A Quote by James Wright
It goes without saying that a fine short poem can have the resonance and depth of an entire novel.
Related Quotes
For me, the short story is the depth of a novel, the breadth of a poem, and, as you come to the last few paragraphs, the experience of surprise.
The religion of the short poem, in every age and in every literature, has a single commandment: Less is always more. The short poem rejects preamble and summary. It's about all and everything, the metaphysics of a few words surrounded by much silence. …The short poem is a match flaring up in a dark universe.
It kind of goes without saying. But I will: If you are a Nazi, you aren't a fine person. You're bad.
Yes sir. You can be more careless, you can put more trash in [a novel] and be excused for it. In a short story that's next to the poem, almost every word has got to be almost exactly right. In the novel you can be careless but in the short story you can't. I mean by that the good short stories like Chekhov wrote. That's why I rate that second - it's because it demands a nearer absolute exactitude. You have less room to be slovenly and careless. There's less room in it for trash.
A poem (surely someone has said this before) is a one-night stand, a short story a love affair, and a novel a marriage.
Poe's saying that a long poem is a sequence of short ones is perfectly just.
Often when I write poetry I don't quite know what I'm saying myself. I mean, I can't restate the poem. The meaning of the poem is the poem.
What a great poem teaches you - and it's not intellectual at all - is the resonance in the language that's heard there. This goes back to the very origins of poetry and to the very origins of language.
I want to reiterate that my understanding of the poem is not the poem's core, true meaning. Once a poem goes out into the world, the poet is just one more reader.
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.
Writing a poem is like having an affair, a one-night stand; a short story is a romance, a relationship; a novel is a marriage-one has to be cunning, devise compromises, and make sacrifices.
Elisabeth Sheffield's new novel is multilayered, smart, beautifully written, and funny. I was taken in by the first paragraph and held firmly through the roller coaster of a ride. The depth of the novel was evidenced by the constantly shifting meaning of the title itself. In fact, the entire work never changes its meaning, but somehow, seamlessly, simply means more. This is a rare and memorable piece of work.
Philosophy has a fine saying for everything.-For Death it has an entire set.
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 you are dyslexic, your eyes work fine, your brain works fine, but there is a little short circuit in the wire that goes between the eye and the brain. Reading is not a fluid process.
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