A Quote by Mary Oliver
Almost anything is too much. I am trying in my poems to have the reader be the experiencer. I do not want to be there. It is not even a walk we take together.
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There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.
Sometimes you can press a little bit and you're trying to do too much and you're trying too hard. You want to win so bad and you want to help the team so badly that you end up trying too much instead of letting the play come to you.
Poems, for me, begin as a social engagement. I want to establish a kind of sociability or even hospitality at the beginning of a poem. The title and the first few lines are a kind of welcome mat where I am inviting the reader inside.
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.
Because You have called me here not to wear a label by which I can recognize myself and place myself in some kind of a category. You do not want me to be thinking about what I am, but about what You are. Or rather, You do not even want me to be thinking about anything much: for You would raise me above the level of thought. And if I am always trying to figure out what I am and where I am and why I am, how will that work be done?
I think a play can do almost anything, because it's also a static form, much more so than in a movie. In a movie you can move the scenery, you can do anything any way. A cartoon, happens in a limited amount of space and a limited amount of time, and you can only get so many words before the reader's gonna get impatient. All of these forms that I enjoy are in a sense a slight of hand, where you have to suggest much more than you really show. You have to, in a sense, seduce the reader and trick the reader or the audience into going with you.
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.
I am interested in a lot of the same things people are interested in. I am trying to raise kids without them self-destructing. I am trying to hold the marriage together, and I am trying to take off the same 10 pounds everyone else is.
I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.
As always after drinking too much, I felt like my own ghost trying to take it's first solo walk outside the body.
I cannot save the world, that's not what I'm trying to do. I guess I'm just trying to walk the walk and be an example to those that want it. Not everybody does, but if Mary J Blige can come out of that same hole you were in, then you can do it too - that's my goal: to do that without saying it, but actually live it.
I cannot save the world; that's not what I'm trying to do. I guess I'm just trying to walk the walk and be an example to those that want it. Not everybody does, but if Mary J. Blige can come out of that same hole you were in, then you can do it, too - that's my goal: to do that without saying it, but actually live it.
Too-lateness, I realized, has nothing to do with age. It’s a relation of self to the moment. Or not, depending on the person and the moment. Perhaps there even comes a time when it’s no longer too late for anything. Perhaps, even, most times are too early for most things, and most of life has to go by before it’s time for almost anything and too late for almost nothing. Nothing to lose, the present moment to gain, the integration with long-delayed Now.
I am growing and learning. There's so much more that I want to accomplish and do. I'm gonna do it at whatever pace it happens. I'm not trying to rush anything or slow anything down.
By not asking too much, you can believe in almost anything..like..a starry night in the mountains, or even the existence of fate.
I want the viewer to be overwhelmed. I want the space to feel like it is caving in on the viewer and that they are forcibly entering the world of my paintings. I want there to be a feeling of overpowering decadence to the work, that is almost too much to take. I don't want them to be subtle.
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