A Quote by Jane Campion

If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough. — © Jane Campion
If you read Keats's poems, they're often full of doubts and anxieties. They can be quite tough.
I began writing poems when I was about eight, with a heavy assist from my mother. She read me Arthur Waley's translations and Whitman and Robinson Jeffers, who have been lifelong influences on me. My father read Keats to me, and then he read more Keats while I was lying on the sofa struggling with asthma.
Keats writes better about poems than anybody I've ever read. The things that he says about what he wants his own poems to be are the ideals that I share.
Eight years ago, I was drawn into Keats's world by Andrew Motion's biography. Soon I was reading back and forth between Keats's letters and his poems. The letters were fresh, intimate and irreverent, as though he were present and speaking. The Keats spell went very deep for me.
I love chapbooks. They're in some ways the ideal form in which to publish and read poems. You can read 19 poems in a way you can't sit down and read 60 to 70 pages of poems.
We learned in the university to consider Wordsworth and Keats as Romantics. They were only a generation apart, but Wordsworth didn't even read Keats's book when he gave him a copy.
I believe strongly in what John Keats called negative capability: the trait or practice that allows a poet to remain in uncertainties, mysteries, doubts, without any irritable reaching after fact & reason. For Keats, William Shakespeare exemplified negative capability, and I do think it's extraordinary that for all the thousands of pages Shakespeare left behind, we really don't know much about Shakespeare's own personality or opinions.
Not every gay person recites poetry or has read Keats. You can get readers through anything if the characters are complicated. You can't dismiss Josey Wales' quite liberal worldview.
I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.
I am a genius who has written poems that will survive with the best of Shakespeare, Wordsworth and Keats.
I am a genius who has written poems that will survive with the best of Shakespeare, Wordsworth and Keats
I used to get recognized quite often as being a 'Soul Train' dancer. Quite often, which was great at times but sometimes was not so great. Especially, back at college, it was not so great. It was pretty tough.
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.
Prayer is doubts destroyer, ruin's remedy, the antidote to all anxieties.
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.
Each word bears its weight, so you have to read my poems quite slowly.
I don't spend time thinking about an aesthetic out of which I create or an ideal toward which my body of work is heading. It's amazing, when I read interviews with other poets, to see how articulately they discuss their own writing, as if they were sharing long-held theories on the work of Pope or Keats. I'm happy enough that I've poured the best of myself into the poems themselves.
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