Work Poems Quotes & Sayings

In junior high, I was still writing poems and stories. In college, I was a journalism major. When I got out of college, I went to work for an educational publisher, so I was still writing, developing curriculums. — Doreen Cronin

Whether if you're a beginner poet or an experienced poet, poets just as other writers would like to have more readers enjoy their work. Whether if you're a poet laureate or novice, or if you're written over 1,000 poems, anytime a poet writes a poem its like their first one, beautiful in its inherent beauty. — Reynaldo Casison

My poems and prose are not often in direct conversation with each other, but there's so much crossover - everything that comes out of that crucible of language - that working in poetry and prose is energizing - to me as a writer and to the work itself. — Alex Lemon

I wish I'd been better able to resist the sense of obligation to write some of the poems I did. It's in the nature of commissioned work to be written too much from the side of your mind that knows what it's doing, which dries up the poetry. — Andrew Motion

I hadn't thought specifically about doing graphic novels until a couple of my friends got contracts for them. Then I started picturing how various of my stories or poems would work in an illustrated format and thinking how cool that would be. — Sharon Shinn

Lying in bed, my body and soul bruised and tired, I realize that the Officials are right. Once you want something, everything changes. Now I want everything. More and more and more. I want to pick my work position. Marry who I choose. Eat pie for breakfast and run down a real street instead of on a tracker. Go fast when I want and slow when I want. Decide which poems I want to read and what words I want to write. There is so much that I want. I feel it so much that I am water, a river of want, pooled in the shape of a girl named Cassia. — Ally Condie

These poems possess intelligence, erudition, gravitas and urgency. Serious and moving in voice and ambition, this passionately lyrical and articulate work reminds me very much of the capacious, fierce and intelligent work of Adrienne Rich. — Tony Hoagland

I was stressed and scared and I had to hurry to be someone, become something, do something. I was running and talking and cursed myself when I wasted my time on things that wouldn't get me anywhere. It was work and it was money and I was never where I was, always somewhere else in my head far, far away. — Charlotte Eriksson

BAD PEOPLE
A man told me once that all the bad people
Were needed. Maybe not all, but your fingernails
You need; they are really claws, and we know
Claws. The sharks - what about them?
They make other fish swim faster. The hard-faced men
In black coats who chase you for hours
In dreams - that's the only way to get you
To the shore. Sometimes those hard women
Who abandon you get you to say, "You."
A lazy part of us is like a tumbleweed.
It doesn't move on its own. Sometimes it takes
A lot of Depression to get tumbleweeds moving.
Then they blow across three or four States.
This man told me that things work together.
Bad handwriting sometimes leads to new ideas;
And a careless god - who refuses to let people
Eat from the Tree of Knowledge - can lead
To books, and eventually to us. We write
Poems with lies in them, but they help a little. — Robert Bly

Energy was the ruling theme of Victorian science, as machines increasingly harnessed the forces of nature to do man's work. The concept is also present in the art and literature of the age, notably in the poems of William Blake. The Romantic movement was much interested in energy and its various transformations. — Jeremy Campbell

I have a folder that's labeled "The Folder of 24." Inside it are letters from twenty-four people who were actively in the process of planning their suicide, but who stopped and got help - not because of what I wrote on my blog, but because of the amazing response from the community of people who read it and said, "Me too." They were saved by the people who wrote about losing their mother or father or child to suicide and how they'd do anything to go back and convince them not to believe the lies mental illness tells you. They were saved by the people who offered up encouragement and songs and lyrics and poems and talismans and mantras that worked for them and that might work for a stranger in need. There are twenty-four people alive today who are still here because people were brave enough to talk about their struggles, or compassionate enough to convince others of their worth, or who simply said, "I don't understand your illness, but I know that the world is better with you in it. — Jenny Lawson

I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems. — Anna Journey

Poems' deep work is a matter of language, but also a matter of life. One part of that work is to draw into our awareness and into language itself the unobvious and the unexpected. — Jane Hirshfield

