A Quote by Shirley Geok-lin Lim

I only submit the poems I think are the strongest. — © Shirley Geok-lin Lim
I only submit the poems I think are the strongest.

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However, I began to submit poems to British magazines, and some were accepted. It was a great moment to see my first poems published. It felt like entering a tradition.
My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.
I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.
O madness to think use of strongest wines And strongest drinks our chief support of health, When God with these forbidden made choice to rear His mighty champion, strong above compare, Whose drink was only from the liquid brook.
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 don't think I did write any poems to fill narrative gaps. Not consciously, anyway. As much as possible, I try to discover my poems' subject matter through the act of writing, instead of deciding ahead of time what my poems will be about.
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.
The poem in Where Good Swimmers Drown are love poems. But love poems that defy the divisions between emotion and intellect, private and public, life and art, writer and reader. To read Elbe's poems is to discover not only what it means to be in love, but what it means to be alive.
I think [Ecstasy] was a really good stab. It wasn't my strongest book or my strongest material, but they wanted to make a kinda "rave culture" movie.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
When I worked on a magazine, I learned that there are many, many writers writing that can't write at all; and they keep on writing all the cliches and bromides and 1890 plots, and poems about Spring and poems about Love, and poems they think are modern because they are done in slang or staccato style, or written with all the 'i's' small.
I think if you put something in a file that says "war poems" or "love poems" that you already restrict the way in which the poem might move.
One of these poems I wrote after having been here only a month. The other, I wrote this morning. In the space between the two poems, I have found acres of grace
Read a lot - poems, prose, stories, newspapers, anything. Read books and poems that you think you will like and some that you think might not be for you. You might be surprised.
If you can find two poems in a book, it could be a pretty good book for you. You know, two poems you really like. There are some poets who are fairly big names in contemporary poetry and who write a book and I might like three or four poems in the book, but the rest of them don't appeal to me personally; but I think that's the way it really ought to be. I think it's really a rare thing to like everything that somebody has written.
Poems not only demand patience, they demand a kind of surrender. You must give yourself up to them. This is the real food for a poet: other poems, not meat loaf.
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