Top 1200 Love Poems Quotes & Sayings - Page 3

Even though we've written epic poems and made incredible films about love, I still don't think anyone can understand what it is, or why it means everything.

I have these rhyme-based ideas because I love Julia Donaldson. 'The Snail and the Whale' is one of the most beautiful poems, and I feel like I could do that.

Many people have said to me, "What a pity you had such a big family to raise." "Think of the novels and the short stories and the poems you never had time to write because of that." And I looked at my children and I said, "These are my poems, these are my stories."

What if this young woman, who writes such bad poems, in competition with her husband, whose poems are equally bad, should stretch her remarkably long and well-made legs out before you, so that her skirt slips up to the tops of her stockings?

My earliest poems sing of the absolute necessity of allowing love to invade and pervade one's life. That can make the miracle happen in reality. Try it.

Often I find that poems predict what I'm going to do later in my own writing, and often I find that poems predict my life. So I think poetry is the most intense expression of feeling that we have.

I live in Harlem, New York City. I am unmarried. I like 'Tristan,' goat's milk, short novels, lyric poems, heat, simple folk, boats and bullfights; I dislike 'Aida,' parsnips, long novels, narrative poems, cold, pretentious folk, buses and bridges.

As long as I can remember, I've been writing - first poems, then stories, and by my early teenage years I was also in love with sailing.

The grotesque in my poems is the motion I use to put myself and the grotesque world together. So the miserable images I use in my poems are the same as the letters I send into the miserable world.

I always think W.S. Merwin's poems will last of anyone writing today. If I had to bet on posterity I would bet Merwin. My poems could easily evaporate. So I don't know. If you find yourself as a writer thinking about posterity you should probably go out for a brisk walk or something.

It is clear that we do not exactly choose our poems; our poems choose us.

My dad, a mathematician, raised me to believe that mathematics is beautiful, so math is a part of my imaginative terrain. In my late 20s I wrote several 11-line poems because I wanted to create poems that couldn't be uniformly divided into couplets, tercets, or quatrains, 11 being a prime number.

Precise, graceful, and generous, the poems in SuperLoop, seem to be born out of a deep, careful attention and a profound compassion. Sometimes the quiet observer, sometimes the kid in the center of the messed-up carnival, these poems are the fireflies you’ve missed all winter, the longed-for return of the bees. Unaffected and inherently hopeful, Callihan’s work is as merciful as it is moving.

I wrote two poems about the '81 uprisings: 'Di Great Insohreckshan' and 'Mekin Histri.' I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.

I am pretty interested in hybrid forms. I love graphic novels and I think there should be more graphic poems in the world.

I wrote the poems in Charms Against Lightning one by one, over almost a decade, and I did not write them toward any theme or narrative. But once I really got serious about putting together a book, I began to see that in fact there were themes across the poems, if only because my own obsessions had brought me back time and again to the same ground. I realized that any ordering of the poems would determine how those themes developed over the manuscript, and how the collection's dramatic conflicts were resolved.

He was not such a special person. He loved to read very much, and also to write. He was a poet, and he exhibited me many of his poems. I remember many of them. They were silly, you could say, and about love. He was always in his room writing those things, and never with people. I used to tell him, What good is all that love doing on paper? I said, Let love write on you for a little. But he was so stubborn. Or perhaps he was only timid.

I tend to like poems that are short as well as funny. I love Joe Brainard and Aram Saroyan. And I think their sense of humor and minimalist approach are pretty radical.

... woman is frequently praised as the more "creative" sex. She does not need to make poems, it is argued; she has no drive to make poems, because she is privileged to make babies. A pregnancy is as fulfilling as, say, Yeats' Sailing to Byzantium.... To call a child a poem may be a pretty metaphor, but it is a slur on the labor of art.

Poems have ideas. The ideas of poems come out of their emotions and their emotions are carried on images.

