A Quote by Matthea Harvey

S. E. Smith's I Live in a Hut has a deceptively simple title, considering that the brain in that hut contains galaxies-worth of invention: At night when your soldiers are praying ceaselessly for less rain and more underwear my soldiers make underwear out of rain. These poems seesaw between despair and delight but delight is winning the battle. Smith is a somersaulting tightrope walker of a poet and her poems will make you look at anything and everything with new eyes: For days I tried to rub the new freckle // off my hand until I realized what it was / and began to grant it its sovereignty.
I used to approach writing like a football game. If I went out there and aggressively saw more, I'd know more, and I'd capture more, and I'd write better. Hut, hut, hut: First down and haiku!
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.
I will make you brooches and toys for your delight Of bird-song at morning and star-shine at night. I will make a palace fit for you and me Of green days in forests and blue days at sea.
And what does the rain say at night in a small town, what does the rain have to say? Who walks beneath dripping melancholy branches listening to the rain? Who is there in the rain’s million-needled blurring splash, listening to the grave music of the rain at night, September rain, September rain, so dark and soft? Who is there listening to steady level roaring rain all around, brooding and listening and waiting, in the rain-washed, rain-twinkled dark of night?
Let the rain kiss you. Let the rain beat upon your head with silver liquid drops. Let the rain sing you a lullaby. The rain makes still pools on the sidewalk. The rain makes running pools in the gutter. The rain plays a little sellp-song on our roof at night- And I love the rain.
One of my assistants found this old German machine. It was originally used to make underwear. Like Chanel, who started with underwear fabric - jerseys - we used the machine that made underwear to make something else
One of my assistants found this old German machine. It was originally used to make underwear. Like Chanel, who started with underwear fabric - jerseys - we used the machine that made underwear to make something else.
You do not go out into the street in your underwear, although usually you are wearing underwear. The underwear is not visible but it is there all the time. It is the same with concepts. They are there. They underlie practical things we do- even when we are not conscious of them.
Half the night I waste in sighs, Half in dreams I sorrow after The delight of early skies; In a wakeful dose I sorrow For the hand, the lips, the eyes, For the meeting of the morrow, The delight of happy laughter, The delight of low replies.
Life has loveliness to sell, / Music like a curve of gold, / Scent of pine trees in the rain, / Eyes that love you, arms that hold, / And for your spirit's still delight, / Holy thoughts that star the night.
You've read some of the poems in this new unpublished book [Walker's Alphabet], e.g., the poem "C." I have a number of poems whose titles are letters of the alphabet:?A, B, C, D, E, F.
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.
It's hard to be a celebrity nowadays. It's not about your track record anymore. If you have a great movie, you're good. If not, people are ready to write you off. I think the only ones who are really winning are people like Will Smith. People go, 'Oh, it's Will Smith. I've got to see him, whatever he's in.'
The golden line is drawn between winter and summer. Behind all is blackness and darkness and dissolution. Before is hope, and soft airs, and the flowers, and the sweet season of hay; and people will cross the fields, reading or walking with one another; and instead of the rain that soaks death into the heart of green things, will be the rain which they drink with delight; and there will be sleep on the grass at midday, and early rising in the morning, and long moonlight evenings.
The poems in Katherine Soniat's new collection, The Swing Girl, weave emotion's 'spray going farther than thought' with the 'bedrock things' of the trod-upon world. These poems eddy and pool in unpredictable and often surprising ways, much as the mind moves in its twilight state between waking and sleep. The fluidity of their cadence and the luminosity of their imagery carry the reader to the wellspring of poetry itself, that deep delight of which Robert Penn Warren spoke, whose source is, in Soniat's words, 'beauty on its way to being mystery.'
When I'm assembling a book I concentrate as though I were writing a poem. A truly imagined arrangement will indicate gaps and generate new poems. I re-read the new poems in my folder in the hope that this might happen.
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