Top 1200 Love Poems Quotes & Sayings

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

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.

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

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.

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.

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.

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

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.

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.

I used to stand on the corner in San Diego with poems sticking out of my hip pocket, asking people if there was a place where I could read poems. The audience is half of the poem.

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?

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.

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.

I was unnerved to learn in my twenties that the poems of Emily Dickinson that I had memorized as a girl were not the poems as she had written them.

I'm working on poems about work, I guess. Or related to work. Which sounds dull as drywall but I'm having great fun working the vernacular of work into poems. I'm also writing some poems about family. And I don't know, just writing. Taking breaks. Writing some more.

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.

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.

People have explored these questions ['Why am I here?', 'What is life about?'] in poems, not that they found their answers, but in reading [poems], I think, you find a certain beauty in the questioning, and that is then poetry.

A good many of my poems over the years have alluded to or taken on the political. Stevens has a line in one of his essays: "Reality exerts pressure on the imagination." Inevitably what is omnipresent in the culture exerts its pressure on our imaginations to respond to it, even if indirectly. But in this case the backdrop of 9/11, coincident with the breakup of a marriage, the finding of new love, some kind of personal cataclysm... all of those were forces informing the poems in some way.

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 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.

Our poems will have failed if our readers are not brought by them beyond the poems.

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.

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.

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

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.

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

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.

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 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.

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.

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.

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.

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

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

I'm lucky enough to occasionally be able to do something I love - write poems - and unlucky enough that what I love confuses and overwhelms me.

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.

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.

True love requires action. We can speak of love all day long, we can write notes or poems that proclaim it, sing songs that praise it, and preach sermons that encourage it but until we manifest that love in action, our words are nothing but sounding brass, or a tinkling cymbal.

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?

Well it is certainly the case that the poems - which were in fact published during Shakespeare's lifetime - are weird if they began or originated in this form, as I think they did, because the poems get out of control.

One of these poems I wrote after having been here only a month. The other, I wrote this morning. In the space between the two poems, I have found acres of grace

I love reading beautiful stories. I love poems and yes, I fantasize about someone writing beautiful lines for me.

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.

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

That's what poems are for, unlivable love.

My first book of poems was published privately in 1949. That was my mother. The book was '25 Poems.' It cost 200 dollars.

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.

I see no reason to spend your life writing poems unless your goal is to write great poems.

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.

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.

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.

I started out wanting to write great poems, then wanting to discover true poems. Now, I want to be the poem.

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.

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.

You've read some of the poems in this new unpublished book [Walker's Alphabet], e.g., the poem "C." I have a number of poems whose titles are letters of the alphabet:?A, B, C, D, E, F.

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.

When I go to the shore, I take along the poems of Pablo Neruda. I suppose it's because the poems are simultaneously lush and ripe and kind of lazy, yet throbbing with life - like summer itself.