I somehow succeed in this, I am also able to take the glow of subjectivity away from the stone. I tentatively accept the way it stands there in exemplary radiance, and receive the starlike eruption of its surplus of authority and soul. — Peter Sloterdijk

Terrible worm in an iron cocoon, as he was called in an anonymous poem, the knight rode on a saddle rising in a high ridge above the horse's backbone with his feet resting in very long stirrups so that he was virtually standing up and able to deliver tremendous swinging blows from side to side with any one of his armory of weapons. — Barbara W. Tuchman

The poem, in a sense, is no more or less than a little machine for remembering itself ... Poetry is therefore primarily a commemorative act. — Don Paterson

My anthology continues to sell & the critics get more & more angry. When I excluded Wilfred Owen, whom I consider unworthy of the poets' corner of a country newspaper, I did not know I was excluding a revered sandwich-board Man of the revolution & that some body has put his worst & most famous poem in a glass-case in the British Museum
however if I had known it I would have excluded him just the same. He is all blood, dirt & sucked sugar stick (look at the selection in Faber's Anthology
he calls poets 'bards,' a girl a 'maid,' & talks about 'Titanic wars'). There is every excuse for him but none for those who like him ... (from a letter of December 26, 1936, in Letters on Poetry from W. B. Yeats to Dorothy Wellesley, p. 124). — W.B.Yeats

I feel good with my husband: I like his warmth and his bigness and his being-there and his making and his jokes and stories and what he reads and how he likes fishing and walks and pigs and foxes and little animals and is honest and not vain or fame-crazy and how he shows his gladness for what I cook him and joy for when I make him something, a poem or a cake, and how he is troubled when I am unhappy and wants to do anything so I can fight out my soul-battles and grow up with courage and a philosophical ease. I love his good smell and his body that fits with mine as if they were made in the same body-shop to do just that. What is only pieces, doled out here and there to this boy and that boy, that made me like pieces of them, is all jammed together in my husband. So I don't want to look around any more: I don't need to look around for anything. — Sylvia Plath

You can have a pretty good first line but not a strong enough thought to tag along more lines and sometimes in the middle words become bored and make war on one another. Notebooks are full of these fragments, shrapnel of our intention. Life is short on conclusions and that's why it's often a struggle to end a poem. — Jim Harrison

She flooded my thoughts. I drowned in peace. — Faraaz Kazi

Should I get lost, just point me in the direction of a poem. — Betty Bleen

Oracle of Delphi:
In my deep mystery I breathe
your fragrance swirling in
your odourless soul
I return your mystery
revealing your destiny deep in
the seed of your God Self — Ramon Ravenswood

Whoever challenges freaks should notice
that in the method he does not mature into a beast. — Santosh Kalwar

I usually write for the individual reader -though I would like to have many such readers. There are some poets who write for people assembled in big rooms, so they can live through something collectively. I prefer my reader to take my poem and have a one-on-one relationship with it. — Wislawa Szymborska

I can't understand how people can settle for having just one life. I remember we were in English class and we were talking about that poem by - that one guy. David Frost. 'Two roads diverged in a yellow wood-' You know this poem, right? 'Two roads diverged in a yellow wood, and sorry I could not travel both and be one traveler, long I stood and looked down one as far as I could, to where it bent in the undergrowth-"
"I loved that poem. But I remember thinking to myself: Why? How come you can't travel both? That seemed really unfair to me. — Dan Chaon

What would we not give for some great poem to read now, which would be in harmony with the scenery,
for if men read aright, methinks they would never read anything but poems. No history nor philosophy can supply their place. — Henry David Thoreau

People need people and the happiest people are
surrounded with friendly flesh.
If you have ten kids they'll be so sweet
ten really sweet kids! Have twelve!
What if there were 48 pro baseball teams,
you could see a damn lot more games!
And in this fashion we get away
from tragedy. Because tragedy comes when someone
gets too special. — Mark Halliday

This morning when I looked out the roof window
before dawn and a few stars were still caught
in the fragile weft of ebony night
I was overwhelmed. I sang the song Louis taught me:
a song to call the deer in Creek, when hunting,
and I am certainly hunting something as magic as deer
in this city far from the hammock of my mother's belly.
It works, of course, and deer came into this room
and wondered at finding themselves
in a house near downtown Denver.
Now the deer and I are trying to figure out a song
to get them back, to get all of us back,
because if it works I'm going with them.
And it's too early to call Louis
and nearly too late to go home.
[from poem, "Song for the Deer and Myself to Return On"] — Joy Harjo

