A Quote by May Sarton
I’m only able to write poetry, for the most part, when I have a Muse, a woman who focuses the world for me.
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But I can only write what the muse allows me to write. I cannot choose, I can only do what I am given, and I feel pleased when I feel close to concrete poetry - still.
I am imbued with the notion that a Muse is necessarily a dead woman, inaccessible or absent; that a poetic structure - like the canon, which is only a hole surrounded by steel - can be based only on what one does not have; and that ultimately one can write only to fill a void or at the least to situate, in relation to the most lucid part of ourselves, the place where this incommensurable abyss yawns within us.
The concept of muse is alien to me. To speak of a muse implies there is a couple in which one person is the objectified passive element - there to help the creative, active, often male part of the duo to create. A muse is very passive. Who wants a muse? I don't want a muse.
I believe it's impossible to write good poetry without reading. Reading poetry goes straight to my psyche and makes me want to write. I meet the muse in the poems of others and invite her to my poems. I see over and over again, in different ways, what is possible, how the perimeters of poetry are expanding and making way for new forms.
When I write, I put aside the heterosexual world to admit a muse that is a woman-loving-woman female.
Really, whatever I was seeking and looking into in those days like creative arts, chant, the muse being in touch with the muse for poetry and writing and music. It's all part of the spirit and if we look particularly at Hinduism and Buddhism, the tantric stream of those traditions totally embraces all aspects of human life and life on this world.
I wake up in the morning, or the middle of the night when an idea comes through. My songwriting style, basically I just write down information given to me from the muse and how that works for songwriters. Record the muse and the muse delivers.
There are only three things in the world, one is to read poetry, another is to write poetry, and the best of all is to live poetry.
I've never been able to write poetry without having vast tracts of dead time. Poetry requires a certain kind of disciplined indolence that the world, including many prose writers, doesn't recognize as discipline. It is, though. It's the discipline to endure hours that you refuse to fill with anything but the possibility of poetry, though you may in fact not be able to write a word of it just then, and though it may be playing practical havoc with your life. It's the discipline of preparedness.
Job seekers light up when they find The Muse - we're a breath of fresh air in a stale, musty world. Our user experience focuses first and foremost on the individual, on providing them information - from content to company profiles - to make the most pressing professional decisions in their lives.
I don't know that I had a sense that there was such a thing as "the poetry world" in the 1960s and early 70s. Maybe poets did, but for me as an onlooker and reader of poetry, poetry felt like it was part of a larger literary world. I mean, even the phrase "the poetry world" reflects a sort of balkanization of American literary and artistic life that has to some extent happened since then.
She is unable to dream, think or love. In a woman, poetry never comes naturally, but always as the result of education. Only the woman of the world is a woman; the rest are simply females.
But most love poetry is awful; nobody knows how to write good love poetry either. But that's not a reason not to write love poetry. Some of the best poetry ever written has been love poetry, and some of the greatest poetry ever written has been political poetry.
I myself have never called what I write anti-poetry. I also think that my poetry should not be only known as the poetry of Ernesto Cardenal but rather as Nicaraguan poetry.
Most people assume that a muse is a creature of perfect beauty, poise and grace. Like the creatures from Greek mythology. They're wrong. In fact, there should be a marked absence of perfection in a muse--a gaping hole between what she is and what she might be. The ideal muse is a woman whose rough edges and contradictions drive you to fill in the blanks of her character. She is the irritant to your creativity. A remarkable possibility, waiting to be formed.
From the world of the muse and writing, there will come, hopefully, the book. You're right, for me, that the muse is always female, and the book comes from a separate gender dimension than the concrete male world that, as you pointed out, has been surrounding me since I was an infant.
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