A Quote by Donald Hall
It used to be that one poet in each generation performed poems in public. In the twenties, it was Vachel Lindsay, who sometimes dropped to his knees in the middle of a poem. Then Robert Frost took over, and made his living largely on the road.
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Nowadays when a poet with one privately printed book can have his next three years taken care of by a Guggenheim fellowship, a Kenyon Review fellowship, and the Prix de Rome, it is hard to remember what chances the poet took in that small-town world, how precariously hand-to-mouth his existence was. And yet in one way the old days were better; [Vachel] Lindsay after a while, by luck and skill, got far more readers than any poet could get today.
You need me, just whistle," he said as he arranged his ball cap over his eyes against the sun leaking through the frost-emptied branches. "You're not coming?" Lifting the brim of his cap, he eyed me, "You want me to?" he asked blandly. "Not really, no." He dropped the brim and laced his hands over his middle. "Then why are you bitching? It's a crime scene, not a grocery store.
Robert Frost says in a piece of homely doggerel that he has hoped wisdom could be not only Attic but Laconic, Boeotian even - "at least not systematic"; but how systematically Frostian the worst of his later poems are! His good poems are the best refutation of, the most damning comment on, his bad: his Complete Poems have the air of being able to educate any faithful reader into tearing out a third of the pages, reading a third, and practically wearing out the rest.
The judges who awarded the 1980 Commonwealth Poetry Prize to my first collection of poems, Crossing the Peninsula and Other Poems, cited with approval and with no apparent conscious irony my early poem, "No Alarms." The poem was composed probably sometime in 1974 or 1975, and it complained about the impossibility of writing poetry - of being a poet - under the conditions in which I was living then.
I wrote a number of poems about Kah Tai lagoon, when Safeway was building that huge, ugly store down there where I used to love to watch the birds nest. That political poem, or environmental poem, was unsuccessful because Safeway built there anyway. And yet the poem has something to say today, as it did then. And I speak here only of my own poems. The agenda for every poet has to be different because most of us write from direct human experience in the world.
The first thing that strikes you about Timothy Murphys verse is the palpable texture of his line - that sound of sense practised by that other American poet-farmer, Robert Frost. And just as Murphys ear is trained on the rhythms of local speech and classical epigram, his eye holds fast on the image. This is an undeluded vision, sometimes bleak, often funny, and never less than painstakingly crafted.
A man of my acquaintance once wrote a poem called "The Road Less Traveled", describing a journey he took through the woods along a path most travelers never used. The poet found that the road less traveled was peaceful but quite lonely, and he was probably a bit nervous as he went along, because if anything happened on the road less traveled, the other travelers would be on the road more frequently traveled and so couldn't hear him as he cried for help. Sure enough, that poet is dead.
Time sped. And the poet through sorrow Became like his suffering kind. Again he toiled over his poems To lighten the grief of his mind.
I go to the gym, do some martial arts, and I love poetry. I have a tattoo of my family crest, and another on my back that says 'The Road Not Taken,' which is a poem by Robert Frost.
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.
A successful poem says what a poet wants to say, and more, with particular finality. The remarks he makes about his poems are incidental when the poem is good, or embarrassing or absurd when it is bad and he is not permitted to say how the good poem is good, and may never know how the bad poem is bad. It is better to write about other people's poetry.
According to Life & Style Weekly, 50 Cent may be working on Lindsay Lohan's next album. Finally, a match made in rap heaven. He's a convicted drug dealer who's been shot nine times, and she spent 84 minutes in prison. This is a big step for Lindsay. The last time Lindsay got near a black guy she ran over his foot.
I want each poem to be ambiguous enough that its meaning can shift, depending on the reader's own frame of reference, and depending on the reader's mood. That's why negative capability matters; if the poet stops short of fully controlling each poem's meaning, the reader can make the poem his or her own.
Girl with the burning golden eyes,
And red-bird song, and snowy throat:
I bring you gold and silver moons,
And diamond stars, and mists that float.
I bring you moons and snowy clouds,
I bring you prarie skies to-night
To feebly praise your golden eyes
And red-bird song, and throat so white.
~Vachel Lindsay "To Gloriana"
God wrote His loveliest poem on the day
He made the first silver poplar tree,
And set it high upon a pale-gold hill
For all the new enchanted earth to see.
I didn't feel physically sick. But mentally. My mind was twisting in so many ways. (...) We once saw a documentary on migraines. One of the men interviewed used to fall on his knees and bang his head against the floor, over and over during attacks. This diverted the pain from deep inside his brain, where he couldn't reach it, to a pain outside that he had control over.
Part of the reason that these attempts at explanation fail, I think, is that photographers, like all artists, choose their medium because it allows them the most fully truthful expression of their vision... as Robert Frost told a person who asked him what one of his poems meant, 'You want me to say it worse?'
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