A Quote by e. e. cummings
If you like my poems let them
walk in the evening, a little behind you
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There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
I expect that our associates will walk with a little more bounce in their step and understand that this company is behind them and has respect for them.
Well, when I walk behind short people I feel like I'm going to fall over because I start taking these little steps, and I can't take little steps.
What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.
I was shy at school, but not at home. We had a boiler that had tiles around it, so if my sister and I got new shoes we'd do a little tap dance on the tiles. I also wrote poems but would read them from behind a curtain.
I like to read a lot of books and poems. Even though poems are short, I enjoy the emotions that come with them.
My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.
What you wear in the evening is important for women because it's so personal, and it's so complicated to get it right. I like trousers for evening, especially when they have that width and attitude to them.
During the Gulf War, I remember two little third grade girls saying to me - after I read them some poems by writers in Iraq - 'You know, we never thought about there being children in Iraq before.' And I thought, 'Well those poems did their job, because now they'll think about everything a little bit differently.'
If you can find two poems in a book, it could be a pretty good book for you. You know, two poems you really like. There are some poets who are fairly big names in contemporary poetry and who write a book and I might like three or four poems in the book, but the rest of them don't appeal to me personally; but I think that's the way it really ought to be. I think it's really a rare thing to like everything that somebody has written.
The shadows of the mind are like those of the body. In the morning of life they all lie behind us; at noon we trample them under foot; and in the evening they stretch long, broad, and deepening before us.
I think women like to laugh, to have doors opened for them, to have a man walk behind them when they're going up steps, and in front of them when they're going down steps. As chauvinistic as that may sound, it's in my bones.
I like to watch people. For example, people at the airport... What is interesting about them is that they dont know what they are like. People at airports are the most brilliant actors in the world, because their attention is elsewhere, and they are idiosyncratic. I like to imitate people. I walk behind them and imitate their backs.
Behind every door in London there are stories, behind every one ghosts. The greatest writers in the history of the written word have given them substance, given them life. And so we readers walk, and dream, and imagine, in the city where imagination found its great home.
Pretty much the day I stopped being laureate, the poems that had been few and far between came back to me, like birds in the evening nesting in a tree.
Sometimes people come up and they get infatuated with some little brief imagistic poem or something, and they say, "Oh, I really like your Zen poems." And I say, "Which ones are not Zen poems?"
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