I usually begin a poem in longhand. I like to sit where I have a nice view, ideally, although I worked on haiku this weekend at an airport. I'm not one to romanticize inspiration. I try to get to the work. — Pat Mora

Nothingness
... there in this place
where nothingness takes
but for the glimmer
a steadfast shimmer
all would be consumed ... — Muse

MYSTERIES, YES
Truly, we live with mysteries too marvelous
to be understood.
How grass can be nourishing in the
mouths of the lambs.
How rivers and stones are forever
in allegiance with gravity
while we ourselves dream of rising.
How two hands touch and the bonds
will never be broken.
How people come, from delight or the
scars of damage,
to the comfort of a poem.
Let me keep my distance, always, from those
who think they have the answers.
Let me keep company always with those who say
"Look!" and laugh in astonishment,
and bow their heads. — Mary Oliver

There is nothing "still" in the remarkably visceral poems of Alexander Long's third collection, Still Life, and nothing is at rest in these restless and edgy poems. Conversational and kinetic, these poems chart the traces left by the shifting overlays of the templates of literature, rock-and-roll, and contemporary culture. As each poem in Still Life attempts to fix a focus upon a scene or subject, the protean natures under view draw the poet into the eddies and complexities of reflection. This is a powerful and moving collection of poems. — David St. John

All day long you sit and sew,
Stitch life down for fear it grow,
Stitch life down for fear we guess
At the hidden ugliness.
Dusty voice that throbs with heat,
Hoping with your steel-thin beat
To put stitches in my mind,
Make it tidy, make it kind,
You shall not: I'll keep it free
Though you turn earth, sky and sea
To a patchwork quilt to keep
Your mind snug and warm in sleep! — Edith Sitwell

We write because the blank piece of paper and the pen are there. We write because this is our addiction and we are proud of it. Our habit, our drug, our crutch. Whatever you wish to call it. We write because since an early age we felt it deep in our souls and in our bones. The poem must be written, the story must be told and the new myths and Gods are waiting for you to bring them forth from out of the darkness and to bring them into the light of being. You are a creator, so create. You are the writer. So write. — R.M. Engelhardt

A kite is a victim you are sure of.
You love it because it pulls
gentle enough to call you master,
strong enough to call you fool;
because it lives
like a desperate trained falcon
in the high sweet air,
and you can always haul it down
to tame it in your drawer.
A kite is a fish you have already caught
in a pool where no fish come,
so you play him carefully and long,
and hope he won't give up,
or the wind die down.
A kite is the last poem you've written
so you give it to the wind,
but you don't let it go
until someone finds you
something else to do. — Leonard Cohen

The poem is the dream made flesh, in a two-fold sense: as work of art, and as life, which is a work of art. — Henry Miller

This creative tension between wonderful and terrible is named so well by Gerard Manley Hopkins, as only poets can. Even the long title of his poem reveals his acceptance of the ever-changing flow of Heraclites and also his trust in the final outcome: "That Nature Is a Heraclitean Fire and of the Comfort of the Resurrection." Flesh fade, and mortal trash fall to the residuary worm; world's wildfire, leave but ash: In a flash, at a trumpet crash, I am all at once what Christ is, since he was what I am, and This Jack, joke, poor potsherd, patch, matchwood, immortal diamond, — Richard Rohr

It has been a Prosy day for us, but for some people it has been a wonderful day. Someone was rapturously happy in it. Perhaps a great deed has been done somewhere today- a great poem written- or a great man born. And some heart has been broken, Phil. — L.M. Montgomery

In 'Colonization in Reverse'41 (a famous poem much anthologized) the speaker is presented as a more or less reliable commentator who implies that Jamaicans who come to 'settle in de motherlan' are like English people who settled in the colonies. West Indian entrepreneurs, shipping off their countrymen 'like fire', turn history upside down. Fire can destroy, but may also be a source of warmth to be welcomed in temperate England. Those people who 'immigrate an populate' the seat of the Empire seem, like many a colonizer, ready to displace previous inhabitants. 'Jamaica live fi box bread/Out a English people mout' plays on a fear that newcomers might exploit the natives; and some of the immigrants are - like some of the colonizers from 'the motherland' - lazy and inclined to put on airs. Can England, who faced war and braved the worst, cope with people from the colonies turning history upside down? Can she cope with 'Colonizin in reverse'? — Mervyn Morris