I make work that is many things at once: poems that are prose, that are pictures, that are poem and picture. Actions that are images using poems that are umbrellas. My best work is both/and, in-between, occupying several dimensions simultaneously.
(from my Poetics Statement in Troubling the Line) — Jay Besemer

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

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

Gabriel Levin's book is a journey through time and through entrenched animosities of the Middle East. What's astonishing and refreshing is his ability to combine the reporter's perspective with a deep knowledge of poetry, including pre-Islamic Arab poems. A brilliant poet is at work here-a poet in the rugged landscape of conflict and pain. — Adam Zagajewski

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

Poems are always interested in what Ivan Illich called 'shadow work,' not least because that is no small part of their own way of working. — Jane Hirshfield

Borges is particularly stimulating to a man who works in the cinema, because the unusual thing about his writing is that it is like a dream, extraordinarily farsighted in calling up from the unconscious complete images in which the thing itself, and its meaning, coexist - exactly as happens in a film. And, just as happens in dreams, in Borges the incongruous, the absurd, the contradictory, the arcane and the repetitive, although as powerfully imaginative as ever, are at the same time illumined like the careful details of something larger, something unknown, and are the faultless elements of a cruelly perfect, indifferent mosaic. Even the fact that Borges's work is strangely fragmentary makes me think of a broken dreamlike flow; and the heterogeneous quality of his work - stories, essays, poems - I prefer to see not as the union of the multiple threads in a greedy, impatient talent, but as a mysterious sign of unending change. — Federico Fellini

The pure playfulness of certain wholly whimsical portions of (Charles) Cros's work should not obscure the fact that at the center of some of his most beautiful poems a revolver is leveled straight at us. — Andre Breton

MECH to Baal: Would you like some wine, Mr Baal? All take seats, Baal in the place of honour. Do you like crab? That's a dead eel. PILLER to Mech: I'm very glad that the immortal poems of Mr Baal, which I had the honour of reading to you, have earned your approval. To Baal: You must publish your poetry. Mr Mech pays like a real patron of the arts. You'll be able to leave your attic. MECH: I buy cinnamon wood. Whole forests of cinnamon float down the rivers of Brazil for my benefit. But I'll also publish your poetry. EMILIE: You live in an attic? BAAL eating and drinking: 64 Klauckestrasse. MECH: I'm really too fat for poetry. But you've got the same-shaped head as a man in the Malayan Archipelago, who used to have himself driven to work with a whip. If he wasn't grinding — Bertolt Brecht

Precise, graceful, and generous, the poems in SuperLoop, seem to be born out of a deep, careful attention and a profound compassion. Sometimes the quiet observer, sometimes the kid in the center of the messed-up carnival, these poems are the fireflies you've missed all winter, the longed-for return of the bees. Unaffected and inherently hopeful, Callihan's work is as merciful as it is moving. — Ada Limon

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

Oh happy day! A day to make a hay! And when it is mid-day, think about the day! And when you think about the day, don't forget the hay! Oh happy day! A day to make a hay! — Ernest Agyemang Yeboah

They were learning that New York had another life, too - subterranean, like almost everything that was human in the city - a life of writers meeting in restaurants at lunchtime or in coffee houses after business hours to talk of work just started or magazines unpublished, and even to lay modest plans for the future. Modestly they were beginning to write poems worth the trouble of reading to their friends over coffee cups. Modestly they were rebelling once more. — Malcolm Cowley

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

Everybody's just got their nose in their own soup. They say they care, but they don't put poems in books for me to read ... They talk to me about 'adjusting my expectations for the world.' And how I need to be realistic and just accept that this is how things work and that life is unfair ... I know, I know, I know. — Kristopher Jansma

I need to work on me.
The me
without you. — Jessica Kristie

With the need for the self in the time of another / I left my seaport grim and dear / knowing good work could be made / in the state governed by both Hope and Despair. — Roman Payne

