A Quote by John Ciardi

The success of the poem is determined not by how much the poet felt in writing it, but by how much the reader feels in reading it. — © John Ciardi
The success of the poem is determined not by how much the poet felt in writing it, but by how much the reader feels in reading it.
At the close of life the question will be not how much have you got, but how much have you given; not how much have you won, but how much have you done; not how much have you saved, but how much have you sacrificed; how much have you loved and served, not how much were you honored.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry is a kind of circuit that takes place between a poet, a poem and a reader and that meaning doesn't exist or in here in poems alone.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry, is a kind of circuit that takes place between a poet, a poem and a reader, and that meaning doesn't exist or inhere in poems alone.
It's about enjoying your life. If you have no family, no friends to enjoy it with, it don't matter how much you have, how much success you have, how much fame you have, how much money you have, it doesn't matter.
Much of your success in life is determined by how you choose to act in spite of how you feel.
Two opposing forces inhabit the poem: one of elevation or up-rooting, which pulls the word from the language: the other of gravity, which makes it return. The poem is an original and unique creation, but it is also reading and recitation: participation. The poet creates it; the people, by recitation, re-create it. Poet and reader are two moments of a single reality.
Saul Bellow once said, 'A writer is a reader who has moved to emulation' — which I think is true. I just started writing and made that jump from reader to writer and learned how hard it was, but also how much fun it was — losing myself in these imaginary worlds.
I want each poem to be ambiguous enough that its meaning can shift, depending on the reader's own frame of reference, and depending on the reader's mood. That's why negative capability matters; if the poet stops short of fully controlling each poem's meaning, the reader can make the poem his or her own.
So much of reading and writing to me is about being elsewhere, no matter how much I love where I am.
What feels most productive to me isn't to think so much in terms of how I can be alternative, but how I can be subversive in a way that feels organic, how I can connect with people, and how I can just be myself, which may be the hardest thing to be.
Good description is a learned skill, one of the prime reasons why you cannot succeed unless you read a lot and write a lot. It’s not just a question of how-to, you see; it’s also a question of how much to. Reading will help you answer how much, and only reams of writing will help you with the how. You can learn only by doing.
The poem is not, as someone put it, deflective of entry. But the real question is, 'What happens to the reader once he or she gets inside the poem?' That's the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.
In a manner of speaking, the poem is its own knower, neither poet nor reader knowing anything that the poem says apart from the words of the poem.
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.
Financial peace of mind is not determined by how much we make, but is dependent upon how much we spend!
When you write a roman a clef, there is a tendency on the part of the reader to wonder how much of this is true, how much invented.
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