We do very little re-writing in the office. We often take on people who show great promise and who we hope will develop into somebody important and someone good.

With me it's the whole thing, it's the conceit, the idea, what the poem is saying. And it goes on just as long as is necessary to say what needs to be said.

There are numerous cases of that, where one of our writers discovers another writer whom he likes, and we then take that book on. So it's a very close relationship. We can do that because we're so small.

I think one ages and one dates. I tend to have a good deal of difficulty in liking some of the new poets.

We do very little re-writing in the office. We often take on people who show great promise and who we hope will develop into somebody important and someone good.

Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important.

I do read everything that we publish. We usually have to have two or three votes for a book before we take it on. So in that sense I suppose it is an orchestra.

It's all well and good to say that Germans were all responsible for the concentration camps, but I don't think they were. I think that was the work of a small group of fiends.

I try to write in plain brown blocks of American speech but occasionally set in an ancient word or a strange word just to startle the reader a little bit and to break up the monotony of the plain American cadence.

Often something comes in from which you can see that the person is good, the book may not be perfect as it is, and the person doesn't want to do a re-write. That's something we do almost nothing of.

Every now and then, I strike something that just goes click, you know, in my head. As Gertrude Stein used to say, it rings the bell, and I feel, this is great.

I think that concrete poetry seems to have, as far as I can see, come to a kind of a dead end. It doesn't seem to be going any further than it went in its high period of about five or six years ago.

I think most people read and re-read the things that they have liked. That's certainly true in my case. I re-read Pound a great deal, I re-read Williams, I re-read Thomas, I re-read the people whom I cam to love when I was at what you might call a formative stage.

I think there's no excuse for the American poetry reader not knowing a good deal about what is going on in the rest of the world.

Concrete poets continue to turn out beautiful things, but to me they're more visual than oral, and they almost really belong on the wall rather than in a book. I haven't the least idea of where poetry is going.

I think there is a great difference, in that when the poet is reading you get the whole personality of the person, especially if he's a good reader. Whereas a person just sitting gets what he puts into it.

Then, of course, there are those sad occasions when a poet or a writer has not grown, and one has to let them go because they're just not making headway. But we have a very clear personal relationship with the authors.

I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bly that it's a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.

We don't attempt to have any theme for a number of the anthology, or to have any particular sequence. We just put in things that we like, and then we try to alternate the prose and the poetry.

I think that is where poetry reading becomes such an individual thing. I mean I have friend who like poets who just don't say anything to me at all, I mean they seem to me rather ordinary and pedestrian.

We see them when they come to New York. They stay at my wife's apartment. We have quite a correspondence with them at all times. They play a very important role, the authors in the firm, because so much of the material we publish is suggested by them.

The German experience, as you can see, did move me very much. Seeing that terrible destruction and seeing the miserable state of the people, how they had been beaten down by the war through no fault of their own probably.

Concrete poets continue to turn out beautiful things but to me theyre more visual than oral and they almost really belong on the wall rather than in a book. I havent the least idea of where poetry is going.

You are not here merely to make a living. You are here in order to enable the world to live more amply, with greater vision, with a finer spirit of hope and achievement. You are here to enrich the world, and you impoverish yourself if you forget the errand.

Hope is the struggle of the soul, breaking loose from what is perishable, and attesting her eternity.

All the great things are simple, and many can be expressed in a single word: freedom, justice, honor, duty, mercy, hope.

The tender heart, the broken and contrite spirit, are to me far above all the joys that I could ever hope for in this vale of tears.

The most important training, though, is to experience life as a writer, questioning everything, inventing multiple explanations for everything. If you do that, all the other things will come; if you don't, there's no hope for you.

I hope that people will finally come to realize that there is only one 'race' - the human race - and that we are all members of it.

The only hope is that our civilization will collapse at a certain point, as always happens in history. Then, out of barbarity, a renaissance.

Infuse your life with action. Don't wait for it to happen. Make it happen. Make your own future. Make your own hope. Make your own love. And whatever your beliefs, honor your creator, not by passively waiting for grace to come down from upon high, but by doing what you can to make grace happen... yourself, right now, right down here on Earth.

Hope is generally a wrong guide, though it is very good company by the way.

I don't sit in the corner waiting for death: death has to pursue me. I'm going strong. I hope to reach 100 and ask for an extension, just like my grandmother did.

When I talk to people in need, they tell me they want to hope; they are eager for opportunity; they are ready for better days. And I can tell you that every time their hopes are disappointed, all nations lose.

I'd hope to reach any kid who feels apart from the group - those who seem to be outsiders, who feel different. Kids who want to reach their parents often don't know how to do so.

If we can just take a few companies, and use those as models, as examples, to show the rest of corporate America how they can become more competitive, that's what I'd like to do and that's what I hope to do.

It's part of the calling to at least do a few songs in the show that give people some hope. There's so much hurt in this world and... music is such a great healing balm and a great way to forget your troubles.

Just as a mother finds pleasure in taking her little child on her lap, there to feed and caress him, in like manner our loving God shows His fondness for His beloved souls who have given themselves entirely to Him and have placed all their hope in His goodness.

Yesterday I was a dog. Today I'm a dog. Tomorrow I'll probably still be a dog. Sigh! There's so little hope for advancement.

Testimony is an integral part of the Black religious tradition. It is the occasion where the believer stands before the community of faith in order to give account of the hope that is in him or her.

What can you say about such a man as Christopher Reeve? He embodied all the best that a human being can hope to be.

Hope springs eternal, even in politics.

When I finally gave up any hope of doing anything representative of the American family, I actually seemed to have tapped into other people's weirdness in that way.

Having a sense of purpose is having a sense of self. A course to plot is a destination to hope for.

We are laying the foundations of a government, which we hope may outlast the Pyramids.

I've been pleased to work with so many wonderful stars through the years. This has been an amazing journey. I hope it continues.

We hope to do the Spanish Tragedy based on the play by Thomas Kyd.

Hope is a flatterer, but the most upright of all parasites; for she frequents the poor man's hut, as well as the palace of his superior.

Hope is a very thin diet.