For poetry is, I believe, always an act of the spirit. The poem teaches us something while we make it. The poem makes you as you make the poem, and your making of the poem requires all your capacities of thought, feeling, analysis, and synthesis.
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.
The difference between 'lighght' and another type of poem with more words is that it doesn't have a reading process. Even a five-word poem has a beginning, middle, and end. A one-word poem doesn't. You can see it all at once. It's instant.
Abstraction is itself an abstract word and has no single meaning ... Every word in our language is abstract, because it represents something else.
To the question, ‘Is the cinema an art?’ my answer is, ‘what does it matter?’... You can make films or you can cultivate a garden. Both have as much claim to being called an art as a poem by Verlaine or a painting by Delacroix… Art is ‘making.’ The art of poetry is the art of making poetry. The art of love is the art of making love... My father never talked to me about art. He could not bear the word.
An artist who goes around proclaiming that the art he's making is art is probably making a serious mistake. And that's one mistake I try not to make.
There's always an added element of a poem when it's read aloud because then you can really hear the rhythm, and the cadence, and even the pronunciation sometimes adds another layer to the poem.
The biggest mistake you can make in your life is to be always afraid of making a mistake.
My life has been the poem I would have writ,
But I could not both live and utter it.
Poetry is a bad medium for philosophy. Everything in the philosophical poem has to satisfy irreconcilable requirements: for instance, the last demand that we should make of philosophy (that it be interesting) is the first we make of a poem; the philosophical poet has an elevated and methodical, but forlorn and absurd air as he works away at his flying tank, his sewing-machine that also plays the piano.
The greatest mistake you can make is to fear making a mistake.
The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.
If there would be a recipe for a poem, these would be the ingredients: word sounds, rhythm, description, feeling, memory, rhyme, and imagination. They can be put together a thousand different ways, a thousand, thousand...more.
When blame inevitably arises, the most senior people in the room should repeat this mantra: if a mistake happens, shame on us for making it so easy to make that mistake.
I instruct you to be the obeyer,
A rhythm recipe that you'll savor,
Doesn't matter if you're minor or major,
Yes, the Tribe of the game, rhythm player,
As you inhale like a breath of fresh air
I think you can perform any poem. But what I believe is that the best examples of spoken word poetry I've ever seen, are spoken word poems that, when you see them, you're aware of the fact they need to be performed. That there's something about that poem that you would not be able to understand if you were just reading it on a piece of paper.