It's difficult to talk about [W.S.] Merwin's poems, as it's hard to talk about a feeling or a smell. It is what it is, but so much so that it overwhelms both sense and the senses. I aspire to something about his work, that imbues his poems, though I'm not sure I could say what that is. A purity, maybe, the kind of purity that comes from being beaten, like steel. — Dorianne Laux

My colleagues in elementary particle theory in many lands [and I] are driven by the usual insatiable curiosity of the scientist, and our work is a delightful game. I am frequently astonished that it so often results in correct predictions of experimental results. How can it be that writing down a few simple and elegant formulae, like short poems governed by strict rules such as those of the sonnet or the waka, can predict universal regularities of Nature? — Murray Gell-Mann

You can't just be reactive to the things going on in your life. You have to imagine, and you have to plunder other people's work, books, poems, ideas, observations. — David Gray

I work hard to make the poems as good as they can be, and if they're not good enough I scrap them. I find it difficult after a gap of a few years to tinker - I'm more likely to destroy. — Michael Longley

I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound. — Anne Stevenson

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

Sometimes I write quickly, sometimes I spend several weeks on a single poem. I would really love for readers not to be able to guess which of the poems took so much work! — Wislawa Szymborska

I've always been intrigued with the male characters in novels like 'Pride and Prejudice' such as Mr. Darcy, and this poem is part of a series of poems that explore desire and obsessions. The poems have been sitting in a drawer for a few years, so I decided to dust them off and work on them again since I have not written a new poem in more than three years. I'm not sure anything will become of the series, but at least it gives me something to work on in a period where I feel very uncreative. — Victoria Chang

It is very difficult to pass from pleasure to work. Accordingly more poems have been swallowed up by sorrow than ever happiness caused to blaze forth in unparalleled radiance. — Honore De Balzac

That kind of thinking [that writers must alleviate their guilt for leading a creative life] is based on the idea that the creative life is somehow self-indulgent. Artists and writers have to understand and live the truth that what we are doing is nourishing the world. William Carlos Williams said, "It is difficult to get the news from poems yet men die miserably every day for lack of what is found there." You can't eat a book, right, but books have saved my life more often than sandwiches. And they've saved your life ... But we don't say, oh, Maya Angelou should have silenced herself because other people have other destinies. It's interesting, because artists are always encouraged to feel guilty about their work. Why? Why don't we ask predatory bankers how they alleviate their guilt? — Ariel Gore

Stricken down with consumption in 1819, Keats, after weeks in bed, wrote to Fanny Brawne: "Now I have had opportunities of passing nights anxious and awake, I have found thoughts obtrude upon me.'If I should die,' said I to myself,'I have left no immortal work behind me - nothing to make my friends proud of my memory - but I have loved the principle of beauty in all things, and if I had had time I would have made myself remembered.'" "If I had had time" - this is the tragedy of all great men. Keats never wrote anything of importance after that; nevertheless, his friends are remembered because of him, and he has left behind him poems as immortal as English, and more perfect than Shakespeare.We — Will Durant

I don't spend time thinking about an aesthetic out of which I create or an ideal toward which my body of work is heading. It's amazing, when I read interviews with other poets, to see how articulately they discuss their own writing, as if they were sharing long-held theories on the work of Pope or Keats. I'm happy enough that I've poured the best of myself into the poems themselves. — Albert Goldbarth

Hypocrisy, false labels, can create slogans but no poems; propaganda but not life: there are no roots, there are no realities to nurture creative work. — Pablo Antonio Cuadra

I don't work on poems and essays at once. They walk on different legs, speak with different tongues, draw from different parts of the psyche. Their paces are also different. — Jane Hirshfield

If the mystery can be reduced to one solution, it lies in a simple coincidence: Rimbaud's interest in his own work had survived the realization that the world would not be changed by verbal innovation. It did not survive the failure of all his adult relationships. He had always treated poems as a form of private communication. He gave his songs to chansonniers, his satires to satirists. Without a constant companion, he was writing in a void. — Graham Robb

Though it does seem like I have written an immense amount of work, over the years I have pushed the pause button. I have poems that I haven't sent out for publication, mostly based on political/social issues. — Denise Duhamel

