I haven’t met God and I haven’t been to heaven, so I’m skeptical.
Usually a life turned into a poem is misrepresented.
From the reader's view, a poem is more demanding than prose.
In a field I am the absence of field.That is always the case. Wherever I am, I am what is missing. When I walk I part the air and always the air moves in to fill the space where my body has been. We all have reasons for moving. I move to keep things whole.
No voice comes from outer space, from the folds of dust and carpets of wind to tell us that this is the way it was meant to happen, that if only we knew how long the ruins would last we would never complain.
The reality of a poem is a very ghostly one. It suggests, it suggests, it suggests again.
Even this late it happens: the coming of love, the coming of light.
Those hours given over to basking in the glow of an imagined future, of being carried away in streams of promise by a love or a passion so strong that one felt altered forever and convinced that even the smallest particle of the surrounding world was charged with purpose of impossible grandeur; ah, yes, and one would look up into the trees and be thrilled by the wind- loosened river of pale, gold foliage cascading down and by the high, melodious singing of countless birds; those moments, so many and so long ago, still come back, but briefly, like fireflies in the perfumed heat of summer night.
I believe that all poetry is formal in that it exists within limits, limits that are either inherited by tradition or limits that language itself imposes.
Nothing is the destiny of everyone, it is our commonness made dumb.
It came to my house. It sat on my shoulders. Your shadow is yours. I told it so. I said it was yours. I have carried it with me too long. I give it back.
And what does it matter when light enters the room where a child sleeps and the waking mother, opening her eyes, wishes more than anything to be unwakened by what she cannot name?
I think the best American poetry is the poetry that utilizes the resources of poetry rather than exploits the defects or triumphs of the poet's personality.
I tend to like poems that engage me - that is to say, which do not bore me.
It's very hard to write humor.
Sometimes he did not know if he slept or just thought about sleep.
How those fires burned that are no longer, how the weather worsened, how the shadow of the seagull vanished without a trace. Was it the end of a season, the end of a life? Was it so long ago it seems it might never have been? What is it in us that lives in the past and longs for the future, or lives in the future and longs for the past? (from "No Words Can Describe It")
I don't really think it will make much difference to me when I'm dead whether I'm read or not . . . just as whether I'm dead or not won't mean much to me when I'm dead.
From the shadow of domes in the city of domes, A snowflake, a blizzard of one, weightless, entered your room And made its way to the arm of the chair where you, looking up From your book, saw it the moment it landed. That's all There was to it.
And yet, in a culture like ours, which is given to material comforts, and addicted to forms of entertainment that offer immediate gratification, it is surprising that so much poetry is written.
...In another time, What cannot be seen will define us, and we shall be prompted To say that language is error, and all things are wronged By representation. The self, we shall say, can never be Seen with a disguise, and never be seen without one.
Poetry is something that happens in universities, in creative writing programs or in English departments.
I have been eating poetry.
There's a certain point, when you're writing autobiographical stuff, where you don't want to misrepresent yourself. It would be dishonest.
And Robert Lowell, of course - in his poems, we're not located in his actual life. We're located more in the externals, in the journalistic facts of his life.
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