Top 63 Quotes & Sayings by Tracy K. Smith

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.

Prose is something that is persistent in staying in one place long enough to not only zero in on the dramatic effect of something that might have happened, or something that might have been seen, but also in watching how it played out and thinking about the cause and the effect.

'Little Women' made me into a reader.

I had to say to myself, 'I haven't written enough about blackness, yet it's part of my consciousness and my lived experience.' I had to get over that anxiety of 'I haven't done this before.'

I am keenly aware that in writing about my mother, I am writing about my aunts' sister, and that in writing about my grandmother, I'm writing about their mother. I know that my honesty about how my view of these people has changed over the years may be painful.

I wanted to write the kind of poetry that people read and remembered, that they lived by - the kinds of lines that I carried with me from moment to moment on a given day without even having chosen to.

I feel most alive, most electric with faith, breath, and courage, when I think of God as a current that runs through all that is. Not by will or by choice. Not as a benediction but because there are laws even God must obey.

I first got caught up in this marvelous feeling of being spoken to in that very direct, private, magical way by a poem when I was really young. I was in grade school and had found an Emily Dickinson poem in a textbook.

One of my main wishes in wanting to write about my mother was to explore the impact of her death on my life, explore our relationship, think about the different versions of myself that I was with and without her. I also had the really strong wish to bring her to life for my children, who were born after she was gone.

One of poetry's great effects, through its emphasis upon feeling, association, music, and image - things we recognize and respond to even before we understand why - is to guide us toward the part of ourselves so deeply buried that it borders upon the collective.

As I've been teaching longer and longer, I realize I learn so much from the voices I'm naturally drawn to, the writers I love on an instinctive level - but I also learn so much from the writers that I have to work to grasp.

I want to just go to places where writers don't usually go, where people like me don't usually show up, and say, 'Here are some poems. Do they speak to you? What do you hear in them?'

I know my curiosity as a writer and as a person makes me really interested in moving to parts of the country that I haven't explored through writers' festivals or through the kind of campus visits that I do on a regular basis and engaging with people who may be readers of poetry and may not.

I have three kids, so children's literature is a big part of my life.

When my father died, those years when he was working on the Hubble came back to me, and it seemed fitting to imagine him as having somehow merged with the large mystery that the universe represents.

I think humans have always felt watched back by whatever is out there flickering in the distance. What excites me is what the imagination creates, not simply in explanation of what is there but also to explain or justify the feeling of awe and attachment that the heavens inspire.

Poetry is not the language we live in. It's not the language of our day-to-day errand-running and obligation-fulfilling, not the language with which we are asked to justify ourselves to the outside world. It certainly isn't the language to which commercial value has been assigned.

For me, a poem is an opportunity to kind of interrogate myself a little bit.

I grew up in northern California in a town called Fairfield, which is kind of exactly between San Francisco and Sacramento, a small suburb. And I'm the youngest of five children.

We all need poetry. The moments in our lives that are characterized by language that has to do with necessity or the market, or just, you know, things that take us away from the big questions that we have, those are the things that I think urge us to think about what a poem can offer.

A poem, necessarily, sits at a register that's different from our usual conversational voices. You have to listen more actively to get to the heart of what's being said, what you as a reader or listener are being asked to feel or notice.

I had written here and there about my mother in my poems. There are poems for her in my first and second books.

I don't know how anyone can see the Hubble 'Deep Field' image and not feel like something else is going about its business out there.

Jacqueline Woodson's books are such a gift to parents and children for their poignant subtlety and lyricism and their willingness to let a reader dwell in the pangs of realization that we sometimes try to protect our children from.

A question is a pursuit, an invitation to envision and explore a series of possibilities, to struggle and empathize and doubt and believe. The question moves, whereas our sense of what an answer is can often be static, a stopping point.

My hope is to create spaces where people of all stripes can come together and speak at a lower decibel level. We make more sense that way. We sound more like our real selves that way.

I love the sense of looking at the sad, paltry, and yet very familiar spectacle that we must make from moment to moment in our lives, and in our frenzy, as something that's as out there as alien life.

I feel like it's a gift for any writer to be recognized like this.

I go to a lot of writers conferences and literary festivals that tend to be in college towns or cities, and I'm eager to see what happens if those same texts and those same questions move outside of those areas to smaller rural communities where there are surely people who read and love poetry.

I have kept journals at different times in my life. And a lot of my early notebooks became places where I would just think on the page, trying to parse what I was feeling, to find out what I was thinking.

Brooklyn is kind of my writer's retreat.

Losing my father made me want to find out if I could come up with a version of God or the afterlife that I could feel like was acceptable now that both my parents are in it.