If I'm very drunk, I can improvise. But generally speaking, no. Generally speaking, almost all of my work is material that was first done on the printed page. And the shorter ones that you might call poems, I had a stretch from '79, '80, for five or six years, where I wrote a lot of poetry as such. Simply because I was asked to. — Richard Meltzer

Ah!' said Michel, tempted, 'you have modern poems?'
'Of course. For instance, Martillac's 'Electric Harmonies,' which won a prize last year from the Academic of Sciences, and Monsieur de Pulfasse's 'Meditations on Oxygen;' and we have the 'Poetic Parallelogram,' and even the 'Decarbonated Odes ... '
Michel couldn't bear hearing another word and found himself outside again, stupefied and overcome. Not even this tiny amount of art had escaped the pernicious influence of the age! Science, Chemistry, Mechanics had invaded the realm of poetry! 'And such things are read,' he murmured as he hurried through the streets, ' perhaps even bought! And signed by the authors and placed on the shelves marked 'Literature.' But not one copy of Balzac, not one work by Victor Hugo! Where can I find such things-where, if not the Library ... — Jules Verne

The poet Robert Browning caused considerable consternation by including the word twat in one of his poems, thinking it an innocent term. The work was Pippa Passes, written in 1841 and now remembered for the line "God's in His heaven, all's right with the world." But it also contains this disconcerting passage:
Then owls and bats
Cowls and twats
Monks and nuns in a cloister's moods,
Adjourn to the oak-stump pantry!
Browning had apparently somewhere come across the word twat
which meant precisely the same then as it does now
but pronounced it with a flat a and somehow took it to mean a piece of headgear for nuns. The verse became a source of twittering amusement for generations of schoolboys and a perennial embarrassment to their elders, but the word was never altered and Browning was allowed to live out his life in wholesome ignorance because no one could think of a suitably delicate way of explaining his mistake to him. — Bill Bryson

I think, though, that perspective-awareness may follow from a kind of speaking that also came into my work more recently - the "assay" poems (some labeled that, some not) that engage an abstraction or object from multiple angles. — Jane Hirshfield

Though my poems are about evenly split between traditionally formal work that uses rhyme and meter and classical structure, and work that is freer, I feel that the music of language remains at the core of it all. Sound, rhythm, repetition, compression - these elements of my poetry are also elements of my prose. — Floyd Skloot

Good poems ask us to have complex minds and hearts. Even simple-of-surface poems want that. Perhaps those are the ones that want it most of all, since that's where they do their work: in the unspoken complexities, understood off the page. — Jane Hirshfield

I can't stand THE DEPRESSED. It's like a job, it's the only thing they work hard at. Oh good my depression is very well today. Oh good today I have another mysterious symptom and I will have another one tomorrow. The DEPRESSED are full of hate and bile and when they are not having panic attacks they are writing poems. What do they want their poems to DO? Their depression is the most VITAL thing about them. Their poems are threats. ALWAYS threats. There is no sensation that is keener or more active than their pain. They give nothing back except their depression. It's just another utility. Like electricity and water and gas and democracy. They could not survive without it. — Deborah Levy

In HEATHEN, R. Flowers Rivera remixes the classical and the Biblical, the usual and the typical until what we thought we knew of ourselves and others is new again. The mythic becomes particular; the particular becomes mythic in these fascinating poems of personalities and personas. Rivera's work is rich in empathy and invention. Heathen is a book of psalms for the present day. — Terrance Hayes

I thought leaving you would be easy,
just walking out the door
but I keep getting pinned against it
with my legs around your waist and it's like
my lips want you like my lungs want air,
it's just what they where born to do so
I am sitting at work thinking of you
cutting vegetables in my kitchen
your hair in my shower drain
your fingers on my spine in the morning
while we listen to Muddy Waters, I know
you will never be the one I call home
but the way you talk about poems
like marxists talk of revolution
it makes me want to keep trying.
I'm still looking for reasons to love you.
I'm still looking for proof you love me. — Clementine Von Radics