David Henderson's 1970 poem "Keep on Pushing," also analyzed the geographies of urban warfare in the Summer of 1964's Harlem Riots. Henderson warned of the crude mathematics of wide avenues that can swallow protest pickets, easily dismantle popular barricades, and muster five hundred cops in fifteen minutes, but he also suggests how, "For Harlem/ reinforcements come from the Bronx / just over the three-borough Bridge. / a shot a cry a rumor / can muster five hundred Negroes / from idle and strategic street corners / bars stoops hallways windows. — Anonymous

Usually, a number of events will be going on around me to start me on a book. What I mean is, I will have read a poem or seen a picture that is lingering in my mind. — Chris Raschka

I make a discovery in a poem as I write it. — Rita Dove

What makes a poem a poem, finally, is that it is unparaphrasable. There is no other way to say exactly this; it exists only in its own body of language, only in these words. I may try to explain it or represent it in other terms, but then some element of its life will always be missing.
It's the same with painting. All I can say of still life must finally fall short; I may inventory, weigh, suggest, but I cannot circumscribe; some element of mystery will always be left out. What is missing is, precisely, its poetry. — Mark Doty

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. — Keegan-Michael Key

He was never a man of many words but the look that he gave me spoke volumes saying what he felt in his heart — Vivian E. Moore

Twas the night before Thanksgiving.
All the food's in the oven.
And I'm in the bedroom performin' self lovin'. — Craig Ferguson

Today I introduced myself to my very own Heart,
In silent agony, after all these years it bled apart. — Ankita Singhal

I don't see why a poem couldn't be spoken out a car window or written on the beach at low tide. In fact, I'm sure people are doing it. — James Arthur

All the Blackwood women had taken the food that came from the ground and preserved it, and the deeply colored rows of jellies and pickles and bottled vegetables and fruit, maroon and amber and dark rich green, stood side by side in our cellar and would stand there forever, a poem by the Blackwood women. — Shirley Jackson

When the years have all passed, there will gape the uncomfortable and unpredictable dark void of death, and into this I shall at last fall headlong, down and down and down, and the prospect of that fall, that uprooting, that rending apart of body and spirit, that taking off into so blank an unknown, drowns me in mortal fear and mortal grief. After all, life, for all its agonies of despair and loss and guilt, is exciting and beautiful, amusing and artful and endearing, full of liking and of love, at times a poem and a high adventure, at times noble and at times very gay; and whatever (if anything) is to come after it, we shall not have this life again. — Rose Macaulay

It takes something of a poet to apprehend and get into the depth, the lusciousness, the spiritual life of a great poem. And so we must be in some way like God in order that we may see God as He is. — Edwin Hubbel Chapin

It is a shallow criticism that would define poetry as confined to literary productions in rhyme and meter rhythm. The written poem is only poetry talking, and the statue, the picture, and the musical composition are poetry acting. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains, which he himself could never hope to hear. — John Ruskin

The little boy was looking for his voice.
(The king of the crickets had it.)
In a drop of water
the little boy was looking for his voice.
I do not want it for speaking with;
I will make a ring of it
so that he may wear my silence
on his little finger

In a drop of water
the little boy was looking for his voice.

(The captive voice, far away,
put on a cricket's clothes.)

- The Little Mute Boy
Translated by William S. Merwin — Federico Garcia Lorca

David tried to give a form to the beast at the heart of the poem but found that he could not. It was more difficult than it appeared, for nothing quite seemed to fit. Instead, he could only conjure up a half-formed being that crouched in the cobwebbed corners of his imagination where all the things that he feared curled and slithered upon one another in the darkness. — John Connolly

There's a crystallization that goes on in a poem which the young man can bring off, but which the middle-aged man can't. — John Updike

This reminded him of Alvis Bender's contention that stories were like nations - Italy, a great epic poem, Britain, a thick novel, America, a brash motion picture in technicolor ... — Jess Walter

Poems are not easy to start, and they're not easy to finish. There's a great pleasure in - I wouldn't say ease, but maybe kind of a fascinated ease that accompanies the actual writing of the poem. I find it very difficult to get started. — Billy Collins

