A Quote by Kim Hyesoon
I have to reach "the poetry condition" to write. Then it is as if the border around me is thinned or blurred or erased or disappeared or dead.
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Children can write poetry and then, unless they're poets, they stop when reach puberty.
I've never been able to write poetry without having vast tracts of dead time. Poetry requires a certain kind of disciplined indolence that the world, including many prose writers, doesn't recognize as discipline. It is, though. It's the discipline to endure hours that you refuse to fill with anything but the possibility of poetry, though you may in fact not be able to write a word of it just then, and though it may be playing practical havoc with your life. It's the discipline of preparedness.
I write poetry to figure things out. Any time I’m trying to wrap my head around something, poetry is like a puzzle-solving strategy for me.
I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I have tea and turn the new sentence around. Then I read the two sentences over and turn them both around. Then I lie down on my sofa and think. Then I get up and throw them out and start from the beginning.
The border between the dead and the living, if you're Mexican, doesn't exist. The dead are part of your life. Like my dad, who's not here, but he's here.That's why there's the Day of the Dead. There's such a connection with the dead.
People around me die. They drop like flies. I've gone through life leaving a trail of dead bodies behind me. My mother is dead, my guardian is dead, my aunt is dead—because I killed her, and when my real father finds me, he'll move heaven and earth to make me dead.
I'm finding that writing poetry is strengthening my songwriting, because you're learning to make a piece of writing work on a page with nothing else. I was also finding within poetry I felt a lot more free to write about very different matters, to write about social issues or things that are going on around me.
But then of course you reach a point where you have to say, I've got to figure out how this book's going to end. Otherwise, you're going to write yourself into so many dead-ends.
I was going to write an autobiography once. I started writing it, and then I thought, 'No, let them dig around when I'm dead.'
I like to write about things that are dark or twisted. Where the poetry seems to be is when you start in the dark and reach for the light - that's what makes it not depressing to me.
But most love poetry is awful; nobody knows how to write good love poetry either. But that's not a reason not to write love poetry. Some of the best poetry ever written has been love poetry, and some of the greatest poetry ever written has been political poetry.
I loathe the trivialization of poetry that happens in creative writing classes. Teachers set exercises to stimulate subject matter: Write a poem about an imaginary landscape with real people in it. Write about a place your parents lived in before you were born. We have enough terrible poetry around without encouraging more of it.
We're getting used to reality and fantasy passing into each other. Much of the border between them has been erased.
I'm a failed poet. Maybe every novelist wants to write poetry ?rst, ?nds he can't, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing.
I myself have never called what I write anti-poetry. I also think that my poetry should not be only known as the poetry of Ernesto Cardenal but rather as Nicaraguan poetry.
My feeling is that poetry is also a healing process, and then when a person tries to write poetry with depth or beauty, he will find himself guided along paths which will heal him, and this is more important, actually, than any of the poetry he writes.
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