Quotes of All Topics . Occasions . Authors
I'm a teacher, so much of what I'm doing remains in the abstract. But I also support a lot of educational initiatives that support kids to really get out there and work hard in their communities. But I also think that we need poets in our country to inspire.
Yes, you can feel very alone as a poet and you sometimes think, is it worth it? Is it worth carrying on? But because there were other poets, you became part of a scene. Even though they were very different writers, it made it easier because you were together.
Every device there is in language is there to be used, if you will. Poets have got to enjoy themselves sometimes, and the twistings and convolutions of words, the inventions and contrivances, are all part of the joy that is part of the painful, voluntary work.
I am a romantic, in a literary way, by which I mean the Romantic poets, who thought just because a sensation is fleeting doesn't mean it isn't valuable. If the only criterion of value is whether something lasts, then the whole of human life is a waste of time.
I can be upset by malice. Most critics are very poor poets. Poetry is a craft that takes a lot to appreciate, and there are some critics who have no ear for it. An irresponsible critic can do a lot of psychic damage, but eventually, they don't affect your work.
When I was little, my dad told me about Anandpur Sahib and the court of Guru Gobind Singh. That we came from a tradition of poets, warriors and artists who created when it was illegal to create... we're groomed to be reckless in the defense of what we feel is right.
I'd photographed musicians before but this was different. Syd was very charismatic, and he had the aura of a poete maudit, which made him the perfect subject for me - I realised that rock n' rollers were the modern equivalent of all the poets I was so enamoured with.
The lovely daisy, so justly celebrated by European poets, is not a native of our soil; we know it well, however, by cultivation in our gardens and green houses; besides, we are disposed to remember it for the sake of those who have sung its praises in immortal verse.
You may be guided by the unending effort of poets and artists, biologists and psychiatrists to describe that irreplaceable and still mysterious emotion so essential to the human condition, but all the search engines in the universe cannot compete with the first kiss.
When we talk to somebody and we want to be nice or polite or show our more beautiful side, we try to use the best words that we know. This is what poets are doing. They are cleaning the words, they are inventing the sentiments, they are giving us a way to communicate.
The craftless anarchy of the Beat poets on the one hand, and the extreme control of Henry James on the other, suggest that for most human beings, just as both freedom and discipline are necessary in life, serendipity and design must coexist in a work to make it readable.
A stock certificate is not a tool, like a shovel, or a commodity, like a pound of cheese. What we sell a customer is not a share in a business, but a view of the Elysian Fields. A financier is a creative artist. Our function is to stimulate the imagination. We are poets!
Latino patriots have served and fought in every war. They are artists, dancers, singers, poets and journalists, teachers and scientists. More and more Latinos are becoming entrepreneurs and businesspeople, contributing to the wealth and economic well-being of the nation.
I think Ginsberg has done more harm to the craft that I honor and live by than anybody else by reducing it to a kind of mean that enables the most dubious practitioners to claim they are poets because they think, If the kind of thing Ginsberg does is poetry, I can do that.
My father, George, has also affected the choices in my life regarding films. I like films that take chances or say something different or experiment. Growing up with him, I was surrounded by different artists - not just actors or film-makers but cartoonists, poets, writers.
I take a real interest in the possibilities of teaching - including the practice of bringing creative writing, and serious reading, into the classroom. I am persuaded that since language is alive, much of the challenge has already been met by the poets and novelists we read.
Poets writing in English have long learned to mourn from classical precedents. They have drawn on a tradition of pastoral elegies, which incorporate the dead into the cycles of nature, that runs from Theocritus' Idylls to John Milton's 'Lycidas' and Percy Shelley's 'Adonais.'
Long before I was a writer, when I was just a haphazard reader and a dreamer of stories, I learnt about an influential book by Harold Bloom. 'The Anxiety of Influence', published in 1973 when I was five years old, is taken up with the terrifying influence of poets on each other.
New voices in an old art - and women poets have been that for much more than a century - do not diminish the art through the category. They enrich it. They renew it with common quandaries of craft and innovation. The category simply allows the quandaries to be seen more clearly.
You go to a Springsteen show, and half of the people are there to party and forget about their cares, and they're being drawn to this visceral experience. And then the other half, you know, has lived and died with his 'Nebraska' album and considers him one of the greatest poets.
It's been such a deep and amazing journey for me, getting close to John Keats, and also I love Shelley and Byron. I mean, the thing about the Romantic poets is that they've got the epitaph of romantic posthumously. They all died really young, and Keats, the youngest of them all.
Each of us has a very rich nature and can look at things objectively, from a distance, and at the same time can have something more personal to say about them. I am trying to look at the world, and at myself, from many different points of view. I think many poets have this duality.
The 1960s was a period when writers in the West began to be aware of the extraordinary eloquence and popular attraction of the Russian poets such as Yevtushenko and Voznesensky - oppositional figures who could draw crowds. The Russian poets recited from memory as a matter of course.
In the early days of the Libertines, we used to put on Arcadian cabaret nights. There'd be some girl climbing out of an egg; we'd try and get a couple of mates to tell a few jokes, performance poets, and then we'd play in the middle of it all. More people were on stage than in the crowd.
I began to write in an enclosed, self-confident literary culture. The poet's life stood in a burnished light in the Ireland of that time. Poets were still poor, had little sponsored work, and could not depend on a sympathetic reaction to their poetry. But the idea of the poet was honored.
I was not really aware of the dystopian genre before I read 'The Handmaid's Tale.' Many poets as well, like John Donne and Emily Dickinson, would be the influences; I specialized in Emily Dickinson at university. Both of those poets have really interesting ways of looking at life and death.