For me, a paragraph in a novel is a bit like a line in a poem. It has its own shape, its own music, its own integrity. — Paul Auster

Every poem is a coat of arms. It must be deciphered. How much blood, how many tears in exchange for these axes, these muzzles, these unicorns, these torches, these towers, these martlets, these seedlings of stars and these fields of blue! — Jean Cocteau

When a poet settled down to write a poem, could he foresee the lines he would write? Did his head constantly spin with riddles and rhymes and was his only job to put them down? What if he couldn't get them to make sense, and no one, not even the person he cared for most, could have pleasure in reading it? What would he do? — Alysha Speer

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. — Allen Tate

Martin's Monsanto poem holds devastating power. I heard the first public reading at the Resurgence Festival of well-being in London. It brought truth with clarity, not least with a kind of conviction and passion that is all too rare — Tony Juniper

In the midst of the ubiquitous dealings with prostituted signs, the thing-poem was capable of opening up the prospect of returning to credible experiences of meaning. It did this by tying language to the gold standard of what things themselves communicate. Where randomness is disabled, authority should shine forth. — Peter Sloterdijk

The name itself is trouble. "Slough" means, literally, muddy field. A snake sloughs, or sheds, its dead skin. John Bunyan wrote of the "slough of despond" in Pilgrim's Progress. In the 1930s, John Betjeman wrote this poem about Slough: Come friendly bombs and fall on Slough! It isn't fit for humans now, There isn't grass to graze a cow, Swarm over, Death! Then he got nasty. To this day, the residents of Slough rankle when anyone mentions the poem. The town's reputation as a showpiece of quiet desperation was cemented when the producers of the TV series The Office decided to set the show in Slough. — Eric Weiner

Your life, your breath, do they diligently seek,
Beyond the ridge to Willows Peak.
Go tortured soul! Go the weak!
Fall into their arms which eagerly reach,
Your spirit will they shackle and keep,
buried in the darkness of Willows Peak."
"Not the happiest poem in the world," Breccan remarked. — Madison Thorne Grey

I believe eros dwells in our innermost being as the spirit of creative expression. To me, eros is a great path that we must walk, a song we listen to, a game that we hunt and enjoy, a lesson to learn, a garden where flowers bloom, a prodigious puzzle to solve, a book to read, a chapter to write, and an ocean to swim in. That's what eros is to me. — Salil Jha

The truly creative mind in any field is no more than this: A human creature born abnormally, inhumanly sensitive. To him ... a touch is a blow, a sound is a noise, a misfortune is a tragedy, a joy is an ecstasy, a friend is a lover, a lover is a god, and failure is death. Add to this cruelly delicate organism the overpowering necessity to create, create, create
so that
without the creating of music or poetry or books or buildings or something of meaning, his very breath is cut off from him. He must create, must pour out creation. By some strange, unknown, inward urgency he is not really alive unless he is creating. — Pearl S. Buck

You wrote in a poem, "I love your body," as if love was for you embodied in the senses, and yet more than the senses together, an enveloping sense itself sensuous, as if all the body made sense. — David Plante

If only you would kiss me.
Press your lips to mine like a searing iron. Wrap me in your arms as if you were a monarch claiming a kingdom. Hold me close until I warm through to the core. Do this, and I promise to melt into you, no longer a cold and frozen figure in your narrowed sight. How devoted I would be if only your lips burned for mine!
If only you would kiss me. — Richelle E. Goodrich

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

The Garden
En robe de parade.
- Samain
Like a skein of loose silk blown against a wall
She walks by the railing of a path in Kensington Gardens,
And she is dying piece-meal
of a sort of emotional anaemia.
And round about there is a rabble
Of the filthy, sturdy, unkillable infants of the very poor.
They shall inherit the earth.
In her is the end of breeding.
Her boredom is exquisite and excessive.
She would like some one to speak to her,
And is almost afraid that I
will commit that indiscretion. — Ezra Pound

The true poem is the poet's mind; the true ship is the ship-builder. In the man, could we lay him open, we should see the reason for the last flourish and tendril of his work; as every spine and tint in the sea-shell preexist in the secreting organs of the fish. — Ralph Waldo Emerson

Regardless of how your life will impact others and what that will look like, I just know that when your identity is grounded in God, when you trust in Him, you become part of a bigger picture. And you begin to live out this wonderful poem He has written for your life. This is the truth when life is smooth sailing, and this is the truth when storms come. — Tim Tebow

