I've always thought my poems told stories.

A poet's cultural baggage and erudition can interfere with a poem.

Reading a poem aloud to an audience is gestural as much as precise.

I've always thought my poems told stories.

I've always liked Muir without knowing quite why.

A poem can have an impact, but you can't expect an audience to understand all the nuances.

The negative aspects of Scottish Nationalism are a kind of aggressive complacency, that sort of boasting; but that's an expression of insecurity, I think, of a lack of confidence.

After I'd produced about two dozen pen and ink drawings, one evening I decided that they needed poems to accompany them. I still have no idea where that notion came from, but it took me about two hours to produce verses for these creatures.

To me many short poems read and write like beginnings that simply whet my appetite; I want to get over that.

I was reading the poems of Rochester. Rochester made himself out to be bisexual, but I think that was only to shock. Most of his poetry is sexual, even pornographic.

If I were assigned poems I suppose I'd write more of them but it is entirely voluntary and for the most part ignored in the market sense of the word so the language to me is most intimate, most important, most sublime and most satisfying when it gets done.

I like poems that are complex.

'A collected poems' is either a gravestone or a testimonial to survival.

I was in Paris at an English-language bookstore. I picked up a volume of Dickinson's poetry. I came back to my hotel, read 2,000 of her poems and immediately began composing in my head. I wrote down the melodies even before I got to a piano.

We have a lot of long narrative poems written in the 20th century, but they're not very well known, and they're not read by very many people.

Besides the actual reading in class of many poems, I would suggest you do two things: first, while teaching everything you can and keeping free of it, teach that poetry is a mode of discourse that differs from logical exposition.

Poems seem to have a life of their own. They tell you when enough is enough.

The few bad poems which occasionally are created during abstinence are of no great interest.

My readers at that time were still men of letters; but there had to be other people waiting to read my poems.

I wrote those poems for myself, as a way of being a soldier here in this country. I didn't know the poems would travel. I didn't go to Lebanon until two years ago, but people told me that many Arabs had memorized these poems and translated them into Arabic.

I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound.

I don't expect you'll hear me writing any poems to the greater glory of Ronald and Nancy Reagan.

If I were brave enough to say so, I'd like to think that I had written some poems that people are not going to forget.

I was writing notes, but not composing poems. The Hunter began to develop out of this fragmented process.

I like Beethoven, especially the poems.

Many of my poems are not sexual.

I like poems you can tack all over with a hammer and there are no hollow places.

I've always thought my poems told stories.

All I wanted to do was write - at the time, poems, and prose, too. I guess my ambition was simply to make money however I could to keep myself going in some modest way, and I didn't need much, I was unmarried at the time, no children.

Of course the other and more serious way in which it all happens is that one finds in poems and language some quality one appropriates for oneself and wishes to reproduce.

My brother used to say that I wrote faster than he could read. He wrote two books - of poems - better than all mine put together.

Poems in a way are spells against death. They are milestones, to see where you were then from where you are now. To perpetuate your feelings, to establish them. If you have in any way touched the central heart of mankind's feelings, you'll survive.

You don't help people in your poems. I've been trying to help people all my life - that's my trouble.

The title of the poems was The Only Bar in Dixon. We sent it out to The New Yorker on a fluke, and they took them and printed all three in the same issue.

I don't know why Sinclair Lewis fell in love with me. He didn't get even the slightest response from me. But his letters were lovely. And the poems he wrote me were lovely. I used some of them in my book.

Many poets write books. They'll tell you: Well, I've got my next book, but there are two poems I need to write, one about x, one about y. This is a wonder to me.

There's not too much difference between writing a picture book and writing a collection of a hundred poems or so, except that the bigger books take a lot longer to do.

You must understand the whole of life, not just one little part of it. That is why you must read, that is why you must look at the skies, that is why you must sing and dance, and write poems and suffer and understand, for all that is life.

I don't write poems and put them to music. Just let things flow.

Well, "The Wellspring" was written from 1983 to 1986. And it had a section in the beginning that was poems that began from others' experience.

The only difference between me and others is that they think they can change something with cute little poems, nice cards or embracing trees and being nice to little lapdogs.

I went on all over the States, ranting poems to enthusiastic audiences that, the week before, had been equally enthusiastic about lectures on Railway Development or the Modern Turkish Essay.

No poems can please for long or live that are written by water drinkers.

I used to carry about with me a German map-case filled with poems.

I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.

The Black Mountain poet I like most is the early Creeley. Those early poems seem very lyrical and very traditional, with a lot of voice and character.

I am a genius who has written poems that will survive with the best of Shakespeare, Wordsworth and Keats.

For instance, it's a little better now than it was two or three years ago, but something like 70% of the poems I receive seem to be written in the present indicative.

By reason of weird translation, many such sets of instructions read like poems anyhow.