My mother taught us to play baseball, to bake a cake, to play fair - she beat the living daylights out of us sometimes, and she loved us with all her heart; she taught her favorite poets, and there is no child care in the world that will ever be a substitute for what that lady was in our life.
When I was 18, I lived in Greenwich Village, New York, for nine months. At that time, I wanted to change the world, not through architecture, but through painting. I lived the artist's life, mingling with poets and writers, and working as a waiter. I was intrigued by the aliveness of the city.
From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar. The stranger is an archetype in epic poetry, in novels. The tension between alienation and assimilation has always been a basic theme.
In the spring of 1854, some of my publications persuaded King Maximilian II of Bavaria to offer me, at the suggestion of Emanuel Geibel, a position in Munich with an annual salary of 1000 guilders, to take part in his so-called symposia, weekly soirees at which scholars and poets were gathered.
Poets these days, like artists and composers, have won for themselves almost unlimited freedom. You can pass yourself off as a painter without being able to draw, as a composer without being conscious of key relationships, and as a poet without making yourself familiar with traditional verse forms.
If you read the poets of the 19th century in Latin America, you would see that Havana or Mexico City or Buenos Aires are incredibly modern and global cities that they were not. And eventually they became real, and they became real because people read these books and tried to live in a better world.
I found poetry at 12 and 13 and, lo and behold, learned that my attorney father had a background in poetry - as he wore dashikis and Afros in the '70s and named his kids Arabic names. He was a poet and a lot like The Last Poets and Gil Scott-Heron and all of these folks. He definitely was an artist.
Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it's a question of typography, why not? Poets have done beautiful things with typography - Apollinaire's 'Calligrammes,' that sort of thing.
The 'Star Trek' future, to me, is where we are headed. Everything is automated, and we are free to pursue our dreams. We are free to pursue lives that aren't about working and toiling away in dangerous jobs. For example, how many of us would love to be poets, or how many of us would love to be artists?
Being gay facilitated my capacity for shame. As a child, I carried around this thing that gradually became this big dark secret. When I came out in a newspaper interview at 30 I was expecting the reaction the following day to be like the climax of 'Dead Poets Society,' but actually no one really cared.
Poets are always making waves. I mean, you know, in an ideal situation, the ideal republic can't tolerate poets because - it isn't that they mutter and criticize; it is that the poet does not accept the situation called the 'perfect' condition of man - in other words, perfect in the materialistic sense.
I don't see my artist friends as any more neurotic or addiction-prone than the others. The roommates I have had who were into triathlons or environmentalism were just as crazy as the poets, just as prone to tears over gardening or air conditioners, just as ready to kite a cheque or binge on cookie dough.
It is what the poets of Ireland used to be saying, that every brave man, good at fighting, and every man that could do great deeds and not be making much talk about them, was of the Sons of the Gael; and that every skilled man that had music and that did enchantments secretly, was of the Tuatha de Danaan.
Not having finished high school and having been fairly utilitarian in the way I went about college, I didn't have a deep liberal arts background. So we'd go to lunch and people would talk about their favorite seventeenth-century poets, and I'd be thinking, 'Could I even name five poets? From any century?'
My father would take me to auditions and put me in the room right in the corner because he was watching me; he couldn't get a babysitter. He'd be at the Nuyorican Poets Cafe in the LES until four in the morning, trying to tell his story and using his craft, but because he had a kid that didn't let him stop.
Like the seasons of the year, like history, truth also repeats itself. But we seldom recognize it when great poets or true artists - the prophets and the priests of our day - present it to us in garments spick and span, following the fashion of the age, the slant of its fancy, the turn and temper of its mind.
For this reason poets and artists developed the doctrine of Art for Art's Sake. The community did not appear to need them, so, tit for tat, they did not need the community. This being granted, it was no longer necessary or even desirable to make one's poetry either intelligible or sympathetic to the community.
We think that there is this terrible idea that the kids are digital natives... and they know what they're doing, but all the evidence says that they're hanging around going, 'Where are you, I'm here, can I post my picture?' They're not actually writing wikis; they're not actually listening to great poets live.
Part of what made the Macintosh great was that the people working on it were musicians, poets, and artists, and zoologists, and historians. They also happened to be the best computer scientists in the world. But if it hadn't been computer science, these people would have been doing amazing things in other fields.
I think every person either inherits or eventually makes up their own idea of what they are and who they are and what caused the world to be, and it seems to me that these stories of creation myth, adopted by different cultures - most of them are less insightful than the stories made up by individual poets and writers.
In the '70s, the newspaper guild managed to get people paid what they were worth, but the reporters suddenly became middle class. It's much more respectable, more uptight, and everyone speaks in guarded tones. And the writing isn't as good. We always had guys who were failed poets and failed novelists who did it to eat.
The major poets of New Jersey have all suffered, whether it's Whitman, who lost his job for 'Leaves of Grass,' or William Carlos Williams, who was called a communist, or Ginsberg, whose 'Howl' was prosecuted, or myself. If you practise poetry the way I think it needs to be done, you're going to put yourself in jeopardy.
For poets today or in any age, the choice is not between freedom on the one hand and abstruse French forms on the other. The choice is between the nullity and vanity of our first efforts, and the developing of a sense of idiom, form, structure, metre, rhythm, line - all the fundamental characteristics of this verbal art.
'Dead Poets Society' was a very influential film on me and so talking about that movie with him, he just inspired me to continue writing poetry and we talked a lot about our favourite poets. My wrap present from Robin was a beautiful limited edition copy of Walt Whitman's 'Leaves of Grass' and that's a great memory for me.