The form of the poem, in other words, is crucial to poetry's power to do the thing which always is and always will be to poetry's credit: the power to persuade that vulnerable part of our consciousness of its rightness in spite of the evidence of wrongness all around it, the power to remind us that we are hunters and gatherers of values, that our very solitudes and distresses are creditable, in so far as they, too, are an earnest of our veritable human being. — Seamus Heaney

I am my own reflection
But when I look at me
I can see your affliction — Munia Khan

The process of reading is not a half sleep, but in the highest sense, an exercise, a gymnast's struggle: that the reader is to do something for him or herself, must be on the alert, just construct indeed the poem, argument, history, metaphysical essay
the text furnishing the hints, the clue, the start, the framework. — Walt Whitman

Good poets have written in order to describe something or to preach something - with their eye on the object or the end. The essence of the poetry does not lie in the thing described or in the message imparted but in the resulting concrete unity, the poem. — Louis MacNeice

There's plenty of room for strangeness, mystery, originality, wildness, etc. in poems that also invite the reader into the human and alive center about which the poem circles. — Thomas Lux

We all find ourselves involved in projects or activities that confound us-when or why did I say I would do this? What was I thinking? I needed a poem for myself that said-pause longer. Think again. — Naomi Shihab Nye

Nothing is lifeless
when the moon writes its screed
on the silvern sand silence
-From the poem:The Universe In Blossom — Munia Khan

Natalie Lyalin is writing some of the best poems in the world. There is an evil in her gorgeous poem-hearts. She must have sold her heart to the devil to write like this - so beautiful, so funny and so strange. Her images stack and stack down the page without spilling, each line such a bombshell you'll start reading backward to the first line. These poems are like babies - they will pop out of trees. — Zachary Schomburg

I try not to observe myself in the process of composing a poem because I don't want to come up with a formula, which I would then be unscrupulous in using. — Thom Gunn

And what I said was I'll miss you,
What I meant to say was that I love you,
What I wanted to say was that I meant what I said
I miss you like I miss my own bed
after too many nights of sleeping on couches
or hardwood floors
Or sitting silently behind the doors
Of hotel rooms became wounds
Breathing life in to this loneliness
I miss you
Like a burn victim must miss their own skin
I miss you like a sad ending
Must miss someplace new to begin
Because some say that the highway becomes a flat line
if you travel it for too long
I can't tell if that's true or false,
But I'm racing down it towards you trying to find my
Pulse. — Shane Koyczan

But all this was beside the point. What scared Amy was the mere fact of what looked inescapably like recreational malevolence. The poem had been written by an adult, not some teen with an unfinished brain. Whoever wrote the line bootlicker, sycophant, toady intended damage, understood how Carla would feel, how anybody would feel, being called such names. The line was playful, offhand, the poem itself a smug, imperious cat stretch. The writer was having fun. Amy had been comfortable in the same room with someone whose idea of fun this was. — Jincy Willett

How does a poet know when a poem is ended? Because it lies flat, taut; nothing can be added or subtracted. How does a woman know when a marriage is over? Because of the way her life suddenly shears off in just two directions: past and future. — Carol Shields

I was reading a poem by my idol, Wallace Stevens, in which he said, 'The self is a cloister of remembered sounds.' My first response was, Yesss! How did he know that? It's like he's reading my mind. But my second response was, I need some new sounds to remember. I've been stuck in my little isolation chamber for so long I'm spinning through the same sounds I've been hearing in my head all my life. If I go on this way, I'll get old too fast, without remembering any more sounds than I already know now. The only one who remembers any of my sounds is me. How do you turn down the volume on your personal-drama earphones and learn how to listen to other people? How do you jump off one moving train, marked Yourself, and jump onto a train moving in the opposite direction, marked Everybody Else? I loved a Modern Lovers song called, 'Don't Let Our Youth Go to Waste,' and I didn't want to waste mine. — Rob Sheffield

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. — Julian Cope

My mother - my stepmother, really, she herself have been what they call an elocutionist. And she was the one who first encouraged me to write poetry, because she used to read it to us. And then when I began to write when I was nine years old, my first poem was published in the Amsterdam News. I called it "The Graveyard." — Ruby Dee

