A Quote by Paul Celan
There's nothing in the world for which a poet will give up writing, not even he is a Jew and the language of his poems is German.
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These are crystalline - oftentimes incandescent - translations of Juarroz's powerful metaphysical poems where eternity and silence jut up against a world where “writing infects the landscape” and there are “more letters than leaves” - The kind of match one hopes for where both the translator and the poet are in luck; new poems which don't leak and yet old poems in which the original passion shines.
Once a poet always a poet, and even though I haven't written poems for a long time, I can nonetheless say that everything I've ever learned about writing lyrical fiction has been informed by three decades of writing in lines and stanzas. For me the real drama of fiction is almost always the drama of the language.
Before I was ever a poet, my father was writing poems about me, so it was a turning of the tables when I became a poet and started answering, speaking back to his poems in ways that I had not before.
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.
Today, for a Jew who writes in the German language, it is totally impossible to make a living. In no group do I see as much misery, disappointment, desperation and hopelessness as in Jewish writers who write in German.
Poems not only demand patience, they demand a kind of surrender. You must give yourself up to them. This is the real food for a poet: other poems, not meat loaf.
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.
Delicate, gracious, and eloquent, John Brandi's poems reveal that he remains an extraordinary profound poet of prayer and praise. His is the most honorable and heroic of ambitions - to dress our broken world in the clothes of language, trust, and hope.
We could think or feel as we wished toward the characters, or as the poet, discounting history, invited us to; we were the poet's guest, his world was his own kingdom, reached, as one of the poems told us, through the 'Ring of Words.
The job of the poet is to use language effectively, his own language, the only language which is to him authentic.
By listening to his language of his locality the poet begins to learn his craft. It is his function to lift, by use of imagination and the language he hears, the material conditions and appearances of his environment to the sphere of the intelligence where they will have new currency.
I am a guest of the French language. My poems in French are born of my interaction with the French language, which is not the same as that of a French poet.
No instance exists of a person's writing two language perfectly. That will always appear to be his native language which was most familiar to him in his youth.
I began to imitate what I was reading, and I started to become a poet, even though what I was writing were not good poems.
I haven't shifted language. I'm writing in English because I like it. I'm a sucker for the language, but the good old poems I'm still writing in Russian.
I became a poet in Pittsburgh. When I lived in the South, I was a basketball player and primarily a jock. An English teacher essentially suggested that I send the poems that I'd been writing - really just for him - to a few programs, so that when I wound up in Pittsburgh, it's where I figured out that I could actually be a poet.
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