A Quote by Randall Jarrell

A poem is, so to speak, a way of making you forget how you wrote it. — © Randall Jarrell
A poem is, so to speak, a way of making you forget how you wrote it.
My sense of a poem - my notion of how you revise - is: you get yourself into a state where what you are intensely conscious of is not why you wrote it or how you wrote it, but what you wrote.
It's difficult to put your own bare ass out on the limb every time you sit down to write a poem. But that's really sort of the ideal. Because if we don't discover something about ourselves and our world in the making of a poem, chances are it's not going to be a very good poem. So what I'm saying is that a lot of our best poets could be better poets if they wrote less and risked more in what they do.
Before you go further, let me tell you what a poem brings, first, you must know the secret, there is no poem to speak of, it is a way to attain a life without boundaries.
I wrote a number of poems about Kah Tai lagoon, when Safeway was building that huge, ugly store down there where I used to love to watch the birds nest. That political poem, or environmental poem, was unsuccessful because Safeway built there anyway. And yet the poem has something to say today, as it did then. And I speak here only of my own poems. The agenda for every poet has to be different because most of us write from direct human experience in the world.
The heart of the matter seems to me to be the direct interaction between one's making a poem in English and a poem in the language that one understands and values. I don't see how you can do it otherwise.
Sometimes the only way I know how to work through something is by writing a poem. And sometimes I get to the end of the poem and look back and go, 'Oh, that's what this is all about,' and sometimes I get to the end of the poem and haven't solved anything, but at least I have a new poem out of it.
It was early on in 1965 when I wrote some of my first poems. I sent a poem to 'Harper's' magazine because they paid a dollar a line. I had an eighteen-line poem, and just as I was putting it into the envelope, I stopped and decided to make it a thirty-six-line poem. It seemed like the poem came back the next day: no letter, nothing.
If you want to really hurt you parents, and you don't have the nerve to be gay, the least you can do is go into the arts. I'm not kidding. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven's sake. Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possible can. You will get an enormous reward. You will have created something.
For poetry is, I believe, always an act of the spirit. The poem teaches us something while we make it. The poem makes you as you make the poem, and your making of the poem requires all your capacities of thought, feeling, analysis, and synthesis.
The first thing I tried to do in the months after losing my mother was to write a poem. I found myself turning to poetry in the way so many people do - to make sense of losses. And I wrote pretty bad poems about it. But it did feel that the poem was the only place that could hold this grief.
I had a dream, in 1985, I believe, when a friend I'd gone to school with was sick - one of the first people I knew who'd gotten the AIDS virus. I had a dream of him in his bedroom with an angel crashing through the ceiling. I wrote a poem called 'Angels in America.' I've never looked at the poem since the day I wrote it.
My advice to the reader approaching a poem is to make the mind still and blank. Let the poem speak. This charged quiet mimics the blank space ringing the printed poem, the nothing out of which something takes shape.
I don't know what started me, I just wrote poetry from the time was quite small. I guess I liked nursery rhymes and I guess I thought I could do the same thing. I wrote my first poem, my first published poem, when I was eight-and-a-half years old. It came out in The Boston Traveller and from then on, I suppose, I've been a bit of a professional.
I'm never quite sure how the poem is going to resolve itself and that I'm always in some way surprised. I make a discovery in a poem as I write it.
Translation makes me look at how a poem is put together in a different way, without the personal investment of the poem I'm writing myself, but equally closely technically.
A good poem is not completely a poem until it has received a critical response that grows out of the poem in an almost biological way.
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