A Quote by T. S. Eliot
A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest.
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One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
I would like to champion diverse forms like graphic novels and works told in verse and diverse writers and illustrators and diverse authors as well.
If a person plays dissonance long enough, it will sound like consonance. It's a language that was alien and then it's less and less alien as it continues to live.
A poet ought not to pick nature's pocket. Let him borrow, and so borrow as to repay by the very act of borrowing. Examine nature accurately, but write from recollection, and trust more to the imagination than the memory.
It may be said, let him take Money at Interest, and not buy at Time. But then Men must be found, that will lend; the Legislative must provide a Fund to borrow upon.
Smart authors, faced with storms, chose to create umbrellas. That's why a diverse group of authors banded together to create The Fiction Writer's Co-op, which will work to find innovative ways to promote each other's work and cheer each other on in a very competitive field.
If there are some who talk the same language as myself, then why should I neglect their interests for the sake of some other group of people who are alien and remote? They have their own 'gods and idols' and we have nothing in common. ... If you try to please audiences, uncritically accepting their tastes, it can only mean that you have no respect for them: that you simply want to collect their money.
If men will impartially, and not asquint, look toward the offices and function of a poet, they will easily conclude to themselves the impossibility of any man's being a good poet without first being a good man.
The job of the poet is to use language effectively, his own language, the only language which is to him authentic.
Borrow my umbrellas, my clothes, my money, and I will likely not think of them again. But borrow my books and I will be on your track like a bloodhound until they are returned.
A poet is never one of the people. He is detached, remote, and the life of small-time dances and talk about football would not be for him. He might take part but could not belong.
Architecture is a language. When you are very good, you can be a poet
In practice, the copyright system does a bad job of supporting authors, aside from the most popular ones. Other authors' principal interest is to be better known, so sharing their work benefits them as well as readers.
Another trouble with poetry - and I'm gonna stop the list at two - is the presence of presumptuousness in poetry, the sense you get in a poem that the poet takes for granted an interest on the reader's part in the poet's autobiographical life, in the poet's memories, problems, difficulties and even minor perceptions.
Independent India's leaders will neither use a foreign language nor rule from a remote place.
There is this tendency to think that if you could only find the magic way, then you could become a poet. "Tell me how to become a poet. Tell me what to do." . . . What makes you a poet is a gift for language, an ability to see into the heart of things, and an ability to deal with important unconscious material. When all these things come together, you're a poet. But there isn't one little gimmick that makes you a poet. There isn't any formula for it.
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