A Quote by Mark Strand
Poems not only demand patience, they demand a kind of surrender. You must give yourself up to them. This is the real food for a poet: other poems, not meat loaf.
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It's a big thing to call yourself a poet. All I can say is that I have always written poems. I don't think I'm interested in any discussion about whether I'm a good poet, a bad poet or a great poet. But I am sure, I want to write great poems. I think every poet should want that.
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.
These are crystalline - oftentimes incandescent - translations of Juarroz's powerful metaphysical poems where eternity and silence jut up against a world where “writing infects the landscape” and there are “more letters than leaves” - The kind of match one hopes for where both the translator and the poet are in luck; new poems which don't leak and yet old poems in which the original passion shines.
My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.
My sense of the poet is classical - the poet is one who makes poems. In each book, I develop and repeat certain general themes - time, place, memory, God, history, class, race, beauty, love, poetry, identity. The core identity is the poet making the poems.
In other words the pictures are in a kind of relationship with each other which is touching only at points rather than pictures being illustrations of poems or poems extrapolations of the pictures.
There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
Before I was ever a poet, my father was writing poems about me, so it was a turning of the tables when I became a poet and started answering, speaking back to his poems in ways that I had not before.
I do bring my teaching together with my writing. I make students write in class, and do the same prompts I give them. I'm always on the lookout for teaching poems - poems that inspire me and my students to write poems in response.
If the motive of writing is for some people a kind of exercise in dirty laundry, that's one thing. I've always thought of my poems as meant to be overheard, as I think all of these poems are. It seems to me if you get experience right, even your most painful or humiliating experiences - if you get those experiences right for yourself and make discoveries as you go along and find for them some formal glue - they will be poems for others.
Poems are taught as though the poet has put a secret key in his words and it is the reader's job to find it. Poems are not mystery novels.
It's true, there aren't many explicit references to Canada in my book. And not many explicit references to the U.S., either. I try to fill my poems with enough real, observed detail that the poems create a believable world - but I don't write poems for the sake of telling my own story. My life is not important or interesting enough to warrant that kind of documentary. Instead I try to use my experience as a way of understanding situations that are common to many people. I want readers to project their own lives onto my poems.
Poems don't have to rhyme... Poems are about beauty and emotion; in other words poems are about feelings.
I do believe that oil production globally has peaked at 85 million barrels. And I've been very vocal about it. And what happens? The demand continues to rise. The only way you can possibly kill demand is with price. So the price of oil, gasoline, has to go up to kill the demand. Otherwise, keep the price down, the demand rises.
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.
There are many people who don't do well on a vegetarian or vegan diet, that for them, meat is a very nutritious food. So, I'm not prepared to give up meat. I don't think we need to give up meat, but we certainly need to change the way we raise meat and diminish the amount of it in our diet.
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