I started out writing poems before I figured to put melodies to them and play the guitar. Somewhere, there's a book out there on all those early songs and poems. I hope no one ever finds it. I don't think it's my finest work. — Willie Nelson

Poems give us permission to be unsure, in ways we must be if we are ever to learn anything not already known. If you look with open eyes at your actual life, it's always going to be the kind of long division problem that doesn't work out perfectly evenly. Poems let you accept the multiplicity and complexity of the actual, they let us navigate the unnavigable, insoluble parts of our individual fates and shared existence. — Jane Hirshfield

Being his workmanship doesn't mean we are all poets. It means we are all poems, individual created works of a creative God. And this poetry comes out uniquely through us as we worship, think, love, pray, rest, work, and exist. — Emily P. Freeman

As a reader I don't distinguish between confessional and non-confessional work. After all, how do we even know that certain "I" poems are confessional? It's a tricky business, this correlating of the speaker and the poet. — Matthea Harvey

First tweet, best tweet, I always think. I try not to work them too much or else they get Pie Dough Disease, which is where the dough has been to too much college and doesn't understand that it is dough anymore and refuses to be shaped. Pie Dough Disease! Poems get that too. — Patricia Lockwood

It is my belief that the writer, the free-lance author, should be and must be a critic of the society in which he lives. ... That is all I ask of the author. To be a hero, appoint himself a moral leader, wanted or not. I believe that words count, that writing matters, that poems, essays, and novels - in the long run - make a difference. If they do not, then in the words of my exemplar Aleksandr Solzhenitsyn, the writer's work is of no more importance than the barking of village dogs at night. — Edward Abbey

I'm just saying that once that have an excuse, people will do anything. They do what they are told, and they take their money and they think it's all okay because it's just their job, while their real self is what happens after work, when they're bouncing a baby on the knee, or writing poems about snowflakes or whatever. — Paul Murray

You ask me. You have asked others before this. You send them to magazines. You compare them with other poems, and you are upset when certain editors reject your work. Now (since you have said you want my advice) I beg you to stop doing that sort of thing. You are looking outside, and that is what you should most avoid right now. No one can advise or help you - no one — Rainer Maria Rilke

Always write exactly what you're feeling at the exact moment when writing something like poetry or an emotional novel. Put yourself, pour all emotions into your work ... make yourself cry, feel joy if you are writing joyful things, feel lovey if it calls for it ... just put your heart and soul into all that you do ... then you will be a good writer when you can make whoever reads your work, feel. -Nina Jean Slack — Nina Jean Slack

I think I'm a very good reader of poetry, but obviously, like everybody, I have a set of criteria for reading poems, and I'm not shy about presenting them, so if people ask for my critical response to a poem, I tell them what works and why, and what doesn't work and why. — Diane Wakoski

I work with a lot of young people who have poems that are changing their lives, that they're eager to talk about, but every now and then when I meet someone, maybe someone of my parents' generation, and I tell them that I write poetry, they'll begin to recite something that they memorized when they were in school that has never left them. — Tracy K. Smith

I was born doing reference work in sin, and born
confessing it. This is what poems are. — Anne Sexton

The poet drafts his work as a writer but edits it as a sculptor, with his pen as a chisel and his mind a hammer. — Agona Apell

If I were to die thinking that I'd written three poems that people might read after me, I would feel that I hadn't lived in vain. Great poets might expect the whole body of their work, but most of us - well, I would settle for a handful. — Andrew Motion

I believe that poets have to be inside their poems somewhere, or the poem won't work. — Joy Harjo

There's a line in The Barretts of Wimpole Street - you know, the play - where Elizabeth Barrett is trying to work out the meaning of one of Robert Browning's poems, and she shows it to him, and he reads it and he tells her when he wrote that poem, only God and Robert Browning knew what it meant, and now only God knows. And that's how I feel about studying English. Who knows what the writer was thinking, and why should it matter? I'd rather just read for enjoyment. — Susanna Kearsley

