A Quote by Wislawa Szymborska
I'm fighting against the bad poet who is prone to using too many words.
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Are we fighting too many wars? And I would say no. We're fighting one war. And it's a war against radical Islamic Jihad.
I am an ordinary human being who is impelled to write poetry. ... I still do feel that a poet has a duty to words, and that words can do wonderful things, and it's too bad to just let them lie there without doing anything with and for them.
Yes, there are probably too many tattoos. But there are too many bad haircuts, too many bad shoe choices, too many bad jeans.
In the blood-heat of pursuing the enemy, many people are forgetting what we are fighting for. We are fighting for our hard-won liberty and freedom; for our Constitution and the due processes of our laws; and for the right to differ in ideas, religion and politics. I am convinced that in your zeal to fight against our enemies, you, too, have forgotten what you are fighting for.
Turkey is united against terror. People from left and right, men, women, children, different ethnicities, different religious groups are all united, and they're all condemning terrorism. We have been fighting against PKK terrorism. We're fighting against Daesh, ISIS. We're fighting against FETO. We're fighting against the HKPC. So we know how hard dealing with terrorism is.
Imagination in a poet is a faculty so wild and lawless that, like a high ranging spaniel, it must have clogs tied to it, lest it outrun the judgment. The great easiness of blank verse renders the poet too luxuriant. He is tempted to say many things which might better be omitted, or, at least shut up in fewer words.
If you're a poet and you're using rhyme, rhyme generates ideas. If you're a songwriter and you're using melody and words together, they bounce off each other in interesting ways that you couldn't get otherwise, because you do things unexpectedly.
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 you've got unemployment, low pay, that was just too bad. But that was the system. That was the sort of economy and philosophy against which I was fighting in the 1930s.
It is within the police power of the state to prohibit public use of fighting words that create a danger of breach of the peace, but simply to prohibit public use of fighting words is too broad. Those words may sometimes be used in situations where there is no danger.
It's so easy to use tired, shopworn figures of speech. I love using long, fancy words but have learned - mostly from writing my biography of Winston Churchill - that short, strong words work better. I am ever-vigilant against the passive and against jargon, both of which are so insidious.
Too many people spouting too many words, and in the end those words will turn to bullets and stones.
There are some people that aren't into all the words. There are some people who would have you not use certain words. Yeah, there are 400,000 words in the English language, and there are seven of them that you can't say on television. What a ratio that is. 399,993 to seven. They must really be bad. They'd have to be outrageous, to be separated from a group that large. All of you over here, you seven. Bad words. That's what they told us they were, remember? 'That's a bad word.' You know bad words. Bad thoughts. Bad intentions.
We cannot be too careful about the words we use; we start out using them and they end up using us.
I'm a political poet - let us say a 'human' poet, a poet that's concerned with the plight of people who suffer. If words can be of assistance, then that's what I'm going to use.
Words too familiar, or too remote, defeat the purpose of a poet.
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