A Quote by Mark Strand
It hardly seems worthwhile to point out the shortsightedness of those practitioners who would have us believe that the form of the poem is merely its shape.
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You must believe: a poem is a holy thing - a good poem, that is. The poem, even a short time after being written, seems no miracle; unwritten, it seems something beyond the capacity of the gods.
I don't know where the shape of a poem comes from. I certainly don't impose it. I write out of a jumble of emotions and vague notions and scraps of knowledge. At some stage a form or, rather, a shape mysteriously emerges.
Usually form seems to find me in the process of writing a poem, though I have nothing against starting out with the form.
I do not suppose that anyone not a poet can realize the agony of creating a poem. Every nerve, even every muscle, seems strained to the breaking point. The poem will not be denied; to refuse to write it would be a greater torture. It tears its way out of the brain, splintering and breaking its passage, and leaves that organ in the state of a jelly-fish when the task is done.
"Do not believe anything merely because you are told it is so, because others believe it, because it comes from Tradition, or because you have imagined it. Do not believe what your teacher tells you merely out of respect. Believe, take for your doctrine, and hold true to that, which, after serious investigation, seems to you to further the welfare of all beings."
We believe that what we possess we don't ultimately own. God is merely entrusting it to us. And one of the conditions of that trust is that we share what we have with those who have less. So, if you don't give to people in need, you can hardly call yourself a Jew. Even the most unbelieving Jew knows that.
For me, form is something I locate in the process of writing the poems. What I mean is, I start scribbling, and then try to form the poem - on a typewriter or on my computer - and, by trial and error, try to find the right shape. I just try to keep forming the poem in different ways until it feels right to me.
My advice to the reader approaching a poem is to make the mind still and blank. Let the poem speak. This charged quiet mimics the blank space ringing the printed poem, the nothing out of which something takes shape.
To those who would criticize our tough stance, I would point out that the United States has demonstrated not merely with words but with its actions that we stand firmly behind Article 5, the mutual defense commitment.
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.
Global security can be formed or threatened by heads of state whose wisdom, folly and obsessions shape global events. But often it is the security practitioners, those rarely in the headlines but whose craft and energy quietly break new ground, who keep us safe or put us in peril.
The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.
When you believe that you are not worthwhile in and of yourself, in the back of your mind you also begin to believe that life is not worthwhile in and of itself. It is only worthwhile insofar as it relates to your crusade. It is a kamikaze mission.
A true poem is distinguished not so much by a felicitous expression, or any thought it suggests, as by the atmosphere which surrounds it. Most have beauty of outline merely, and are striking as the form and bearing of a stranger; but true verses come toward us indistinctly, as the very breath of all friendliness, and envelop us in their spirit and fragrance.
Each poem seems to demand its own formal approach. In both drafting and revision, I'll play around with line lengths and stanza formations, eventually letting the poem settle into what I think is its own best form.
The soul is the form of the body, but not as the shape of a statue is formatio et terminatio materiae, for form does not exist apart from material. There is no whiteness without a white object. But the soul is not a form in this simple sense, and in particular, is not the shape of the material it informs. Therefore, the shape of a being does not affect the being's soul, for then something lower would inform something higher, which is impossible.
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