A Quote by Wallace Stevens
The poet makes silk dresses out of worms.
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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.
I was 16 at the time, and I came backstage and started hanging out with them. I said, "Well, maybe you can 'vanish' the silk this way." The opening was a black stage while the "Magic to Do" song started playing. All you saw were hands, lit by Jules Fisher, and then Ben Vereen would appear beyond the hands, and at the end of the scene he would vanish a silk. The spotlight would hit a red spot on the floor where you'd see the silk on the floor. He'd pull the silk out of the floor and it became the entire set coming out of the floor.
Do my ears deceive me, or can I actually hear the sounds of worms turning? You say a turning worm makes no sound? But how about a chorus of turning worms?
Consider the nematode roundworm, the most abundant of all animals. Four out of five animals on Earth are nematode worms — if all solid materials except nematode worms were to be eliminated, you could still see the ghostly outline of most of it in nematode worms.
As I look out at all of you gathered here, I want to say that I don't see a room full of Parisians in top hats and diamonds and silk dresses. I don't see bankers and housewives and store clerks. No. I address you all tonight as you truly are: wizards, mermaids, travelers, adventurers, and magicians. You are the true dreamers.
Mara Hoffman makes flowy dresses, and a lot of her stuff is geared towards swimwear, like cover ups, but they work well as house dresses, too.
I always love wearing Vivienne Westwood. Her dresses just seem to fit me perfectly, and she makes dresses for girls with curves - I love that.
One of the appeals of William Carlos Williams to me is that he was many different kinds of poet. He tried out many different forms in his own way of, more or less, formlessness. He was also a poet who could be - he was a love poet, he was a poet of the natural order and he was also a political poet.
If the poet wants to be a poet, the poet must force the poet to revise. If the poet doesn't wish to revise, let the poet abandon poetry and take up stamp-collecting or real estate.
I started out as a poet. I've always been a poet since I was 7 or 8. And so I feel myself to be fundamentally a poet who got into writing novels.
Exaggerating?" Silk sounded shocked. "You don't mean to say that horses can actually lie, do you? Hettar shrugged. "Of course. They lie all the time. They're very good at it." For a moment Silk looked outraged at the thought, and then he suddenly laughed. "Somehow that restores my faith in the order of the universe," he declared. Wolf looked pained. "Silk," he said pointedly, "you're a very evil man. Did you know that?" "One does one's best," Silk replied mockingly.
All Satan's Apples Have Worms. I do not deny that the Devil has some pretty apples; I just say that all of them are fakes and that after you bite into them, you will find they have worms. All Satan's apples have worms.
My sense of the poet is classical - the poet is one who makes poems. In each book, I develop and repeat certain general themes - time, place, memory, God, history, class, race, beauty, love, poetry, identity. The core identity is the poet making the poems.
The situation in this country is like a dog with worms. You bring the dog to the vet to be dewormed, but the vet is Dr. Obama, and he says you can't get the dog dewormed because the worms have a vote. And that's the problem, folks: the worms have a vote.
If the aging process is controlled in a similar way in worms and humans, then we can use what we learn about worms to speed our study of higher organisms.
I know that in a poem, even when the speaker is speaking from the poet's experience, there's always something that's borrowed, some authority that sits outside of the poet that the poem has claimed. There's a dramatic pitch that makes the speaker capable of saying something more courageous or stranger or simply other than what the poet would be able to say.
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