A Quote by Anne Sexton
These poets (fans of whatever) should be contacting other young poets on their way - not those who have made it, who sit on a star and then have plenty of problems: usually no money, usually the fear their own writing is going down the sink hole.
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In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
. . . you did not seem to me over-fond of money. And this is the way in general with those who have not made it themselves, while those who have are twice as fond of it as anyone else. For just as poets are fond of their own poems, and fathers of their own children, so money-makers become devoted to money, not only because, like other people, they find it useful, but because it's their own creation.
To a large extent, the problems of poets are the problems of painters, and poets must often turn to the literature of painting for a discussion of their own problems.
Sure there are poets which did never dream Upon Parnassus, nor did taste the stream Of Helicon; we therefore may suppose Those made not poets, but the poets those.
Men of real talents in Arms have commonly approved themselves patrons of the liberal arts and friends to the poets, of their own as well as former times. In some instances by acting reciprocally, heroes have made poets, and poets heroes.
I'm not going to tell people how to write, but we do have a skill set, and the more we put ourselves out into the world as poets, as a sort of poet of the tribe, as representatives of metaphor, and try to claim space for metaphor in the inner life, that's going to be important and be helpful to poetry and bring a tension for poets writing about whatever they choose.
You have to give your art everything you can - I don't mean only writing, but studying other poets and poetics, thinking, reading what poets have written other than their poetry.
It's difficult to put your own bare ass out on the limb every time you sit down to write a poem. But that's really sort of the ideal. Because if we don't discover something about ourselves and our world in the making of a poem, chances are it's not going to be a very good poem. So what I'm saying is that a lot of our best poets could be better poets if they wrote less and risked more in what they do.
Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.
I do not remember where I read that there are two kinds of poets: the good poets, who at a certain point destroy their bad poems and go off to run guns in Africa, and the bad poets, who publish theirs and keep writing more until they die.
The poets are wrong of course […] But then poets are almost always wrong about facts. That's because they are not really interested in facts: only in truth: which is why the truth they speak is so true that even those who hate poets by simple and natural instinct are exalted and terrified by it.
For just as poets love their own works, and fathers their own children, in the same way those who have created a fortune value their money, not merely for its uses, like other persons, but because it is their own production. This makes them moreover disagreeable companions, because they will praise nothing but riches.
Nearly all men and women are poetical, to some extent, but very few can be called poets. There are great poets, small poets, and men and women who make verses. But all are not poets, nor even good versifiers. Poetasters are plentiful, but real poets are rare. Education can not make a poet, though it may polish and develop one.
After all, poets shouldn't be their own interpreters and shouldn't carefully dissect their poems into everyday prose; that would mean the end of being poets. Poets send their creations into the world, it is up to the reader, the aesthetician, and the critic to determine what they wanted to say with their creations.
Because so many poets have chosen a political idiom right now in the US and so many poets have assigned value and inherent knowledge to their racial identity and used that as a form of argumentation, I'm thinking now's a good time to buy low for my own poems and write poems that are deeply in the interior and the psyche. There are plenty of people out there working on subjects of political poetry, partisan poetry, all the way through to crossing the threshold of propaganda. I start thinking now's a good time for me to start writing about the myths of my own psyche.
The way I mainly use the Internet is keeping in touch with poets that live far away. My main interest is contemporary American poets and some Spanish language poets, and I keep in touch with their work through either their websites or email.
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