The Ph.D is one of the chosen who know that some things can never be fathomed, no matter how hard you try. What good are explanations? There is no possibility of explaining how such a work [Mozart's Requiem, in the instance] could ever have come into being. (The same holds true for certain poems, which should not be analyzed either.) — Elfriede Jelinek

My advice to aspiring poets is to find a community of other poets who are willing to read one another's work. And to read widely, in a variety of time periods and cultures, to identify which traits of poems are appealing and which aversive. And what can be stolen. — Lucia Perillo

I think my very best work came out when I was about 60, not when I was 20. I was publishing all the time when I was in my 20s, and some of those poems I still like. And there were a few after 60, and in my 70s, that I like. But they became fewer and fewer. — Donald Hall

She wrote poetry constantly; that was her "work". She was a slow bleeder and she slaved over it for long, exhausting hours, and many a middle of a night I could hear her creaking around the dead house with a pen in one hand, a clipboard and a flashlight in the other, refining her poems, jotting down the lines of a conceit. Writing never came easy for her; it gave her calluses. She never courted the muses, she wrestled them, mauled them all over the house and came up, after weeks of peripatetic labor, with a slim Spencerian sonnet, fourteen lines of imagistic jabberwocky. — Millard Kaufman

I hope you all find yourselves sleeping with someone you love, maybe not all of the time, but a lot of the time. The touch of a foot in the night is sincere. I hope you like your work, I hope there's mystery and poetry in your life - not even poems, but patterns. I hope you can see them. Often these patterns will wake you up, and you will know that you are alive, again and again. — Eileen Myles

I did a load of medicine cabinets a long time ago and I named them after Sex Pistols songs. I suppose I must be getting old if I'm naming work after Philip Larkin poems. — Damien Hirst

I've been interested in LeRoi Jones/Amiri Baraka's work for quite a while. My first introduction to LeRoi Jones was when my mother used to read me the 'Dead Lecturer' poems when I was a kid. — Rashid Johnson

Ruskin says that anyone who expects perfection from a work of art knows nothing of works of art. This is an appealing sentence that, so far as I can see, is not true about a few pictures and statues and pieces of music, short stories and short poems. Whether or not you expect perfection from them, you get it; at least, there is nothing in them that you would want changed. But what Ruskin says is true about novels: anyone who expects perfection from even the greatest novel knows nothing of novels. — Randall Jarrell

A short poem from my new book, The Lost Journal of my Second Trip to Pergatory,
Thorny Crowns
Of course the gold one was for special occasions, weddings, etc,
silver for family reunions, office-casual type affairs.
Bronze was a everyday choice; during yard work its burnished surface shone in sunlight.
There were various colors and holiday appropriate ones.
I could never find the hatboxes they were stored in.
But the wooden one was reserved for the long suffering caused by family.
Stevie's funeral, my hospital trips and sister's rebellion rated real wood.
One tip filed extra sharp produced a fine and dramatic line of blood droplets on her brow. — Michelle Hartman

I work on words quite separately to music. They're both ongoing, and I don't ever feel like I'm working in a cycle in that respect, because it's every day anyway, no matter what I'm doing. Then I get to a point when I've collected together enough words that seem like they want to be songs rather than poems, or sometimes not. — P.J. Harvey

As a poet I hold the most archaic values on earth ... the fertility of the soil, the magic of animals, the power-vision in solitude, the terrifying initiation and rebirth, the love and ecstasy of the dance, the common work of the tribe. I try to hold both history and the wilderness in mind, that my poems may approach the true measure of things and stand against the unbalance and ignorance of our times. — Gary Snyder

Poems ought to reflect the work the poet does, and his relationships with other people, and family, and institutions, and organization. — Wallace Stegner

If art doesn't require an audience, can an intimate conversation be a work of art? Can a thought be a work of art? Maybe. I don't know. These questions are completely hypothetical for me, because I love interacting with audiences. I want my poems to be heard. — James Arthur

I've learned that my readings of others' work often has little connection to their intentions. This doesn't mean that my response is wrong, and it doesn't make the author's views less right. Poets, like their poems, are "hopeful monsters". — Alice Fulton

