A Quote by Mark Twain

Perhaps no poet is a conscious plagiarist, but there seems to be warrant for suspecting that there is no poet who is not at one time or another an unconscious one. — © Mark Twain
Perhaps no poet is a conscious plagiarist, but there seems to be warrant for suspecting that there is no poet who is not at one time or another an unconscious one.
If the poet wants to be a poet, the poet must force the poet to revise. If the poet doesn't wish to revise, let the poet abandon poetry and take up stamp-collecting or real estate.
All poetry has to do is to make a strong communication. All the poet has to do is listen. The poet is not an important fellow. There will also be another poet.
There is this tendency to think that if you could only find the magic way, then you could become a poet. "Tell me how to become a poet. Tell me what to do." . . . What makes you a poet is a gift for language, an ability to see into the heart of things, and an ability to deal with important unconscious material. When all these things come together, you're a poet. But there isn't one little gimmick that makes you a poet. There isn't any formula for it.
The bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious.
In days of yore, the poet's pen From wing of bird was plunder'd, Perhaps of goose, but now and then, From Jove's own eagle sunder'd. But now, metallic pens disclose Alone the poet's numbers; In iron inspiration glows, Or with the poet slumbers.
The poet or the revolutionary is there to articulate the necessity, but until the people themselves apprehend it, nothing can happen ... Perhaps it can't be done without the poet, but it certainly can't be done without the people. The poet and the people get on generally very badly, and yet they need each other. The poet knows it sooner than the people do. The people usually know it after the poet is dead; but that's all right. The point is to get your work done, and your work is to change the world.
One of the appeals of William Carlos Williams to me is that he was many different kinds of poet. He tried out many different forms in his own way of, more or less, formlessness. He was also a poet who could be - he was a love poet, he was a poet of the natural order and he was also a political poet.
Another trouble with poetry - and I'm gonna stop the list at two - is the presence of presumptuousness in poetry, the sense you get in a poem that the poet takes for granted an interest on the reader's part in the poet's autobiographical life, in the poet's memories, problems, difficulties and even minor perceptions.
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.
It's very important to me to be an American poet, a Jewish poet, a poet who came of age in the 1960s.
I started out as a poet. I've always been a poet since I was 7 or 8. And so I feel myself to be fundamentally a poet who got into writing novels.
How do you define a poet? It's very simple. Anyone declaring that he is a poet, is a poet.
I'm a political poet - let us say a 'human' poet, a poet that's concerned with the plight of people who suffer. If words can be of assistance, then that's what I'm going to use.
Every contemporary poet is a door to another poet.
The reason a poet is a poet is to write poems, not to advertise himself as a poet.
Perhaps there is a degree of perception at which what is real and what is imagines are one: a state of clairvoyant observation, accessible or possibly accessible to the poet or, say, the acutest poet.
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