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.

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.

Conceit is bragging about yourself. Confidence means you believe you can get the job done.

There is a difference between conceit and confidence. Conceit is bragging about yourself. Confidence means you believe you can get the job done.

Conceit is an insuperable obstacle to all progress.

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.

Conceit is the finest armour a man can wear.

The proposition of an established classification of states as slave states and free states, as insisted on by some, and into northern and southern, as maintained by others, seems to me purely imaginary, and of course the supposed equilibrium of those classes a mere conceit.

It is well for us that we are born babies in intellect. Could we understand half what mothers say and do to their infants, we should be filled with a conceit of our own importance, which would render us insupportable through life.

You have a good many little gifts and virtues, but there is no need of parading them, for conceit spoils the finest genius. There is not much danger that real talent or goodness will be overlooked long, and the great charm of all power is modesty.

Conceit is God's gift to little men.

The delicate balance between modesty and conceit is popularity.

Sometimes a neighbor whom we have disliked a lifetime for his arrogance and conceit lets fall a single commonplace remark that shows us another side, another man, really; a man uncertain, and puzzled, and in the dark like ourselves.

Pride and conceit were the original sins of man.

Talent is God given. Be humble. Fame is man-given. Be grateful. Conceit is self-given. Be careful.

The smaller the mind the greater the conceit.

Infatuated, half through conceit, half through love of my art, I achieve the impossible working as no one else ever works.

Calm self-confidence is as far from conceit as the desire to earn a decent living is remote from greed.

Conceit spoils the finest genius. There is not much danger that real talent or goodness will be overlooked long; even if it is, the consciousness of possessing and using it well should satisfy one, and the great charm of all power is modesty.

Frivolity is inborn, conceit acquired by education.

Above all, you must fight conceit, envy, and every kind of ill-feeling in your heart.

Conceit causes more conversation than wit.

I became hooked on the idea of being able to shoot an image and process it myself, and end up with a product.

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.

Yeah, that's what kind of, we get the idea a little bit yeah, because other people from different countries also try as hard as they can to get a medal or a gold medal in the Olympic Games. And you know, if they can work hard, we can work hard as well.

What's fascinating is that when you write a script, it's almost a stream of consciousness. You have an idea that it means something, but you're not always sure what. Then when you get on the set, the actors teach you.

I also do not like the idea of soft money, these issue ads - people don't know where the money is coming from, millions and millions of dollars outside of the control of a candidate - there's no accountability.

From the beginning, the series has been story driven - I began with a story idea - but research feeds it.