A Quote by Richard Grossman

I'm truly an outsider in the poetry world. When I started writing, I was trying to move my poems away from modernist lines. — © Richard Grossman
I'm truly an outsider in the poetry world. When I started writing, I was trying to move my poems away from modernist lines.
If you want to write poetry, you must have poems that deeply move you. Poems you can't live without. I think of a poem as the blood in a blood transfusion, given from the heart of the poet to the heart of the reader. Seek after poems that live inside you, poems that move through your veins.
I started out in life as a poet; I was only writing poetry all through my 20s. It wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels; I liked them.
I started out in life as a poet, I was only writing poetry all through my 20s, it wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels, I liked them.
When modernist poetry, or what not so long ago passed for modernist poetry, can reach the stage where the following piece by Mr. Ezra Pound is seriously offered as a poem, there is some justification for the plain reader and orthodox critic who shrinks from anything that may be labelled 'modernist' either in terms of condemnation or approbation. Better he thinks, that ten authentic poets should be left for posterity to discover than one charlatan should be allowed to steal into the Temple of Fame.
When I was in fourth grade, I started writing a lot of poetry, and eventually, someone in the church was like, 'You should switch this over to rapping.' I went home and did that - started putting my poems over rap.
I always wrote poems when I was a little girl, and I loved hip hop music, and I kind of just started writing poems over beats, and that's when I started rapping.
I was trying to pay the bills with poems, and it was easy to memorize my poems, because I'd be riding my bike in California trying to memorize them before going on stage at a poetry lounge.
Writing fiction, for me, is a more indirect form of self-exploration than writing verse. When I'm working on a novel I'm moving characters around and I'm thinking about plot and there's a lot of other things going on at the level of structure and story. With a poem, a single idea or line or emotion can sometimes be enough - there's often a sense, in the best poems, of capturing a single instant. Perhaps poems differ from prose in the degree of solace they can offer - by speaking so personally, so directly, about shared experience. A few lines of poetry can provide comfort.
The judges who awarded the 1980 Commonwealth Poetry Prize to my first collection of poems, Crossing the Peninsula and Other Poems, cited with approval and with no apparent conscious irony my early poem, "No Alarms." The poem was composed probably sometime in 1974 or 1975, and it complained about the impossibility of writing poetry - of being a poet - under the conditions in which I was living then.
Palestinian society is filled with poetry, but not experimental poetry. The Palestinian poetry that people know is not the modernist experimentations, it's certain kinds of poetry that lends itself to recitation and song and things like that.
When you begin to write poems because you love language, because you love poetry. Something happens that makes you write poems. And the writing of poems is incredibly pleasurable and addictive.
I started writing poetry when I was six. I had this teacher who didn't believe the poems I'd bring in were mine because they were dark and sad. But I wrote about what I experienced in my childhood.
A lot of groups spend their whole cultural and aesthetic identity trying to move away from Africa, which I think is a mistake. One of the reasons I love Cuba and cultures like that is because they're not trying to move away from their African roots, they're trying to embrace them. That's part of the culture.
There are no chords in modernist architecture, only lines - lines that may come to an end, but that achieve no closure
I guess that would have been 1968. I was a freshman in college and I wasn't writing good poems, but I was at least trying to write poems then.
The maiden Olympics had more to protest about than mere war, though. Central to its ethos was a rejection of two establishments the political one, certainly, but also that of the wider poetry world itself. It changed poetry for ever in the UK, ... It led to readings all over the country. You suddenly got more women reading and publishing poems, as well as gay guys and poets from all over the world. Until that time, published poetry had been very university-based white, male, middle-class. We were trying to break poetry out of its academic confines.
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