Thus, the earlier part of her life had taught her that, while you can tell stories or write poems about life, you cannot make life poetic, live it as though it were a work of art... — Hannah Arendt

For in this way the God would seem to indicate to us and not allow us to doubt that these beautiful poems are not human, or the work of man, but divine and the work of God; and that the poets are only the interpreters of the Gods by whom they are severally possessed. — Plato

Everybody in this room is bored.
The poems drag, the voice and gestures irk.
He can't be interrupted or ignored.
Poor fools, we came here of our own accord
And some of us have paid to hear this jerk.
Everybody in the room is bored.
The silent cry goes up, 'How long, O Lord?'
But nobody will scream or go berserk.
He won't be interrupted or ignored.
Or hit by eggs, or savaged by a horde
Of desperate people maddened by his work.
Everybody in the room is bored,
Except the poet. We are his reward,
Pretending to indulge in his every quirk.
He won't be interrupted or ignored.
At last it's over. How we all applaud!
The poet thanks us with a modest smirk.
Everybody in the room was bored.
He wasn't interrupted or ignored. — Wendy Cope

Place is extremely important to my work because I am always pulling landscape imagery into my poems. — Cate Marvin

You fantasize about me reading my poems to you - it doesn't work that way - I write down everything later - living is not an after-thought ... — John Geddes

I'm working on poems about work, I guess. Or related to work. Which sounds dull as drywall but I'm having great fun working the vernacular of work into poems. I'm also writing some poems about family. And I don't know, just writing. Taking breaks. Writing some more. — Randall Mann

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

Most of the books of erotic poetry available today are either too old or are big anthologies covering the same poets and poems. There is a lack of new and original work. Most of us have read something from Ovid, Sappho, Shakespeare, the ancient Greeks, the Romans, or from the Kama Sutra. But love is a theme that should be celebrated with freshness. — Salil Jha

I didn't write poems for a number of years after graduate school because the criticisms of other students in the workshops wouldn't quiet down in my mind when I tried to work. — Kevin Keck

With ferocity and extraordinary craft, Lizzie Harris has made a book of poems that resonates far beyond the personal stories it tells. Stop Wanting reveals, in every lyric, its author's profound metaphorical gifts. In its ironies and intensities, it brings to mind a writer like the young Sylvia Plath, though what is startling about Harris' s work is the way it combines those gifts with a muted, deft self-awareness. Most of all, these are wonderfully shaped, powerful, and surprising poems-a startling debut. — Meghan O'Rourke

What shall we do at our tea party?" Daddy asked. "Do we sing and read poems like you do at Grammy's?"

"We can just talk. I can tell you about what's been happening at school. You can tell me about your work or what you did when you were a little boy. You know. Things that matter. — Babette Donaldson

You see, writing down your meanderings gets something started deep in the recesses of your brain. That distant part of your mind knows that you want to write stories or poems or plays and not endless jabber, and it will get to work. It may take a while. You may have to write this stuff for hours or days or weeks, but eventually that subterranean part of your brain will come through and begin to send you ideas. — Gail Carson Levine

Whenever I do a comedy show I still just read poems, some of which are intentionally funny and some of which are just bizarre. The mix seems to work well. — Aaron Belz

For the various spiritual forms of the imagination have a natural affinity with certain sensuous forms of art - and to discern the qualities of each art, to intensify as well its limitations as its powers of expression, is one of the aims that culture sets before us. It is not an increased moral sense, an increased moral supervision that your literature needs. Indeed, one should never talk of a moral or an immoral poem - poems are either well written or badly written, that is all. And, indeed, any element of morals or implied reference to a standard of good or evil in art is often a sign of a certain incompleteness of vision, often a note of discord in the harmony of an imaginative creation; for all good work aims at a purely artistic effect. 'We must be careful,' said Goethe, 'not to be always looking for culture merely in what is obviously moral. Everything that is great promotes civilisation as soon as we are aware of it. — Oscar Wilde