A Quote by Jane Hirshfield
Good poems ask us to have complex minds and hearts. Even simple-of-surface poems want that. Perhaps those are the ones that want it most of all, since that's where they do their work: in the unspoken complexities, understood off the page.
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I've reached a point in life where it would be easy to let down my guard and write simple imagistic poems. But I don't want to write poems that aren't necessary. I want to write poems that matter, that have an interesting point of view.
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 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.
There is nothing “still” in the remarkably visceral poems of Alexander Long's third collection, Still Life, and nothing is at rest in these restless and edgy poems. Conversational and kinetic, these poems chart the traces left by the shifting overlays of the templates of literature, rock-and-roll, and contemporary culture. As each poem in Still Life attempts to fix a focus upon a scene or subject, the protean natures under view draw the poet into the eddies and complexities of reflection. This is a powerful and moving collection of poems.
If the motive of writing is for some people a kind of exercise in dirty laundry, that's one thing. I've always thought of my poems as meant to be overheard, as I think all of these poems are. It seems to me if you get experience right, even your most painful or humiliating experiences - if you get those experiences right for yourself and make discoveries as you go along and find for them some formal glue - they will be poems for others.
My days are filled with work I love - reading poems, writing poems, talking with people about poems, teaching, directing a writing program, hosting readings, etc.
The day after the president Trump election, I remember feeling like it was 1984 again. It was in the air somehow. That ownership of bigotry. I hadn't seen it since I was a kid. It made me want to change the kinds of poems I was writing, but I'm terrible at writing overtly political poems.
Good poems do a lot of things at once. Often, by doing so, they encourage us to acknowledge mixed and incompatible feelings. Good poems, like good works of history, resist monocausal explanations for anything. There's not one reason why I am angry or excited or hopeful, when I feel those things. And there's not one reason why President Obama won two elections. And there's not one reason why Donald Trump won the most recent presidential election.
I wrote those poems for myself, as a way of being a soldier here in this country. I didn't know the poems would travel. I didn't go to Lebanon until two years ago, but people told me that many Arabs had memorized these poems and translated them into Arabic.
It's a big thing to call yourself a poet. All I can say is that I have always written poems. I don't think I'm interested in any discussion about whether I'm a good poet, a bad poet or a great poet. But I am sure, I want to write great poems. I think every poet should want that.
Art devoid of danger lacks many other things as well: pleasure, beauty, and the ability to save us. Poems that divest the self of its masks in order to analyze how those masks are made - by what means, by whom, for what ostensible purpose - those poems risk offering us refuge.
Too many poets write poems which are only difficult on the surface, difficult because the dramatic situation is easily misunderstood. It's not difficult to write poems that are misunderstood. A drunk, a three-year-old-they are easily misunderstood. What is difficult is being clear and mysterious at the same time. The dramatic situation needs to be as clear in a poem as it is in a piece of good journalism. The why is part of the mystery, but the who, what, where, and when should all be understood.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
I want to write poems which are very emotional, but I would have some hesitation in saying I want to write poems which are sentimental.
Emily Kendal Frey's The Grief Performance is a book that condenses a journey of finding and re-finding loss into beautiful packages. The packages are the poems and they sit shiny and new on every page of this fabulous and generous book. I want to go into the world that these poems create, just so that I can be given these terrifying presents again and again. I know you will, too. See you there.
Robert Frost says in a piece of homely doggerel that he has hoped wisdom could be not only Attic but Laconic, Boeotian even - "at least not systematic"; but how systematically Frostian the worst of his later poems are! His good poems are the best refutation of, the most damning comment on, his bad: his Complete Poems have the air of being able to educate any faithful reader into tearing out a third of the pages, reading a third, and practically wearing out the rest.
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