A Quote by Paul Verlaine
A poem is really a kind of machine for producing the poetic state by means of words.
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There's nothing sentimental about a machine, and: A poem is a small (or large) machine made of words.
A poem is a small machine made of words.
A poem is a small machine made out of words.
I approach writing a poem in a much different state than when I am writing prose. It's almost as if I were working in a different language when I'm writing poetry. The words - what they are and what they can become - the possibilities of the words are vastly expanded for me when I'm writing a poem.
In a sense, every tool is a machine--the hammer, the ax, and the chisel. And every machine is a tool. The real distinction is between one man using a tool with his hands and producing an object that shows at every stage the direction of his will and the impression of his personality; and a machine which is producing, without the intervention of a particular man, objects of a uniformity and precision that show no individual variation and have no personal charm. The problem is to decide whether the objects of machine production can possess the essential qualities of art.
A poem is a small machine made of words. . .Its movement is intrinsic, undulant, a physical more than a literary character.
I think that poetry is an act of celebration, that anytime you're writing a poem, it means that you're celebrating something, even if it's a sad poem, if it's an angry poem, a political poem or anything at all. The fact that you're taking the time and energy to pick up this thing and hold it to the light, and say, "Let's take some time to consider this," means that you've deemed it worthy enough to spend time on - which, in my opinion, is celebrating.
Paranoia imposes its own vision on the external world; it differs from other kinds of visionary experience in that the paranoid wants others to share his view—even insists on it. Paranoia is very like poetic creativity. This accounts for my fascination with certain people in whom this state of mind was evident: ‘characters’ met by chance, whose words and gestures would haunt me for years until, finally, in a poem I was able to dispel them.
In a manner of speaking, the poem is its own knower, neither poet nor reader knowing anything that the poem says apart from the words of the poem.
It is unwise to equate scientific activity with what we call reason, poetic activity with what we call imagination. Without the imaginative leap from facts to generalisation, no theoretic discovery in science is made. The poet, on the other hand, must not imagine but reason--that is to say, he must exercise a great deal of consciously directed thought in the selection and rejection of his data: there is a technical logic, a poetic reasoning in his choice of the words, rhythms and images by which a poem's coherence is achieved.
The long poem cannot be a digressive, expansive, boring exposition. It is really made of very sharp, Imagistic, quintessential poetic elements.
English is really free for me; there's no limits to the music and the imagination. And French, it's just I live in Paris, and it's really a poetic language where you can really play with words.
I was taught that poems don't end, they just kind of stop. There's never an ending to a poem; it's a continuation for later. When I write, I write for me, and I write in poetic form.
When words become a poem, it makes sense to me, but I don't know how to explain to someone why the words are the way they are. It's just the logic of the poem to me.
Introduction To Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem's room and feel the walls for a light switch. I want them to waterski across the surface of a poem waving at the author's name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
One of the things women poets have been engaged in - among the other things they've been doing - is revising parts of the poetic self. Re-examining notions of the authority within the poem, and of the poem.
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