A Quote by Dorianne Laux

Every good poem asks a question, and every good poet asks every question. — © Dorianne Laux
Every good poem asks a question, and every good poet asks every question.
On some positions, Cowardice asks the question, 'Is it safe?' Expediency asks the question, 'Is it politic?' And Vanity comes along and asks the question, 'Is it popular?' But Conscience asks the question, 'Is it right?'
Two questions form the foundation of all novels: "What if?" and "What next?" (A third question, "What now?", is one the author asks himself every 10 minutes or so; but it's more a cry than a question.) Every novel begins with the speculative question, What if "X" happened? That's how you start.
On some positions, cowardice asks the question, is it expedient? And then expedience comes along and asks the question, is it politic? Vanity asks the question, is it popular? Conscience asks the question, is it right? There comes a time when one must take the position that is neither safe nor politic nor popular, but he must do it because conscience tells him it is right.
Every question is a hypothetical question for everyone but the person who asks it.
Maybe I was unpopular a bit because I was a teacher's pet. But even the teachers complained about me. They would say to my parents, 'For every one question any pupil asks, Walter asks 10.'
Cowardice asks the question, is it safe? Expediency asks the question, is it politic? Vanity asks the question, is it popular? But conscience asks the question, is it right? And there comes a time when one must take a position that is neither safe, nor politic, nor popular, but one must take it because it is right.
In my opinion there are two basic questions that any writer tries to answer. "What is?" is the question non-fiction asks. "What if?" is the question fiction asks. That's the question I'm more interested in.
My father said, Politics asks the question: Is it expedient? Vanity asks: Is it popular? But conscience asks: Is it right?
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.
Good historians, I suspect, whether they think about it or not, have the future in their bones. Besides the question: Why? the historian also asks the question: Whither?
Every time someone asks me where I'm from, I'm not sure how to answer that question... so I say I have no roots.
Look at every path closely and deliberately. Try it as many times as you think necessary. Then ask yourself and yourself alone one question. This question is one that only a very old man asks. My benefactor told me about it once when I was Young. And my blood was too vigorous for me to understand it. Now I do understand it. I will tell you what it is: does this path have a heart? If it does, the path is good. If it doesn't, it is of no use.
Insist that the first question each of us asks isn't "What's good for me?" but "What's good for the country my children will inherit?
Nobody can refuse a person who comes and asks for a job. Nobody can refuse a poor man when he goes and asks for food. Nobody can stop any Indian if he asks a question of his government. This is what the Congress party and the UPA have done over the last 10 years.
The real question should be: what makes a good political poem? The possible answers to that question are both obvious and yet still a little too subjective for anyone to ever fully agree on. What do I most wish to see in a political poet? Sublimated rebellion.
Poetry is the sister of Sorrow. Every man that suffers and weeps is a poet; every tear is a verse, and every heart a poem.
This site uses cookies to ensure you get the best experience. More info...
Got it!