Top 1200 Love Poems Quotes & Sayings - Page 2

I was trying to pay the bills with poems, and it was easy to memorize my poems, because I'd be riding my bike in California trying to memorize them before going on stage at a poetry lounge.

My earlier poems were sadder than my poems are today, perhaps because I wrote them in confusion or when I was unhappy. But I am not a melancholy person, quite the contrary, no one enjoys laughing more than I do.

Love is the poetry of our feelings. But there are some horrible poems.

I had been writing poems and stories since I learned to make letters. I had placed poems in a hardcover anthology at the age of 6. And I knew more big words than anyone else in the 10th grade.

Your poems are of interest to mankind; your liver isn't. Drink till you write well and feel sick. Bless your poems and be damned to you.

When the end comes, dark and hungry I'll be alone, love When the end comes, black and starving I'll say good-bye, love.-from Golden Tongue: The Poems of Steven Slaughter

I started to write my own stories, like small novels, and those novels became poems, and after poems, they became lyrics, and song came from that.

I write poems for children to help them celebrate the joy and wonder of their world and to look at their lives from the inside out. I write humorous poems to tickle the funny bone of their imaginations.

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.

Well, yes: people write poems when they are in love, but a wise man will not print them.

I believed in fictional characters as if they were a part of real life. Poetry was important, too. My parents had memorized poems from their days attending school in New York City and loved reciting them. We all enjoyed listening to these poems and to music as well.

If you were going to make sculptures of them, the swivel poems would be disparate objects all attached with hinges and the prose poems would be small sheep wrapped in extra wool.

When I think of someone equating poems and machines, it makes me feel like that person would like poems to have a more obvious use value in society. They're not happy with poetry being this ephemeral, indefinable thing. They want it to be "real."

I do feel that now and I feel that this development of recording poems, of speaking poems at readings, of having records of poets, I think this is a wonderful thing. I'm very excited by it. In a sense, there's a return, isn't there, to the old role of the poet, which was to speak to a group of people, to come across.

These poems, with all their crudities, doubts, and confusions, are written for the love of Man and in praise of God, and I'd be a damn' fool if they weren't.

It's fun to see someone grow as a writer, moving from their first workshopped poems to publishing their earliest poems to having a book accepted for publication. It's great to see poets with persistence succeed.

But give thanks, at least, that you still have Frost's poems; and when you feel the need of solitude, retreat to the companionship of moon, water, hills and trees. Retreat, he reminds us, should not be confused with escape. And take these poems along for good luck!

The nobility of Teresa Leo's poems is that they are not disposed to hide from the dark-rather, they display a mind that tends toward obsession and brooding, that works against fatality like fingers at a knot. The firm, attentive mind on display and the lucid unfolding of the poems are the life instinct seeking and finding its way through again and again. Love and beauty are the argument, but they don't win easily. Bloom in Reverse works through elegy toward survival with moving persistence, both driven and compelling.

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.

I still read Donne, particularly his love poems.

New friends may be poems but old friends are alphabets. Don't forget the alphabets because you will need them to read the poems.

More or Less Love Poems #11: No babe We'd never Swing together but the syncopation would be something wild

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.

I always wrote poems when I was a little girl, and I loved hip hop music, and I kind of just started writing poems over beats, and that's when I started rapping.

In 1977, I wrote a series of poems about a character, Black Bart, a former cattle rustler-turned-alchemist. A good friend, Claude Purdy, who is a stage director, suggested I turn the poems into a play.

I wanted many of the poems to have long legs. At first I was calling them clothespin poems, before I knew what I was doing. The lines seem pulled on either end, tight and taut against the wind.

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.

The makers of fortunes have a second love of money as a creation of their own, resembling the affection of authors for their own poems, or of parents for their children, besides that natural love of it for the sake of use and profit.

He was all emotion all the time, constantly talking about his feelings and his profound love for her. He was minutes from getting his first period. He wrote poems too. It's my personal belief that if men are writing poems, they're making up for something else like a big hair back, or one ball. Not that one ball is a bad thing. Especially since I don't know any females who are dying to their their hands on a set of balls. The way I see it, the less balls, the better.

'Love, Death and the Changing of the Seasons' is a kind of novel in verse about the arc of an urban lesbian love affair - and I suppose there is a certain amount of voyeurism in the consumption of fiction! The 'Sancerre' poems here are more contemplative and about the relationship of the individual to local and wider histories.

I was writing poems as I was walking. I was able to take that restlessness, that nomadic distraction, and use that distraction in the world and turn that distraction into observations and then into poems.