As a guiding principle I believe that every poem must be its own sole freshly created universe, and therefore have no belief n 'tradition' or a common myth-kitty or casual allusions in poems to other poems or poets, which last I find unpleasantly like the talk of literary understrappers letting you see they know the right people.

The ancients waited for cherry blossoms, grieved when they were gone, and lamented their passing in countless poems. How very ordinary the poems had seemed to Sachiko when she read them as a girl, but now she knew, as well as one could know, that grieving over fallen cherry blossoms was more than a fad or convention.

My poems were just kind of all over the place. They had no focus, no location, nothing. Kind of a series of images that could have been set anywhere. A lot of the poems were just exercises for myself.

Read a lot - poems, prose, stories, newspapers, anything. Read books and poems that you think you will like and some that you think might not be for you. You might be surprised.

I see my poems as interlinked. No poem gives an answer. It may offer other questions, it may instigate other questions that then become poems.

At another level, though, poems can craft an eraser - we can't revise the past, but poems allow us some malleability, an increased freedom of response, comprehension, feeling. Choice, what choices are possible for any given person, is another theme that's run through my work from the start.

And me happiest when I compose poems: Love, power, the huzza of battle are something, are much: yet a poem includes them like a pool water and reflection.

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.

Reading Ngo Tu Lap's poems, terrible nostalgia wells up in me- nostalgia for a lost time and a far-gone country, nostalgia for people I've loved, and for creatures of forests and rivers. I feel gratitude too. War is over. Peace arrives with these beautiful poems.

I tended to write poems about both social and spiritual problems, and some problems one doesn't really want to solve, and so the problems themselves are solved. You certainly don't want to solve problems in poems that haven't been solved in the world.

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.

Alienation between the content and form happens frequently in my poems because I obstinately carry on dismantling my body, an act you can also call "dismantling delusion." I think that after I dismantle my female body, I can finally dismantle established lyric poems.

My poems, I think, exist in a state of tension between the love of natural beauty and the fear of natural meaninglessness or absurdity.

With time some poems just fall by the wayside. Other poems get better over time with revision, revision, revision. My ladybug poem took 10 minutes to write but was 10 years in the making.

Lily Brown writes with and against things in poems that are coiled up tight as springs (or snakes). A believer in the power of the line, she writes, 'I think the plastics/and sink them' then 'Where is the sand/man hiding the dirt.' These terse, biting poems will make you look around and wonder.

It is the unspecified 'you' of modern love poems that I am mostly concerned with here. At least, the addressee is commonly a lover, and the very fact that the name is withheld is offered as a guarantee of the closeness and significance of the relationship.

I remember in school - in elementary school - I used to recite poems. We'd have to recite poems. And I would always just, like, roll on the floor, like, just make it such a huge, melodramatic portrayal of whatever it was.

I've changed over my writing life. If I can generalize, I would say that the more recent poems - believe it or not - are more pointedly political; although, if the earlier poems were more existential, they were still political; though, in their own way, had a complicated presence.

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.

The poems in Helena Mesa’s virtuosic first book, Horse Dance Underwater, run with such speed, verve, and alacrity they leave you breathless, exhilarated, and transformed as if the purest kind of song had lifted you into the air. By this quickness of language finding lyric speech, Mesa’s poems remind us of art’s joyous and ecstatic effects.

I wrote two poems about the 81 uprisings: Di Great Insohreckshan and Mekin Histri. I wrote those two poems from the perspective of those who had taken part in the Brixton riots. The tone of the poem is celebratory because I wanted to capture the mood of exhilaration felt by black people at the time.

Ideally, I'd love to write poems that intrigued humans across the board: literary folk and academics as well as... dog-walkers, doctors, plumbers, chefs, math professors, jugglers, etc.

The judges who awarded the 1980 Commonwealth Poetry Prize to my first collection of poems, Crossing the Peninsula and Other Poems, cited with approval and with no apparent conscious irony my early poem, "No Alarms." The poem was composed probably sometime in 1974 or 1975, and it complained about the impossibility of writing poetry - of being a poet - under the conditions in which I was living then.

