Quotes About Poem

The province of the poem is the world. When the sun rises, it rises in the poem and when it sets darkness comes down and the poem is dark . and lamps are lit, cats prowl and men read, read–or mumble and stare at that which their small lights distinguish or obscure or their hands search out in the dark. The poem moves them or it does not move them. Faitoute, his ears ringing . no sound . no great city, as he seems to read–

History is made not simply with events, but by remembering those events, a double drumbeat like a heartbeat. History can be written not only with books but with ceremonies. Yet a real event read about in a newspaper is not always more important than a fictional one in a novel or play or poem.

It was her work of art, her poem and her prayer, to repeat this story, low and precipitately, as if she were in the confessional. You felt that she came to it quite naturally, without transition, so completely did it posses her whenever they were alone.

My life has been the poem I would have writ, But I could not both live and utter it.

I walk through the old yellow sunlight to get to my kitchen table the poem about me lying there with the books in which I am listed among the dead and future Dylans

His knowledge of ancient Greece was based entirely on a poem Edgar Allan Poe, a few homosexual encounters with restaurateurs (he ate free at almost every soda fountain in the city), and a plaster reproduction of the Akropolis which, for some reason, he had coated with red nail polish.

A novel takes place over time. It's a historical narrative, and it needs to have a series of peaks and valleys and the move through. You can't just start at the highest pitch and stay there, but you can in a lyric poem.

Constance sent me a reply,' I said. 'Your poem went down really well.' 'That's a huge weight off my shoulders, Red. I hardly slept a wink last night worrying whether you two would fins the unhappiness you deserve.

Every poem is a coat of arms. It must be deciphered. How much blood, how many tears in exchange for these axes, these muzzles, these unicorns, these torches, these towers, these martlets, these seedlings of stars and these fields of blue!

Now that I have lost you I cannot allow you to develop, you must be a photograph not a poem.

I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words.

I believe in fiction and the power of stories because that way we speak in tongues. We are not silences. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody as been there for us and deep-dived the words.

All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words.

Yet as we travel deeper into the strange world of the story, the feeling we get is of being understood - which is odd when you think about it, because at school learning is based on whether or not we understand what we are reading. In fact it is the story (or the poem) that is understanding us. Books read us back to ourselves.

The poem is the dream made flesh, in a two-fold sense: as work of art, and as life, which is a work of art.

I did a short film at Outfest, 'Where Are the Dolls,' based on an Elizabeth Bishop poem done, where I play this woman who is sort of walking the streets and ends up alone dancing in a club. I have this hot and heavy scene with a very beautiful actress. It became very popular.

A poem, as a manifestation of language and thus essentially dialogue, can be a message in a bottle, sent out in the –not always greatly hopeful-belief that somewhere and sometime it could wash up on land, on heartland perhaps. Poems in this sense too are under way: they are making toward something. Toward what? Toward something standing open, occupiable, perhaps toward an addressable Thou, toward an addressable reality.

But there is a singular connection between Samuel Beckett, "the grammarian of solitude," sunk in his comical Irish gloom, hiding in a tiny apartment in Paris, and the condition of Manuel Othón, the late-nineteenth-century Mexican recluse, brooding in the parched wasteland in the middle of Mexico. Seemingly at a loss for words around 1900, Othón, in a despairing poem, wrote the Beckett-like line "the desert, the desert and the desert.

When trying to seduce a woman, a writer says: 'I'm a writer', and scribbles a poem on a napkin. It always works.

Words are so often used in the opposite sense, as a screen of diversion. It's the struggle towards truthfulness which is the same whether one is writing a poem, a novel or an argument.

Above all, the listener should be able to understand the poem or the song, not be forced to unravel a complicated, self-indulgent puzzle. Offer your art up to the whole world, not just an elite few.

One can show one's contempt for the cruelty and stupidity of the world by making of one's life a poem of incoherence and absurdity.

Feel My Heart: A Collection of Poem and Art WWW( DOT)amazon(DOT)in/Feel-My-Heart-Collection-Poem/dp/1535431601

El hombre es un documento, objeto de poemas malos.