Top 1200 Best-love-poems . Quotes & Sayings

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.

When Emily Dickinson's poems were published in the 1890s, they were a best-seller; the first book of her poems went through eleven editions of a print run of about 400. So the first print run out of Boston for a first book of poems was 400 for a country that had fifty million people in it. Now a first print run for a first book is maybe 2,000? So that's a five-time increase in the expectation of readership. Probably the audience is almost exactly the same size as it was in 1900, if you just took that one example.

whether they write poems or don't write poems, poets are best.

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.

That being said, some of my favorite poets are extremely funny. The aforementioned Matt Rohrer, for instance. Mary Ruefle. James Tate might be the best example of someone who is systematically misread because he can be hilarious. In his poems, as in all great funny poems, the humor is one very appealing version of the surprise and associative movement that is at the heart of all poetry.

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 best poems take long journeys. I like poetry best that journeys--while remaining in the human scale--to the other world, which may be a place as easily overlooked as a bee's wing

My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.

Poems are taught as though the poet has put a secret key in his words and it is the reader's job to find it. Poems are not mystery novels.

Love, like poems, knows no boundaries. Religions, race, distance not even age can restrict someone from falling in love.

I also like poems that are haunted by a structure or a narrative, or poems that frisk flirtatiously at the boundary of sense.

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.

People can put their best poems straight onto the web.

People live for love. They kill for love. They die for love. They have songs, poems, novels, sculptures, paintings, myths, legends. It's one of the most powerful brain systems on Earth for both great joy and great sorrow.

If poems very different from my own bring pleasure to a group of readers, who am I to say that the poems should have been written differently?

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.

I think of my best poems as vessels that I can or hope to fill with everything I have.

For me, it makes sense to address shocking experiences through poems because of the way poems also have that effect on the reader.

The best public poems aren't necessarily those that go at the subject like a bull at a gate.

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 write poems about relationships, love relationships, and I'm not able to do that all the time. I could go two years without writing poems, and then write a dozen. Having a novel to work on, with the intricate puzzle of character and plot to work out, is satisfying for the time there is no poetry.

However, I began to submit poems to British magazines, and some were accepted. It was a great moment to see my first poems published. It felt like entering a tradition.

Southern poets are still writing narrative poems, poems in forms, dramatic poems.

When I worked on a magazine, I learned that there are many, many writers writing that can't write at all; and they keep on writing all the cliches and bromides and 1890 plots, and poems about Spring and poems about Love, and poems they think are modern because they are done in slang or staccato style, or written with all the 'i's' small.

I love my funny poems, but I'd rather break your heart. And if I can do both in the same poem, that's the best.

When you begin to write poems because you love language, because you love poetry. Something happens that makes you write poems. And the writing of poems is incredibly pleasurable and addictive.

I had written here and there about my mother in my poems. There are poems for her in my first and second books.

I don't think I did write any poems to fill narrative gaps. Not consciously, anyway. As much as possible, I try to discover my poems' subject matter through the act of writing, instead of deciding ahead of time what my poems will be about.

Poems don't have to rhyme... Poems are about beauty and emotion; in other words poems are about feelings.

That's what poems are for, unlivable love.

There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.

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.

I like to read a lot of books and poems. Even though poems are short, I enjoy the emotions that come with them.

There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.

I love to read long books. I enjoy experiencing that extension. But it's not something I feel comfortable with and not something I think I can gain comfort with by practice. It was a real struggle for me while writing memoir to get past three pages or so. In poems, I can write long poems. But length in prose: no.

I am a genius who has written poems that will survive with the best of Shakespeare, Wordsworth and Keats.

My poems please the brave: My poems, short and sincere, Have the force of steel Which forges swords.

It's true, there aren't many explicit references to Canada in my book. And not many explicit references to the U.S., either. I try to fill my poems with enough real, observed detail that the poems create a believable world - but I don't write poems for the sake of telling my own story. My life is not important or interesting enough to warrant that kind of documentary. Instead I try to use my experience as a way of understanding situations that are common to many people. I want readers to project their own lives onto my poems.

Writing for me is an ongoing practice of facing and countering fears. And so, in that sense, I have always been responding to phobias. I am often most surprised by the writing that comes from facing fears that strike closest to home, poems that explore internalized phobias about gender identity, sexuality, and the body, poems that struggle with a question like do I deserve love?

A collection of plants is not a landscape, any more than a list of choice words is a poem. The merit is in the design, not the material it is expressed in, and the best designs, like the best poems, make ordinary material significant by its arrangement.

I like to joke that I started writing long poems out the anxiety over ending and starting poems. It just seemed easier to keep going.

... to write well it is entirely necessary to read widely and deeply. Good poems are the best teachers.

I am a genius who has written poems that will survive with the best of Shakespeare, Wordsworth and Keats

I love chapbooks. They're in some ways the ideal form in which to publish and read poems. You can read 19 poems in a way you can't sit down and read 60 to 70 pages of poems.

When somebody's in love with you, they think it's amazing you've written them a poem, and when they don't love you anymore, they hate those poems. They wish those poems would go away.

I think if you put something in a file that says "war poems" or "love poems" that you already restrict the way in which the poem might move.

First best is falling in love. Second best is being in love. Least best is falling out of love. But any of it is better than never having been in love.

I guess that would have been 1968. I was a freshman in college and I wasn't writing good poems, but I was at least trying to write poems then.

Natalie Lyalin is writing some of the best poems in the world. There is an evil in her gorgeous poem-hearts. She must have sold her heart to the devil to write like this—so beautiful, so funny and so strange. Her images stack and stack down the page without spilling, each line such a bombshell you'll start reading backward to the first line. These poems are like babies—they will pop out of trees.

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.

For my best poems were all written when I felt the worst. When I was happy, I didn't write anything.

I'm happy to stick with my persona. There are themes of love lost and love regained, but the main themes of all poems are basically love and death, and that seems to be the message of poetry.

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.

I do bring my teaching together with my writing. I make students write in class, and do the same prompts I give them. I'm always on the lookout for teaching poems - poems that inspire me and my students to write poems in response.

The most exhilarating for the writer and the reader, are gift-things-poems which arrive on their own energy, poems that in William Shakespeare's term "slip" from you.

The poem in Where Good Swimmers Drown are love poems. But love poems that defy the divisions between emotion and intellect, private and public, life and art, writer and reader. To read Elbe's poems is to discover not only what it means to be in love, but what it means to be alive.

How is it that the poets have said so many fine things about our first love, so few about our later love? Are their first poems their best? or are not those the best which come from their fuller thought, their larger experience, their deeper-rooted affections? The boy's flute-like voice has its own spring charm; but the man should yield a richer, deeper music.

I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.

Poems On Love Love adorns itself; it seeks to prove inward joy by outward beauty. Love does not claim possession, but gives freedom. Love is an endless mystery, for it has nothing else to explain it. Love's gift cannot be given, it waits to be accepted.

If there is anything I love most, in the poems I love, it is the audible braiding of that bravery, that essential empty-handedness, and that willingness to be taken by surprise, all in one voice.