A Quote by Kevin Sessums

I don't write poetry for the New Yorker. My poems appear in the Nation, mostly. — © Kevin Sessums
I don't write poetry for the New Yorker. My poems appear in the Nation, mostly.
I believe it's impossible to write good poetry without reading. Reading poetry goes straight to my psyche and makes me want to write. I meet the muse in the poems of others and invite her to my poems. I see over and over again, in different ways, what is possible, how the perimeters of poetry are expanding and making way for new forms.
Some of Mr. Gregory's poems have merely appeared in The New Yorker ; others are New Yorker poems: the inclusive topicality, the informed and casual smartness, the flat fashionable irony, meaningless because it proceeds from a frame of reference whose amorphous superiority is the most definite thing about it they are the trademark not simply of a magazine but of a class.
When you begin to write poems because you love language, because you love poetry. Something happens that makes you write poems. And the writing of poems is incredibly pleasurable and addictive.
Cartoons, often, that you do for the New Yorker don't appear for months afterwards, and the record for that is a cartoon that was bought by James Stevenson in 1987 and didn't appear until 2000.
[To write poems] I think it's important to do research, and research mostly is going to come from books, so all of your reading is potentially helpful to your poetry.
If you want to write poetry, you must have poems that deeply move you. Poems you can't live without. I think of a poem as the blood in a blood transfusion, given from the heart of the poet to the heart of the reader. Seek after poems that live inside you, poems that move through your veins.
If you write for the New Yorker, you always get people critiquing your grammar, you can count on it. So, because a lot of New Yorker readers are kind of, you know, amateur grammarians and so you do get a lot of that.
I would read the Shel Silverstein poems, Dr. Seuss, and I noticed early on that poetry was something that just stuck in my head and I was replaying those rhymes and try to think of my own. In English, the only thing I wanted to do was poetry and all the other kids were like, "Oh, man. We have to write poems again?" and I would have a three-page long poem. I won a national poetry contest when I was in fourth grade for a poem called "Monster In My Closet.
I think that anyone who likes writing views 'The New Yorker' as the, you know, pinnacle of the publishing world. If you get 50 words published in 'The New Yorker,' it's more important than 50 articles in other places. So, would I love to one day write for them? I guess. But that's not my sole ambition.
If I'm still wistful about On the Road, I look on the rest of the Kerouac oeuvre--the poems, the poems!--in horror. Read Satori in Paris lately? But if I had never read Jack Kerouac's horrendous poems, I never would have had the guts to write horrendous poems myself. I never would have signed up for Mrs. Safford's poetry class the spring of junior year, which led me to poetry readings, which introduced me to bad red wine, and after that it's all just one big blurry condemned path to journalism and San Francisco.
I write poems about relationships, love relationships, and I'm not able to do that all the time. I could go two years without writing poems, and then write a dozen. Having a novel to work on, with the intricate puzzle of character and plot to work out, is satisfying for the time there is no poetry.
My family goes way back in New York. So I am a New Yorker; I feel like a New Yorker. It's in my bones.
Another example of what I have to put up with from him. But there was a time I was mad at all my straight friends when AIDS was at its worst. I particularly hated the New Yorker, where Calvin [Trillin] has published so much of his work. The New Yorker was the worst because they barely ever wrote about AIDS. I used to take out on Calvin my real hatred for the New Yorker.
In New York, all the crews read 'The New Yorker.' In Los Angeles, they don't know from 'The New Yorker.'
It is fatal to decide, intellectually, what good poetry is because you are then in honour bound to try to write it, instead of the poems that only you can write.
There's one of my new poems actually - is a good example of where my poetry has ended up. My earlier river poetry was more like a cross between Shelley and Dylan Thomas.
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