A Quote by Tom Robbins
When I go to the shore, I take along the poems of Pablo Neruda. I suppose it's because the poems are simultaneously lush and ripe and kind of lazy, yet throbbing with life - like summer itself.
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Hay algo más tonto en la vida Que llamarse Pablo Neruda? (is there anything more insane in this life than being called Pablo Neruda?)
One Christmas I had no money, and so I went home and just, like, wrote a poem; I mean, I didn't write them, but I just handed out poems as Christmas presents. Like, 'Here's a Pablo Neruda poem that really made me think of you.'
If the motive of writing is for some people a kind of exercise in dirty laundry, that's one thing. I've always thought of my poems as meant to be overheard, as I think all of these poems are. It seems to me if you get experience right, even your most painful or humiliating experiences - if you get those experiences right for yourself and make discoveries as you go along and find for them some formal glue - they will be poems for others.
There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
Keats's odes are among my favorite poems ever. As are Neruda's. So yes, I think my poems are odes, though I really just see those titles as ways of more or less orienting the poem. I've never thought about this until now, but I guess you could say that one effect of all the titles, their pervasiveness in the book, might be to once again, as so many other things do, put into question the meaning of the word "for," which I suppose is one of the great human questions: what is all this for? Why, and for whom, are we doing whatever we are doing?
There is a kind of certainty that seems to characterize Jared Smith's best work, an understanding about place and the flow of spirit that makes you think of Thoreau along with a commitment as fierce as that of Pablo Neruda.
But give thanks, at least, that you still have Frost's poems; and when you feel the need of solitude, retreat to the companionship of moon, water, hills and trees. Retreat, he reminds us, should not be confused with escape. And take these poems along for good luck!
I wrote those poems for myself, as a way of being a soldier here in this country. I didn't know the poems would travel. I didn't go to Lebanon until two years ago, but people told me that many Arabs had memorized these poems and translated them into Arabic.
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.
Lizzie Harris's Stop Wanting is an unflinching book about a girlhood filled with violence, doubt, vulnerability, and loss. These gorgeously crafted and hauntingly memorable poems are a bleak place full of life, prayer, and the kind of answers only poems like these can provide.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
It's true, there aren't many explicit references to Canada in my book. And not many explicit references to the U.S., either. I try to fill my poems with enough real, observed detail that the poems create a believable world - but I don't write poems for the sake of telling my own story. My life is not important or interesting enough to warrant that kind of documentary. Instead I try to use my experience as a way of understanding situations that are common to many people. I want readers to project their own lives onto my poems.
When I hit a block, regardless of what I am writing, what the subject matter is, or what's going on in the plot, I go back and I read Pablo Neruda's poetry. I don't actually speak Spanish, so I read it translation. But I always go back to Neruda. I don't know why, but it calms me, calms my brain.
I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.
My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.
There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.
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