A Quote by Mary Oliver
I learn a lot about my poems when I read them by the way people respond to them.
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A lot of times, people send me emails, and then I forget about them, or I never respond to them, or I respond to them weeks later.
I don't read reviews, and it's not because I don't think I can learn something, I'm sure I could learn a lot. I just that I feel very passionately about the work and especially when you're doing theater, you really only need one director and when you read reviews, you feel like you have twelve, because you respond to them, naturally.
Look at the way celebrities and politicians are using Facebook already. When Ashton Kutcher posts a video, he gets hundreds of pieces of feedback. Maybe he doesn't have time to read them all or respond to them all, but he's getting good feedback and getting a good sense of how people are thinking about that and maybe can respond to some of it.
The more I read my poems, the more I find out about them. I still read them with the same passion I felt when I wrote them as a young man.
If your house has Cold Mountain poems They are better for you than sutras Hang them up where you can see them Read them and read them again
I like to read a lot of books and poems. Even though poems are short, I enjoy the emotions that come with them.
What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.
One of my latest sensations was going to Lady Airlie's to hear Browning read his own poems - with the comport of finding that, at least, if you don't understand them, he himself apparently understands them even less. He read them as if he hated them and would like to bite them to pieces.
I'm trying to make the poems as musical as I can - from the inception. So that whether they're read on the page, or people read them aloud, or I read them aloud, the musicality will be kind of a given.
Read poems to yourself in the middle of the night. Turn on a single lamp and read them while you're alone in an otherwise dark room or while someone else sleeps next to you. Read them when you're wide awake in the early morning, fully alert. Say them over to yourself in a place where silence reigns and the din of the culture — the constant buzzing noise that surrounds us — has momentarily stopped. These poems have come from a great distance to find you.
I love chapbooks. They're in some ways the ideal form in which to publish and read poems. You can read 19 poems in a way you can't sit down and read 60 to 70 pages of poems.
Whenever people say nice things to me, I think they're just saying them because I'm standing right in front of them. Even when I read articles that say good things about me, I forget about them right away. When I read about people pointing out my flaws, however, I think about them a lot.
A lot of writers do think of their characters as living beings. I know that's the way people think. That's why I try to make them real in a certain way, because otherwise people won't read them. It's fine if some readers think of them as real. It's just not the way that I think of them.
You have to listen to your own voice. Not your heart, not your instincts, not any of that self-permissive psycho-babble stuff. No, none of that. If it was just about instincts and bright ideas it wouldn't need to be a voice. It's about words. You hear them, read them, then you write. But mostly read. Read the bloody poems.
Hire people who are smarter than you, and don't be afraid to work with them as partners. Make it clear that you plan to learn from them, not just the other way around. The right, smart, motivated people respond very well to that approach, particularly coming from a younger manager like I am.
As for the differences between audio and the printed page, the sonic aspects of poetry are important to me. I read my poems aloud to myself as I'm composing them. And I enjoy reading to an audience. I think people get tone more easily when they hear a writer read her work. Some people have told me they hear more humor in my poems at a live reading than when they see them on the page. I think that may be a matter of pacing. On the other hand, I've listened to a lot of poetry readings and I know how much you can miss. If you stop to really register one line, you miss the next three or so.
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