A Quote by Ann Beattie

Clouds are poems, and the most moving poems linger on the blackboard so long, written in cursive so lovely, they also exist inside our fingertips. We never really erase them at the end of the lesson.
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.
I wanted many of the poems to have long legs. At first I was calling them clothespin poems, before I knew what I was doing. The lines seem pulled on either end, tight and taut against the wind.
If you can find two poems in a book, it could be a pretty good book for you. You know, two poems you really like. There are some poets who are fairly big names in contemporary poetry and who write a book and I might like three or four poems in the book, but the rest of them don't appeal to me personally; but I think that's the way it really ought to be. I think it's really a rare thing to like everything that somebody has written.
There is nothing “still” in the remarkably visceral poems of Alexander Long's third collection, Still Life, and nothing is at rest in these restless and edgy poems. Conversational and kinetic, these poems chart the traces left by the shifting overlays of the templates of literature, rock-and-roll, and contemporary culture. As each poem in Still Life attempts to fix a focus upon a scene or subject, the protean natures under view draw the poet into the eddies and complexities of reflection. This is a powerful and moving collection of poems.
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.
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.
I was unnerved to learn in my twenties that the poems of Emily Dickinson that I had memorized as a girl were not the poems as she had written them.
I had written here and there about my mother in my poems. There are poems for her in my first and second books.
I write poems for children to help them celebrate the joy and wonder of their world and to look at their lives from the inside out. I write humorous poems to tickle the funny bone of their imaginations.
Our poems will have failed if our readers are not brought by them beyond the poems.
When I worked on a magazine, I learned that there are many, many writers writing that can't write at all; and they keep on writing all the cliches and bromides and 1890 plots, and poems about Spring and poems about Love, and poems they think are modern because they are done in slang or staccato style, or written with all the 'i's' small.
When somebody's in love with you, they think it's amazing you've written them a poem, and when they don't love you anymore, they hate those poems. They wish those poems would go away.
If poems very different from my own bring pleasure to a group of readers, who am I to say that the poems should have been written differently?
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
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.
In all the poems I've written I've not really engaged in politics, and when I've found myself moving in that direction I've always stopped myself.
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