Poems Quotes

My poems are almost all written as Diane. I don't have any problems with that, and if other women choose to identify with this, I think that's terrific.

You must understand the whole of life, not just one little part of it. That is why you must read, that is why you must look at the skies, that is why you must sing and dance, and write poems and suffer and understand, for all that is life.

I am a genius who has written poems that will survive with the best of Shakespeare, Wordsworth and Keats.

It may be said that poems are in one way like icebergs: only about a third of their bulk appears above the surface of the page.

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.

Southern poets are still writing narrative poems, poems in forms, dramatic poems.

For instance, it's a little better now than it was two or three years ago, but something like 70% of the poems I receive seem to be written in the present indicative.

Thanks partly to the kind of poets that we now have and partly to funding, there's been a gigantic shift in the way poetry is perceived... Poems on the Underground, poets in schools, football clubs, zoos.

I have also written some poems which have not been collected in a volume.

On that other novels followed: but I still wrote fairy tales and dreamy poems of another world.

I sometimes like to tinker with poems that have failed, ones that I have sent aside. Even years afterward, I will revisit them if there is something about them that I cannot give up on.

As a child, what captivated me was reading the poems myself and realizing that there was a world without material substance which was nevertheless as alive as any other.

No, I don't know any Emily Dickinson poems!

To me many short poems read and write like beginnings that simply whet my appetite; I want to get over that.

If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.

There's so much to think about when you're becoming an adult, and there's so many great poems about that apprehension and excitement.

There's one of my new poems actually - is a good example of where my poetry has ended up. My earlier river poetry was more like a cross between Shelley and Dylan Thomas.

The ancient Greek oral poets all had this anxiety about the deficiencies of their memories and always began poems by praying to the Muse to help them remember.

I love chapbooks. They're in some ways the ideal form in which to publish and read poems. You can read 19 poems in a way you can't sit down and read 60 to 70 pages of poems.

If I were brave enough to say so, I'd like to think that I had written some poems that people are not going to forget.

My earliest poems sing of the absolute necessity of allowing love to invade and pervade one's life. That can make the miracle happen in reality. Try it.

Ginsberg's Collected Poems contains a wonderful poem about making it with Neal Cassady.

The notes I have made are not a diary in the ordinary sense, but partly lengthy records of my spiritual experiences, and partly poems in prose.

I've thought of the last line of some poems for years and tried them out, It wouldn't work because the last line was much too beautiful for the poem.

I've always thought my poems told stories.

There's not too much difference between writing a picture book and writing a collection of a hundred poems or so, except that the bigger books take a lot longer to do.

Once I planned to write a book of poems entirely about the things in my pocket. But I found it would be too long; and the age of the great epics is past.

It is commonly asserted and accepted that Paradise Lost is among the two or three greatest English poems; it may justly be taken as the type of supreme poetic achievement in our literature.

Spring has returned. The Earth is like a child that knows poems.

In other words the pictures are in a kind of relationship with each other which is touching only at points rather than pictures being illustrations of poems or poems extrapolations of the pictures.