A Quote by Criss Jami
The trouble with poetry is it's often written to the sound of a drum only the poet may hear; nonetheless, blessed are those poets who always manage to find unshakeable pleasure in their own works.
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My biggest poetic influences are probably 20th-century British and Irish poets. So I suppose I'm always listening for the music I associate with that poetry, the telling images, the brevity. I want to hear it in my own work as well as in the poetry I read. However, I think I'm generally more forgiving of other poets than myself.
A trouble with poetry is the presence of presumptuousness in poetry, the sense you get in a poem that the poet takes for granted an interest on the reader's part in the poet's autobiographical life, in the poet's memories, problems, difficulties and even minor perceptions. I try to presume that no one is interested in me. And I think experience bears that out. No one's interested in the experiences of a stranger - let's put it that way. And then you have difficulty combined with presumptuousness, which is the most dire trouble with poetry.
When I became a poet, the Korean literary world expected women poets to sing passively of love. Naturally, this was not written anywhere, but this rule existed nonetheless. Consequently, I received plenty of serious criticism.
In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever.
Poetry cannot be translated; and, therefore, it is the poets that preserve the languages; for we would not be at the trouble to learn a language if we could have all that is written in it just as well in a translation. But as the beauties of poetry cannot be preserved in any language except that in which it was originally written, we learn the language.
Another trouble with poetry - and I'm gonna stop the list at two - is the presence of presumptuousness in poetry, the sense you get in a poem that the poet takes for granted an interest on the reader's part in the poet's autobiographical life, in the poet's memories, problems, difficulties and even minor perceptions.
While the poet entertains he continues to search for eternal truths, for the essence of being. In his own fashion he tries to solve the riddle of time and change, to find an answer to suffering, to reveal love in the very abyss of cruelty and injustice. Strange as these words may sound I often play with the idea that when all the social theories collapse and wars and revolutions leave humanity in utter gloom, the poet--whom Plato banned from his Republic--may rise up to save us all.
I just think that the world of workshops - I've written a poem that is a parody of workshop talk, I've written a poem that is a kind of parody of a garrulous poet at a poetry reading who spends an inordinate amount of time explaining the poem before reading it, I've written a number of satirical poems about other poets.
Poetry is probably the one field of writing in which it is a mistake to try to psych out editors. In fact, specific marketing advice can sometimes harm the novice poet by enticing him to pursue fashions. The poet's best hope is to sound like nobody else, The finest, most enduring poetry constructs a marketplace of its own.
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 is a shallow criticism that would define poetry as confined to literary productions in rhyme and meter rhythm. The written poem is only poetry talking, and the statue, the picture, and the musical composition are poetry acting. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains, which he himself could never hope to hear.
When I say God it is poetry and not theology. Nothing that any theologian has written about God has helped me much, but everything the poets have written about flowers and birds and skies and seas and saviors of the race, and God - whoever He may be - has at one time or another reached my soul!...The theologians gather dust upon the shelves of my library but the poets are stained with my fingers and blotted by my tears.
I am not concerned with Poetry. My subject is War, and the pity of War. The Poetry is in the pity. Yet these elegies are to this generation in no sense conciliatory. They may be to the next. All a poet can do today is warn. That is why the true Poets must be truthful.
Once a poet always a poet, and even though I haven't written poems for a long time, I can nonetheless say that everything I've ever learned about writing lyrical fiction has been informed by three decades of writing in lines and stanzas. For me the real drama of fiction is almost always the drama of the language.
Monopolistic capitalism is to blame for this; it sunders the right to own property from responsibility that owning property involves. Those who own only a few stocks have no practical control of any industry. They vote by postcard proxy, but they have rarely even seen "their" company. The two elements which ought to be inextricably joined in any true conception of private property - ownership and responsibility - are separated. Those who own do not manage; those who manage; those who manage and work do not control or own.
Industry is not only the instrument of improvement, but the foundation of pleasure. He who is a stranger to it may possess, but cannot enjoy, for it is labor only which gives relish to pleasure. It is the indispensable condition of possessing a sound mind in a sound body, and it is the appointed vehicle of every good to man.
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