I believe every space and comma is a living part of the poem and has its function, just as every muscle and pore of the body has its function. And the way the lines are broken is a functioning part essential to the life of the poem.
In a machine, every part has a function. In a poem, every word needs to be there.
Things don't have purposes, as if the universe were a machine, where every part has a useful function. What's the function of a galaxy? I don't know if our life has a purpose and I don't see that it matters. What does matter is that we're a part. Like a thread in a cloth or a grass-blade in a field. It is and we are. What we do is like wind blowing on the grass.
I do not suppose that anyone not a poet can realize the agony of creating a poem. Every nerve, even every muscle, seems strained to the breaking point. The poem will not be denied; to refuse to write it would be a greater torture. It tears its way out of the brain, splintering and breaking its passage, and leaves that organ in the state of a jelly-fish when the task is done.
The poem is not only the point of origin for all the language and narrative arts, the poem returns us to the very social function of art as such.
Newspapers are to the body politic what arteries are to the human body, their function being to carry blood and sustenance and repair to every part of the body.
Every fish fertilizes the water in a way that generates the plankton that ultimately leads back into the food chain, but also yields oxygen, grabs carbon - it's a part of what makes the ocean function and what makes the planet function.
The entire repertoire of our life experiences can be accessed and activated from the body in movement …every part and function of the body can also be understood as metaphors for the expression of our being
The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.
Every moment of life is the last, every poem is a death poem.
The religion of the short poem, in every age and in every literature, has a single commandment: Less is always more. The short poem rejects preamble and summary. It's about all and everything, the metaphysics of a few words surrounded by much silence. …The short poem is a match flaring up in a dark universe.
Have it compose a poem -- a poem about a haircut! But lofty, noble, tragic, timeless, full of love, treachery, retribution, quiet heroism in the face of certain doom! Six lines, cleverly rhymed, and every word beginning with the letter s!
It has been said that love is a function of communication. I believe that to be true. I believe, by extension, that human understanding is a function of communication. And the better human beings understand one another, the higher the level of functioning.
With lines that show an unyielding dedication to craft, these poems are not afraid of meaning or the meaningful. More and more every day, the thinking American asks how she is to believe in love when there is war all about her, and in each of her deeply felt lyrics, Elyse Fenton confronts this question with the kind of tenderness one lover reserves for another. If every poem is indeed a love poem,Clamor is indeed a debut worth reading and about which we must make noise.
Weaknesses have a certain function in a poem... some strategy in order to pave the reader's way to the impact of this or that line.
Doing is a function of the body. Being is a function of the soul. The body is always doing something. Every minute of every day it's up to something. It never stops, it never rests, it's constantly doing something.
I think a good poem should have some inscrutable part. You can't quite explain it. The poem can only explain itself to a certain limit and at that point you enter into a little bit of mystery. That for me is the perfect poem: to begin in clarity and to end in mystery.