If you can find two poems in a book, it could be a pretty good book for you. You know, two poems you really like. There are some poets who are fairly big names in contemporary poetry and who write a book and I might like three or four poems in the book, but the rest of them don't appeal to me personally; but I think that's the way it really ought to be. I think it's really a rare thing to like everything that somebody has written.

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

I really just love reading. It's my favorite thing, performing my poems live.

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.

There is a particular quality of quietude and stillness that suffuses these painterly poems of Carol Ann Davis, so involved with loss, motherhood and the shifting tonalities of light that transform the domestic and ordinary into the strange and extraordinary that, combined with tenderness of address, approach the worshipful and make a number of these poems so moving and distinctive.

So for whatever reason those short lines just felt right to me, in my physical self. They were right for the movement of the poems. Some poems in the book have longer lines.

I want to write songs with complete sentences. I almos have this obsession with short-changing words. I would never be so pretentious to say that my lyrics are poetry. ... Poems are poems. Song lyrics are for songs.

It is always hard for poets to believe that one says their poems are bad not because one is a fiend but because their poems are bad.

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.

I have hundreds of poems memorized. Mostly by others, but also my own. I use the poems when I lead retreats for management groups on topics like creating teams, or coming up with a more entrepreneurial system, or creating more excitement.

Don't write love poems when you're in love. Write them when you're not in love.

I'd rather call prose poems something else, for clarity - something like "poetic prose," prose that contains a quality of poetry, but not poems.

If I'm still wistful about On the Road, I look on the rest of the Kerouac oeuvre--the poems, the poems!--in horror. Read Satori in Paris lately? But if I had never read Jack Kerouac's horrendous poems, I never would have had the guts to write horrendous poems myself. I never would have signed up for Mrs. Safford's poetry class the spring of junior year, which led me to poetry readings, which introduced me to bad red wine, and after that it's all just one big blurry condemned path to journalism and San Francisco.

Keats writes better about poems than anybody I've ever read. The things that he says about what he wants his own poems to be are the ideals that I share.

There are either poems about sex/love or God.

I started out writing poems before I figured to put melodies to them and play the guitar. Somewhere, there's a book out there on all those early songs and poems. I hope no one ever finds it. I don't think it's my finest work.

Lizzie Harris's Stop Wanting is an unflinching book about a girlhood filled with violence, doubt, vulnerability, and loss. These gorgeously crafted and hauntingly memorable poems are a bleak place full of life, prayer, and the kind of answers only poems like these can provide.

I play with language a great deal in my poems, and I enjoy that. I try to condense language, that is, I try to express complicated but I hope real emotions as simply as possible. But that doesn't mean the poems are simple, just that they are as truthful as I can make them.

I wrote a number of poems about Kah Tai lagoon, when Safeway was building that huge, ugly store down there where I used to love to watch the birds nest. That political poem, or environmental poem, was unsuccessful because Safeway built there anyway. And yet the poem has something to say today, as it did then. And I speak here only of my own poems. The agenda for every poet has to be different because most of us write from direct human experience in the world.

I believe in creative failing - to contine to write poems that fail and fail and fail until a day comes when you've got a thousand poems behind you and you're relaxed and you finally write a good poem.

I am a relatively rational being and I like to create order in poems. I like meter, I like rhyme, but ultimately I don't know where the poems come from, and I feel, at least in the beginning, that I'm taking dictation from my own dream that I don't remember.

As a university student, I tried hard to write poems in Korean. It was at that time that I foresaw my death and the world's death. I think my poems started at that time.

When I'm assembling a book I concentrate as though I were writing a poem. A truly imagined arrangement will indicate gaps and generate new poems. I re-read the new poems in my folder in the hope that this might happen.

In other words the pictures are in a kind of relationship with each other which is touching only at points rather than pictures being illustrations of poems or poems extrapolations of the pictures.

Clouds are poems, and the most moving poems linger on the blackboard so long, written in cursive so lovely, they also exist inside our fingertips. We never really erase them at the end of the lesson.

I still read Donne, particularly his love poems

Some of my favorite poems are "confessional" poems written in the voices of aliens ("Southbound on the Freeway" by May Swenson" and "Report from the Surface" by Anthony McCann), sheep ("Snow Line" by John Berryman) or a yak ("The Only Yak in Batesville, Virginia" by Oni Buchanan).

I began just writing poems and then fell in love with the form.

Sometimes people come up and they get infatuated with some little brief imagistic poem or something, and they say, "Oh, I really like your Zen poems." And I say, "Which ones are not Zen poems?"