The beauty of reality-based art - art underwritten by reality hunger - is that it's perfectly situated between life itself and (unattainable) "life as art".
In pursuing certain virtues - colorful local effects, personae and personality, juxtaposition, close calls with nonsense, uncertainty, critiques of ordinary language - the current crop of American poets necessarily give up on others.
The most prevalent poetic representation of contemporary experience is the mimesis of disorientation by non sequitor.
Poetry and code - and mathematics - make us read differently from other forms of writing. Written poetry makes the silent reader read three kinds of pattern at once; code moves the reader from a static to an active, interactive and looped domain; while algebraic topology allows us to read qualitative forms and their transformations.
Interfaces called transparent allow us to interact/do what we're supposed to do without being aware of how the effects are obtained. We should perhaps speak instead about their opacity, given that we cannot see through them to the machine.
It is the role of the artistic coder to question the coding languages, both through self-reflection and by using them for unintended purposes. These coders introduce multiplicity where none existed and challenge definitions of intent for the entire environment of programming language, machine and system.
In any period it is upon a very small minority that the discerning appreciation of art and literature depends ... They are still a minority, though a larger one, who are capable of endorsing such first-hand judgement by genuine personal response.
This capacity for oversignifying, for reading in, is precisely what poets tap into, both in their own practice and in the poem the give to the reader; and in doing so they turn language against its own project of conceptual division, and use it to heal itself - and in the process - paradoxically - to articulate new concepts that it can't yet accommodate.
Lakoff's idea is that most of our thought is guided by underlying conceptual mappings between two domains that share some content, that overlap in the sets of their attributes. ... Contrary to the assertions of Lakoff and some of the cognitive metaphor theorists, people can read through to an underlying mapping, but only when the surface metaphor is new to them.
I feel that at any stage of my literary career it could have been said that the last book contained all the others.
The 'open text' often emphasizes or foregrounds process, either the process of the original composition or of subsequent compositions by readers.
I feel that the task of criticizing my poetry is best left to others (i.e. critics) and would much rather have it take place after I am dead. If at all.
Painting gives the object itself; poetry what it implies. Painting embodies what a thing contains in itself; poetry suggests what exists out of it, in any manner connected with it.
Poetry isn't an activity, it's a way life is lived.
Poetry absolves spirituality from the dividedness of religions and provides us with a sanctuary that excludes no one.
Poetry is a subset of a Cosmos, which in itself, is a poem.
There is an Arabic writer who wrote philosophy and poetry and who brought all religions and all the world together.
I like the one about the little soulworms that fly out of the nest for the resurrection.
Poetry comes with anger, hunger and dismay; it does not often visit groups of citizens sitting down to be literary together, and would appal them if it did.
I pulled a book by Robinson Jeffers off the shelf one day. It was powerfully moving. Tears ran down my face. That's when I became a poet.
The poetry of speech.
[I]n every part of this eastern world, from Pekin to Damascus, the popular teachers of moral wisdom have immemorially been poets.
This poem will never reach its destination. On Rousseau's Ode To Posterity
Poetry is what Milton saw when he went blind.
Poetry should only occupy the idle.
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