Top 1200 Mother Day Poems Quotes & Sayings - Page 4

I'm not religious. I love what Clive James said the other day. James is a brilliant writer, but he keeps on writing poems on stuff. And he said, "God doesn't have a leg to stand on."

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.

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.

The best Mother's Day gift I ever got was just a full day with the kids where they did their mommy pampering. They cut cucumbers and put them on my eyes and my daughter gave me a facial. I'm not even sure what was in it!

You never forget the books you loved as a kid. You never forget the poems you memorized, the first book you read until the cover fell off, the book you read hidden from your mother. What an honor to hold hands with a child's imagination in this way.

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.

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

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.

If I were hanged on the highest hill, Mother o' mine, O mother o' mine! I know whose love would follow me still Mother o' mine, O mother o' mine!

In the case of maternal health care, you look at, well naturally, it's the mother who's the customer, who makes the decisions. But in truth, the mother in many areas, in certain parts of India, the mother has very little decision-making power at all. The real decision-maker is the mother-in-law.

Tonight, tonight we've reached a milestone in our nation's march toward a more perfect union: the first time that a major party has nominated a woman for president. Standing here, standing here as my mother's daughter, and my daughter's mother, I'm so happy this day has come.

People say you don't need a father to be successful. I take offense to that. I had an argument with my mom about Father's Day and why it's not celebrated like Mother's Day.

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.

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.

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.

Every single day since Day 1, to Day 2, to Day 3, to Day 4, to Day 5, to Day 6, to Day 7 to Day 8, whatever day it is now, I've gotten better.

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 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.

My mother often used to speak about her time during the war and during the famous hunger winter in Holland - in the latter part of the war there was no heating and very little food and so her mother used to say, 'You stay in bed most of the day to preserve your calories.'

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?

Everybody and their mother knows you don't train hard on Friday, the day before a race. But a lot of runners will overtrain on Thursday if left on their own. Thursday is the most dangerous day of the week.

A mother is always a mother, since a mother is a biological fact, whilst a father is a movable feast.

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.

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.

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.

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.

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.

I'm on Facebook and the Internet EVERY DAY NUMEROUS TIMES A DAY.Sorry about the shouting but I can't help myself. My mother said her dog (a lapdog) never sits on my lap because I always have the laptop on it.

And also, one is a mother in order to understand the inexplicable. One is a mother to lighten the darkness. One is a mother to shield when lightning streaks the night, when thunder shakes the earth, when mud bogs one down. One is a mother in order to love without beginning or end.

When, however, one reads of a witch being ducked, of a woman possessed by devils, of a wise woman selling herbs, or even a very remarkable man who had a mother, then I think we are on the track of a lost novelist, a suppressed poet. . . indeed, I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.

We knew the time would come that we'd have to step down because we'd been winning Oscars for 15 years. I discovered this one day when I got home, my mother was reading a newspaper and she said, 'Again? What are you doing in the papers?' And I realized if my mother thought that of me, what would my enemies think?

I'm a big proponent of open adoption, because it allows a relationship between the birth mother and her child so that the kid isn't like, "Where did I come from?" And to have it be like, "Look, you have a bunch of people who love you." Not just the parents who are raising you on a day-to-day basis, but also to have contact with your birth mother and hopefully your birth father. So that you can be like, "Oh, they love me too, and they love me so much that they knew they couldn't take care of me but they're still in my life to some extent."

The myth of independence from the mother is abandoned in mid- life as women learn new routes around the mother--both the mother without and the mother within. A mid-life daughter may reengage with a mother or put new controls on care and set limits to love. But whatever she does, her child's history is never finished.

I understand that for an average working mother it is difficult to take out lots of time for their child. But make sure that when you are with them, you cuddle them and listen when they share their day to day activities.

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.

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.

You must wake and call me early, call me early, mother dear; To-morrow'll be the happiest time of all the glad New Year,- Of all the glad New Year, mother, the maddest, merriest day; For I'm to be Queen o' the May, mother, I'm to be queen o' the May.

My mother is a big believer in being responsible for your own happiness. She always talked about finding joy in small moments and insisted that we stop and take in the beauty of an ordinary day. When I stop the car to make my kids really see a sunset, I hear my mother’s voice and smile.

I used to tell my mother, 'I'm going to have to get a real job one day.' You keep saying this will end one day, but people still call us up and ask us to sing. It's truly amazing.

My mother is a big believer in being responsible for your own happiness. She always talked about finding joy in small moments and insisted that we stop and take in the beauty of an ordinary day. When I stop the car to make my kids really see a sunset, I hear my mother's voice and smile.

The act of song writing and recording became one and the same to me; because I essentially recorded everything I did from the day I began trying to write songs. I've always had a lot to say. I'd always written poems.

Now, I am thrilled to be a wife and mother, and I hope to be as good of a mother as my own mother, Carole.

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 want to write poems which are very emotional, but I would have some hesitation in saying I want to write poems which are sentimental.

Mexico is a very mom-centered culture. You'll find stores open on Father's Day, but never on Mother's Day. For us, mothers are very important.

I barely saw my mother, and the mom I saw was often angry and unhappy. The mother I grew up with is not the mother I know now. It's not the mother she became after my father died, and that's been the greatest prize of my life.

My mother had a horrific life. At fourteen, she was in the Nazi concentration camps. Her sense about life now is, every day above ground is a good day.

Every woman has a mother, and every woman will have an issue with that mother and things that mother did or didn't do. It just depends on how you choose to process the lessons that you learned from your own mother.

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.

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.

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.

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 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.

Poems are ways of saying you clearly remember the day of your death and your tomb. When I am writing poetry, I relive my days when a woman inside me dies many times.

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.

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.

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.

I don't write every day, but if I go more than a couple of months without writing, I begin to get a little nervous. I usually have bursts of poems. Five or six come together and then I slack off and want to do something else.

My mother got sick when I was rich. And my mother, you know … I don’t really want to get into it, but my mother was sicker than my father. And my mother’s alive. My mother’s fine, OK? I remember going to the hospital to see my mother and wondering, ‘Was I in the right place?’ Like, this was a hotel. Like it had a concierge, man. If the average person really knew the discrepancy in the health care system, there’d be riots in the streets, OK? They would burn this m-therf—ker down!

My dad left his psychology hat at the door and put his dad hat on when he came into the house. It's amazing having my dad have that awesome job. My mother was a model back in the day. I've seen the pictures. My mother's beautiful.