A Quote by Marilyn Nelson

Many performance poets seem to believe that yelling a poem makes it comprehensible. They are wrong. — © Marilyn Nelson
Many performance poets seem to believe that yelling a poem makes it comprehensible. They are wrong.
I've always been more than a little mystified by poets who seem to think talking to people as directly as possible is a bad thing. I mean, I don't want to set up a straw man here: I understand that for many poets - and for me, at times - writing truly means writing in a way that is difficult, simply because the poem is trying to grasp for something elusive. So the difficulty of the poem is just unavoidable, and not in any way artificially imposed. So "as possible" is the key part of the phrase above, I suppose.
I'm old-fashioned enough to really still believe that the poem is an object to be memorized, venerated... I still believe in that kind of poem. A lot of poets today don't, they want to get away from the poem as object. They want something looser. Unfortunately, a lot of it is boring to me.
The art of the poem nowadays is something unstable; but at least the construction of the poem should make sense; you should know where you stand. Many questions haven't been answered as yet. Our poets may be wrong; but what can any of us do with his talent but try to develop his vision, so that through frequent failures we may learn better what we have missed in the past.
Most poets who have little or nothing to say are concerned primarily with the way in which they say it ... if it is true that the style of a poem and the poem itself are one, ... it may be ... that the poets who have little or nothing to say are, or will be, the poets that matter.
For poetry is, I believe, always an act of the spirit. The poem teaches us something while we make it. The poem makes you as you make the poem, and your making of the poem requires all your capacities of thought, feeling, analysis, and synthesis.
Poetry is not a silent art. The poem must perform, unaided, in its reader's head. Educated readers give themselves a good performance. Educated listeners compare performance with text and with other performances. Good poets use the full resources of language.
It's difficult to put your own bare ass out on the limb every time you sit down to write a poem. But that's really sort of the ideal. Because if we don't discover something about ourselves and our world in the making of a poem, chances are it's not going to be a very good poem. So what I'm saying is that a lot of our best poets could be better poets if they wrote less and risked more in what they do.
I believe that poems are a score for performance by the reader, and that you become the speaking voice. You don't read or overhear the voice in the poem - you are the voice in the poem.
I believe that poets have to be inside their poems somewhere, or the poem won't work.
The trouble with the performance poets is that they don't seem to have read anything. So there is not a real sense of the poetic tradition in their work.
The poets are wrong of course […] But then poets are almost always wrong about facts. That's because they are not really interested in facts: only in truth: which is why the truth they speak is so true that even those who hate poets by simple and natural instinct are exalted and terrified by it.
A perfect poem is impossible. Once it had been written, the world would end. Immature poets imitate; mature poets steal.
The smudging makes the paintings a bit more complete. When they're not blurred, so many details seem wrong, and the whole thing is wrong too. Then smudging can help make the painting invincible, surreal, more enigmatic - that's how easy it is.
Everyone is a poet at 16, but how many are poets at 50? Generally, people seem to get more conservative as they age, but in my case, I seem to have gotten more radical.
Someone told me just recently that poets are eulogists. It's their job, to eulogize. I didn't know that, but it makes sense. Because in almost every poem of mine there is a loss.
In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
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