A Quote by Anne Michaels
I wanted a line in a poem to be the hollow ney of the dervish orchestra whose plaintive wail is a call to God. But all I achieved was awkward shrieking. Not even the pure shriek of a reed in the rain.
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I become like a tuning fork to the information that is coming through me, in shamanism they call it being the 'hollow reed'.
It was early on in 1965 when I wrote some of my first poems. I sent a poem to 'Harper's' magazine because they paid a dollar a line. I had an eighteen-line poem, and just as I was putting it into the envelope, I stopped and decided to make it a thirty-six-line poem. It seemed like the poem came back the next day: no letter, nothing.
Earthly riches are like the reed. Its roots are sunk in the swamp, and its exterior is fair to behold; but inside it is hollow. If a man leans on such a reed, it will snap off and pierce his soul.
I think that I shall never see A poem lovely as a tree. A tree whose hungry mouth is pressed Against the earth's sweet flowing breast; A tree that looks at God all day And lifts her leafy arms to pray; A tree that may in summer wear A nest of robins in her hair; Upon whose bosom snow has lain; Who intimately lives with rain. Poems are made by fools like me, But only God can make a tree.
All life has emptiness at its core; it is the quiet hollow reed through which the wind of God blows and makes the music that is our life.
My hairdresser in the U.K., Adam Reed, has his own line, Percy and Reed, and it's really good. And I use Moroccan Oil and Kerastase as well.
Turns out he does run," Nick drawled. "Given an incentive. And he wouldn't be so out of breath if he hadn't kept shrieking." "That was not a shriek," Jamie said with dignity. "It was a husky masculine cry of terror.
I want to take you to a place of pure magic... It's the place athletes call the "zone". Buddhists call "satori" and ravers call "trance". I call it the Silver Desert. It's a place of pure light that holds the dark within it. It's a place of pure rhythm.
The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
The tripartite structure - so you remember the third brother, second brother, first brother, or the first dervish, second dervish, and third dervish. This is very like embroidering a cloth, as you have to know where you are with the knots.
…though I wouldn’t have admitted it, even to myself, I didn’t want God aboard. He was too heavy. I wanted Him approving from a considerable distance. I didn’t want to be thinking of Him. I wanted to be free—like Gypsy. I wanted life itself, the color and fire and loveliness of life. And Christ now and then, like a loved poem I could read when I wanted to. I didn’t want us to be swallowed up in God. I wanted holidays from the school of Christ.
He loves us because He is filled with an infinite measure of holy, pure, and indescribable love. We are important to God not because of our resume but because we are His children. He loves every one of us, even those who are flawed, rejected, awkward, sorrowful, or broken. God's love is so great that He loves even the proud, the selfish, the arrogant, and the wicked.
I have always wanted to midcourse-correct (or undermine) in a poem, and let that be the turn. That poem is to do with displacement, with almosts - even the rhymes are intentionally off.
If I wrote in a sonnet form, I would be distorting. Or if I had some great new idea for line breaks and I used it in a poem, but it's really not right for that poem, but I wanted it, that would be distorting.
I keep feeling that there isn't one poem being written by any one of us - or a book or anything like that. The whole life of us writers, the whole product I guess I mean, is the one long poem - a community effort if you will. It's all the same poem. It doesn't belong to any one writer - it's God's poem perhaps. Or God's people's poem.
I think what gets a poem going is an initiating line. Sometimes a first line will occur, and it goes nowhere; but other times - and this, I think, is a sense you develop - I can tell that the line wants to continue. If it does, I can feel a sense of momentum - the poem finds a reason for continuing.
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