If you have no love, do what you will - go after all the gods on earth, do all the social activities, try to reform the poor, the politics, write books, write poems - you are a dead human being. Without love your problems will increase, multiply endlessly.

I like poems that are daggers that sing. I like poems that for all the power of the sentiments expressed, and all the power to upset and offend, are so well made that they’re achieved things. However much they upset you, they also affect you.

People who attack biography choose as their models vulgar and offensive biography. You could equally attack novels or poems by choosing bad poems or novels.

I've been working on a collection of prose vignettes about girls I've had crushes on, from the age of six to the age of eighteen. This manuscript is thematic and organized in a way my poems about my friends aren't. My friends get into the poems simply because they mean a lot to me.

it's about a love song to myself, and a love song to the universe, kind of like the way that Song of Solomon consists of love songs to God or like the way Sufi poems are erotic love songs to God, I kind of wanted something like that. Because I was getting to know myself more deeply at this point. I've always been on this track where I wanted to be enlightened.

I know that one of the things that I really did to push myself was to write more formal poems, so I could feel like I was more of a master of language than I had been before. That was challenging and gratifying in so many ways. Then with these new poems, I've gone back to free verse, because it would be easy to paint myself into a corner with form. I saw myself becoming more opaque with the formal poems than I wanted to be. It took me a long time to work back into free verse again. That was a challenge in itself. You're always having to push yourself.

When I was a boy, I choked on a piece of candy outside the kitchen window for a few minutes while watching my parents making dinner. I thought I was going to die, but I didn't want to scare them. Our existence was so separate, a dying and a doing well, an outside and an inside. Trey Moody's poems hover in that cold, wet, refrigerator-lit place between the dying and the doing well, the outside and the inside. His poems are the thoughts of the person you love who is always standing behind you, slowly and silently suffocating. But they're not afraid to say hello, and please, and I'm scared.

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.

Narrative nonfiction was not my forte. I always wanted to let my imagination run free, and the facts sometimes got in the way. At one point I wanted to illustrate Jack Prelutsky's enchanting poems. Unable to do that, I started devising and improvising my own poems, very raw at first. I immersed myself in verse, writing reams of stuff until it gelled.

I always knew that I was tremendously creative. I recited love poems, I wrote stories and I got excellent grades in every subject, except for maths.

What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.

Some of Mr. Gregory's poems have merely appeared in The New Yorker ; others are New Yorker poems: the inclusive topicality, the informed and casual smartness, the flat fashionable irony, meaningless because it proceeds from a frame of reference whose amorphous superiority is the most definite thing about it they are the trademark not simply of a magazine but of a class.

When you think of things that influenced your life, Mother Goose influenced more people than almost any other thing, the rhythms of those poems. Everything after that was a bare imitation of some of those mysterious and materialistic poems.

The sole literary presence from my childhood was my grandfather, a Jewish immigrant from Latvia, who eccentrically copied poems into the backs of his books. After he died, when I was 8 years old, my grandmother gave his books away, and his poems were lost.

Now I am going to reveal to you something which is very pure, a totally white thought. It is always in my heart; it blooms at each of my steps... The Dance is love, it is only love, it alone, and that is enough... I, then, it is amorously that I dance: to poems, to music but now I would like to no longer dance to anything but the rhythm of my soul.

Criticism starts - it has to start - with a real passion for reading. It can come in adolescence, even in your twenties, but you must fall in love with poems.

If we will admit time into our thoughts at all, the mythologies, those vestiges of ancient poems, wrecks of poems, so to speak, the world's inheritance,... these are the materials and hints for a history of the rise and progress of the race; how, from the condition of ants, it arrived at the condition of men, and arts were gradually invented. Let a thousand surmises shed some light on this story.