Read your work aloud, if you can, if you aren't too embarrassed by the sound of your voice ringing out when you are alone in a room. Chances are that the sentence you can hardly pronounce without stumbling is a sentence that needs to be reworked to make it smoother and more fluent. A poet once told me that he was reading a draft of a new poem aloud to himself when a thief broke into his Manhattan loft. Instantly surmising that he had entered the dwelling of a madman, the thief turned and ran without taking anything, and without harming the poet. So it maybe that reading your work aloud will not only improve its quality but save your life in the process. — Francine Prose

Rhythm, repetition, making patterns
these are not only important devices for shaping the strange and abstract instrument/object we call a poem or a story, but they are craved as well because of our primordial need for reassurance, the sense of security we get from moving over the known. A mystery doesn't lose power in revisiting. Writing is not just to know, it is also to console. We need to be reminded that we are part of the obscure rhythm of birth and decade. It is the humming that matters. — Breyten Breytenbach

Most poets are young simply because they have not been caught up. Show me an old poet, and I'll show you, more often than not, either a madman or a master ... it's when you begin to lie to yourself in a poem in order simply to make a poem that you fail. That is why I do not rework poems. — Charles Bukowski

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. — Rita Dove

I am increasingly attracted to restricting possibility in the poem by inflicting a form upon yourself. Once you impose some formal pattern on yourself, then the poem is pushing back. I think good poems are often the result of that kind of wrestling with the form. — Billy Collins

I hold that a long poem does not exist. I maintain that the phrase, "a long poem," is simply a flat contradiction in terms. — Edgar Allan Poe

One of the things I love about translation is it obliterates the self. When I'm trying to figure out what Tu Fu has to say, I have to kind of impersonate Tu Fu. I have to take on, if you will, his voice and his skin in English, and I have to try to get as deeply into the poem as possible. I'm not trying to make an equivalent poem in English, which can't be done because our language can't accommodate the kind of metaphors within metaphors the Chinese written language can, and often does, contain. — Sam Hamill

History is made not simply with events, but by remembering those events, a double drumbeat like a heartbeat. History can be written not only with books but with ceremonies. Yet a real event read about in a newspaper is not always more important than a fictional one in a novel or play or poem. — Christopher Bram

There is a blue bird in my heart that wants to get out. — Charles Bukowski

I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words. — Jeanette Winterson

I now felt a new, pitiful tenderness toward the poem as one has for a fickle young creature who has been stolen and brutally enjoyed by a black giant but now again is safe in our hall and park, whistling with the stableboys, swimming with the tame seal. The — Vladimir Nabokov

Love frees us of all pain, or of any restraint.
Once a circle that ever widens without end.
Various colors it shines in our lives to paint
Excelsis, glorious manifestation to befriend. — Ana Claudia Antunes

Lucky accidents seldom happen to writers who don't work. You will find that you may rewrite and rewrite a poem and it never seems quite right. Then a much better poem may come rather fast and you wonder why you bothered with all that work on the earlier poem. Actually, the hard work you do on one poem is put in on all poems. The hard work on the first poem is responsible for the sudden ease of the second. If you just sit around waiting for the easy ones, nothing will come. Get to work. — Richard Hugo

The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. — Vladimir Nabokov

I am terrified by this dark thing
That sleeps in me;
All day I feel its soft, feathery turnings, its malignity.
Clouds pass and disperse.
Are those the faces of love, those pale irretrievables?
Is it for such I agitate my heart?
I am incapable of more knowledge.
What is this, this face
So murderous in its strangle of branches? -
Its snaky acids kiss.
It petrifies the will. These are the isolate, slow faults
That kill, that kill, that kill.
From the poem "Elm", 19 April 1962 — Sylvia Plath

Shine and shimmer my Harvest Moon,
illuminate the shadows in the sky. — A.F. Stewart

All of my insecurities
shine in the dark. — Lori Jenessa Nelson

He could see her planting violets on his grave, a solitary figure in a grey cloak. What a ghastly tragedy. A lump came to his throat. He became quite emotional thinking of his own death. He would have to write a poem about this.
from a Difference in Temperament — Daphne Du Maurier

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. — Laura Riding

Last night your thin walls invited me to the party next door / reminded me I am a quiet person in a quiet life. — Drew Myron

I think Hemingway's [book] titles should be awarded first prize in any contest. Each of them is a poem, and their mysterious power over readers contributes to Hemingway's success. His titles have a life of their own, and they have enriched the American vocabulary. — Sylvia Beach