A Quote by Edward Hirsch
I like the machinery of poems, especially when they have human warmth.
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Man wanted a home, a place for warmth, or comfort, first of physical warmth, then the warmth of the affections.
I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.
The Devil is perfectly willing that the church should multiply its organizations and its deftly contrived machinery for the conquest of the world for Christ, if it will only give up praying...The Devil is not afraid of machinery; he is only afraid of God. And machinery without prayer is machinery without God.
A pear should come to the table popped with juice, Ripened in warmth and served in warmth. On terms Like these, autumn beguiles the fatalist.
Human nature, as manifested in tribalism and nationalism, provides the momentum of the machinery of human evolution.
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 am a relatively rational being and I like to create order in poems. I like meter, I like rhyme, but ultimately I don't know where the poems come from, and I feel, at least in the beginning, that I'm taking dictation from my own dream that I don't remember.
I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another. It's not that they all get along, or that there aren't bad people or people we make fun of. But at the core, there's a kind of sweetness.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
Charity is like warmth in springtime or summer that causes grass, plants, and trees to grow. Without charity, or spiritual warmth, nothing grows.
I also like poems that are haunted by a structure or a narrative, or poems that frisk flirtatiously at the boundary of sense.
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.
I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.
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.
From George Martin's classically inspired production of the Beatles to Peter Gabriel's early solo masterpieces, to Stereolab's beautiful loops and blips, U.K.-based bands have often found a way to squeeze warmth and compassion from the stone-cold - especially now that the tubes are gone - machinery of the recording studio.
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