So much of my poetry begins with something that I can describe in visual terms, so thinking about distance, thinking about how life begins and what might be watching us.

You want a poem to unsettle something. There's a deep and interesting kind of troubling that poems do, which is to say, 'This is what you think you're certain of, and I'm going to show you how that's not enough. There's something more that might be even more rewarding if you're willing to let go of what you already know.'

Lately, I've been thinking about the difference between poetry and prose, and as I've experienced it, poetry is insistent. It allows for images and statements to operate in a single space and resonate powerfully without the application to be elaborated upon and narrated.

Rather than numbing or drowning out the difficult-to-describe but urgently sensed feelings that are part of being human, poetry invites us to tease them out, to draw them into language that is rooted in intricate thought and strange impulse.

A poem gives me a chance to have an encounter with a feeling, with an experience, with a wish, with an idea.

I feel that, as a person of color, I've always been interested in the stories that are quiet and the stories that often get overlooked.

Listening to music and lyrics and watching movies, I think, uses a lot of the same muscles we use in reading and experiencing poetry - and yet we somehow forget that we have those when it comes to sitting down with a book of poems.

Literature allows us to be open, to listen, and to be curious.

For years following the death of my mother, I wanted to write about her. I started writing what I thought of as personal essays about growing up as her child, but I never could finish any of them. I think I was too close to that loss, and too eager to try and resolve things, to make her death make sense.

History is a heavy thing everywhere.

I have this belief that we are so vulnerable when we open ourselves up to literature. We're reminded of these real parts of ourselves.

What excites me is that I'm an ambassador for poetry, which is something that I wholeheartedly believe in and that has been an anchor and a force of stability and consolation throughout my life. I think that's good news.

The glib, facile, simplistic, and prefabricated language by which we as consumers are constantly surrounded is a language that flatters us, that urges us to indulge ourselves, to get away from it all, to be unique by opting in, talking back, liking us on Facebook, leaving a review, sharing, retweeting, etc.

When I first became brave enough to tell people that I wrote poems, so many people would rave to me about Edna St. Vincent Millay's work. I was embarrassed not to have read her, and I think that put me off from reading her for a long time. So many of her poems are just impeccable.

I think the way poems are taught to high school students is completely counterintuitive; it sets up this sense of being the poem's adversary. The poem is sort of sneakily trying to outsmart you.

Poems infatuated with their own smarts and detached from any emotional grounding can leave the reader feeling lonely, empty and ashamed for having expected more. Like icy adolescents, such poetry is more interested in commiserating than acknowledging that feelings — the sentiments that make us susceptible to sentimentality — actually exist.

I've been beating my head all day long on the same six lines.

Often it is a moment rather than an event that makes a poem.

Lizzie Harris's debut collection, Stop Wanting, crafts images and lines of such arresting splendor that I am very often driven to joy at the feats of beauty and healing that language is capable of bringing into being.

I know that in a poem, even when the speaker is speaking from the poet's experience, there's always something that's borrowed, some authority that sits outside of the poet that the poem has claimed. There's a dramatic pitch that makes the speaker capable of saying something more courageous or stranger or simply other than what the poet would be able to say.

Everything that disappears/Disappears as if returning somewhere

Joy is a part of my process. In fact, I'd go so far as to say that poetry, as a practice, necessitates a sense of joy. It's exhilarating to come into contact with the things we write into being. And a real sense of play and abandon ? even when we are relying on hard-won technique, and even when the aim is deadly serious. How often do we get the excuse to stop, think, and then stop thinking altogether and try to listen to what sits behind our outside of our thoughts? Poets are lucky.

I think tension between the intimate and the vast is at the heart of every poem by any poet, though of course the terms with which it is explored vary. Perhaps it is something we seek out in order to affirm that our small lives are tethered to something large and ongoing.

time never stops, but does it end? and how many livesbefore take-off, before we find ourselves beyond ourselves, all glam-glow, all twinkle and gold?

We are here for what amounts to a few/hours,/a day at most./We feel around making sense of the terrain,/our own new limbs,/Bumping up against a herd of bodies/until one becomes home./Moments sweep past. The grass bends/then learns again to stand.

Once I started writing all the time and interacting with poets, I made a conscious decision to identify myself as a poet. It's funny how much a single word can provide focus and direction. As soon as I claimed that identity, I started clearing more and more space for poetry in my life and applying poetic tools to other areas of my life. The world became a different place, and I witnessed it through different kinds of eyes.

Keetje Kuipers' poems are daring, formally beautiful and driven by rich imagery and startling ideas.

History, with its hard spine & dog-eared Corners, will be replaced with nuance, Just like the dinosaurs gave way To mounds and mounds of ice.