A Quote by Marge Piercy

With my poems, I finally won even my mother. The longest wooing of my life. — © Marge Piercy
With my poems, I finally won even my mother. The longest wooing of my life.
Now that I am in my forties, she [my mother] tells me I'm beautiful; now that I am in my forties, she sends me presents and we have the long, personal and even remarkably honest phone calls I always wanted so intensely I forbade myself to imagine them. How strange. Perhaps Shaw was correct and if we lived to be several hundred years old, we would finally work it all out. I am deeply grateful. With my poems, I finally won even my mother. The longest wooing of my life.
I had written here and there about my mother in my poems. There are poems for her in my first and second books.
When you think of things that influenced your life, Mother Goose influenced more people than almost any other thing, the rhythms of those poems. Everything after that was a bare imitation of some of those mysterious and materialistic poems.
The best teachers, one hopes, don't shout at their students - because they are skilled at wooing as well as demanding the best efforts of others. For the ancient Greeks and Romans, this wooing was a sufficiently fine art in itself to be the central focus of education.
My first book of poems was published privately in 1949. That was my mother. The book was '25 Poems.' It cost 200 dollars.
I believe in creative failing - to contine to write poems that fail and fail and fail until a day comes when you've got a thousand poems behind you and you're relaxed and you finally write a good poem.
I have to thank my mother for this. When I was a little boy she used to teach me poems. I would go in church and tell the poems in church for the Easter program, and again for Mother's Day and any occasion she felt would fit. I was very energetic with delivery at that time as a boy, so it stuck with me.
As in laws or in war, the longest purse finally wins.
There is nothing “still” in the remarkably visceral poems of Alexander Long's third collection, Still Life, and nothing is at rest in these restless and edgy poems. Conversational and kinetic, these poems chart the traces left by the shifting overlays of the templates of literature, rock-and-roll, and contemporary culture. As each poem in Still Life attempts to fix a focus upon a scene or subject, the protean natures under view draw the poet into the eddies and complexities of reflection. This is a powerful and moving collection of poems.
I consider all women as mother. I compose poems for any female considering her as mother.
As I flew back from New Zealand to bury my mother, it occurred to me that no matter how harrowing her loss was and how keenly it will always be felt, there was, nevertheless, a sense of relief that my father, sisters and I could say a final goodbye after the longest goodbye and relief that my mum had finally been released.
I like to read a lot of books and poems. Even though poems are short, I enjoy the emotions that come with them.
I've been writing poems since I was in the Navy - to Rosalynn. I found I could say things in poems that I never could in prose. Deeper, more personal things. I could write a poem about my mother that I could never tell my mother. Or feelings about being on a submarine that I would have been too embarrassed to share with fellow submariners.
There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.
Alienation between the content and form happens frequently in my poems because I obstinately carry on dismantling my body, an act you can also call "dismantling delusion." I think that after I dismantle my female body, I can finally dismantle established lyric poems.
Audacity in wooing is a great virtue, but a man must measure even his virtues.
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