A Quote by Stephane Mallarme
Poetry is the language of a state of crisis.
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Since the boundary of the world of poetry is fluid, the language in it is also fluid. Hence, the language that is outside of the poetry world, namely the language that is not the language of poetry, cannot go into the poetry world.
Poetry was syllable and rhythm. Poetry was the measurement of breath. Poetry was time make audible. Poetry evoked the present moment; poetry was the antidote to history. Poetry was language free from habit.
Poetry transcends the nation-state. Poetry transcends government. It brings the traditional concept of power to its knees. I have always believed poetry to be an eternal conversation in which the ancient poets remain contemporary, a conversation inviting us into other languages and cultures even as poetry transcends language and culture, returning us again and again to primal rhythms and sounds.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
The language of poetry is not stuck in place. Nothing can own language. I think, however, the genre of poetry itself is very feminine and motherly.
I read a lot of poetry. All types of poetry, but mostly Catalan poetry, because I believe poetry is the essence of language. Reading the classics, be they medieval or contemporary, gives me a stylistic energy that I'm very interested in.
The crisis is not an opportunity to change the character of Louisiana's political order. We must not use the crisis to turn Louisiana into a red state -- this is a rainbow state.
Poetry cannot be translated; and, therefore, it is the poets that preserve the languages; for we would not be at the trouble to learn a language if we could have all that is written in it just as well in a translation. But as the beauties of poetry cannot be preserved in any language except that in which it was originally written, we learn the language.
The language of politics is poetry, not prose. Jackson is poetry. Cuomo is poetry. Dukakis is a word processor.
There has been a banking crisis, a financial crisis, an economic crisis, a social crisis, a geostrategic crisis and an environmental crisis. That's considerable in a country that's used to being protected.
Pound described poetry as original research in language, and just as formal experiment in poetry has to try things and has to go too far, so does experiment with writing about politics in poetry and what the politics of poetry is.
If you go into a bar in most places in America and even say the word poetry, you'll probably get beaten up. But poetry is a really strong, beautiful form to me, and a lot of innovation in language comes from poetry.
I love poetry. It's at the heart of everything I do. Poetry transforms what we call language, and uses language as the stuff to become something else. I get spun around by what happens in words. When that occurs, it inspires images that seem so original to me as an artist, even though I'm following what the poem has offered.
Poetry is interesting because not everyone is going to become a great poet, but anyone can be, and anyone can enjoy poetry, and it's this openness, this accessibility of poetry that makes it the language of people.
Poetry is very playful with language. I think all poetry, at its heart, is playful. It's doing unusual and playful things with the language, stirring it up. And prose is not doing that. Primarily it's not attempting to do that.
Poetry is not the language we live in. It's not the language of our day-to-day errand-running and obligation-fulfilling, not the language with which we are asked to justify ourselves to the outside world. It certainly isn't the language to which commercial value has been assigned.
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