A Quote by Edward Hirsch
And what I've found over time is that for me to write a poem that I think is worthy that I can live with, two things have to happen.
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Like a pianist runs her fingers over the keys, I'll search my mind for what to say. Now, the poem may want you to write it. And then sometimes you see a situation and think, 'I'd like to write about that.' Those are two different ways of being approached by a poem, or approaching a poem.
I write slowly, and I write many, many drafts. I probably have to work as hard as anyone, and maybe harder, to finish a poem. I often write a poem over years, because it takes me a long time to figure out what to say and how best to say it.
I think that poetry is an act of celebration, that anytime you're writing a poem, it means that you're celebrating something, even if it's a sad poem, if it's an angry poem, a political poem or anything at all. The fact that you're taking the time and energy to pick up this thing and hold it to the light, and say, "Let's take some time to consider this," means that you've deemed it worthy enough to spend time on - which, in my opinion, is celebrating.
I think my first general rule is that most of my experiences are not that interesting. It's usually other people's experiences. It's not that entirely conscious. Somebody tells me a story or, you know, repeats an anecdote that somebody else told them and I just feel like I have to write it down so I don't forget - that means for me, something made it fiction-worthy. Interesting things never happen to me, so maybe two or three times when they do, I have to use them, so I write them down.
Poetry was one of the things that interested me most as I was growing up. I used to write it in my head all the time. I still think the very greatest pleasure in life is to write a poem.
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.
If you're angry, you don't have to write a poem dealing with the cause of your anger. But it needs to be an angry poem. So go ahead... write one. I know you're at least a little bit angry with me. And when you're done with your poem, decipher it as if you'd just found it printed in a textbook and know absolutely nothing about its author. The results can be amazing...and scary. But it's always cheaper than a therapist.
I never think of my audience when I write a poem. I try to write out of whatever is haunting me; in order for a poem to feel authentic, I have to feel I'm treading on very dangerous ground, which can mean that the resulting revelations may prove hurtful to other people. The time for thinking about that kind of guilt or any collective sense of responsibility, however, occurs much later in the creative process, after the poem is finished.
There are but two things worth living for: to do what is worthy of being written; and to write what is worthy of being read.
Usually, the way I write is to sit down at a typewriter after that year or so of what passes for thinking, and I write a first draft quite rapidly. Read it over. Make a few pencil corrections, where I think I've got the rhythms wrong in the speeches, for example, and then retype the whole thing. And in the retyping I discover that maybe one or two more speeches will come in. One or two more things will happen, but not much.
I think that I've just kind of found my niche, if that makes sense. I still write the same, but I feel like I've found what separates me and I always try to stay in that when I write. It took me a long time to discover that, so I try to be protective.
I think that I've just kind of found my niche, if that makes sense. I still write the same, but I feel like I've found what separates me, and I always try to stay in that when I write. It took me a long time to discover that, so I try to be protective.
The mind wraps itself around a poem. It is almost sensual, particularly if you work on a computer. You can turn the poem round and about and upside down, dancing with it a kind of bolero of two snakes twisting and coiling, until the poem has found its right and proper shape.
I always tell students that writing a poem and publishing it are two quite separate things, and you should write what you have to write, and if you're afraid it's going to upset someone, don't publish it.
Action is greater than writing. A good man is a nobler object of contemplation than a great author. There are but two things worth living for: to do what is worthy of being written; and to write what is worthy of being read.
In the upshot there is only one answer for the preacher who wonders whether he is worthy to preach the sermon he has composed or for the writer who wonders whether he is worthy to write the religious book he is working on. The answer is: Of course not. To ask yourself: Am I worthy to perform this Christian task? is really the peak of pride and presumption. For the very question carries the implication that we spend most of our time doing things we are worthy to do. We simply do not have that kind of worth.
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