And yet, in a culture like ours, which is given to material comforts, and addicted to forms of entertainment that offer immediate gratification, it is surprising that so much poetry is written.

But I tend to think of the expressive part of me as rather tedious - never curious or responsive, but blind and self-serving.

And yet, in a culture like ours, which is given to material comforts, and addicted to forms of entertainment that offer immediate gratification, it is surprising that so much poetry is written.

I would say that American poetry has always been a poetry of personal testimony.

The future is always beginning now.

Poetry is, first and last, language - the rest is filler.

I think the best American poetry is the poetry that utilizes the resources of poetry rather than exploits the defects or triumphs of the poet's personality.

And at least in poetry you should feel free to lie. That is, not to lie, but to imagine what you want, to follow the direction of the poem.

I am not concerned with truth, nor with conventional notions of what is beautiful.

Nothing is the destiny of everyone, it is our commonness made dumb.

And Robert Lowell, of course - in his poems, we're not located in his actual life. We're located more in the externals, in the journalistic facts of his life.

Poetry is something that happens in universities, in creative writing programs or in English departments.

It's very hard to write humor.

I certainly can't speak for all cultures or all societies, but it's clear that in America, poetry serves a very marginal purpose. It's not part of the cultural mainstream.

It hardly seems worthwhile to point out the shortsightedness of those practitioners who would have us believe that the form of the poem is merely its shape.

There's a certain point, when you're writing autobiographical stuff, where you don't want to misrepresent yourself. It would be dishonest.

From the reader's view, a poem is more demanding than prose.

I tend to like poems that engage me - that is to say, which do not bore me.

A great many people seem to think writing poetry is worthwhile, even though it pays next to nothing and is not as widely read as it should be.

I believe that all poetry is formal in that it exists within limits, limits that are either inherited by tradition or limits that language itself imposes.

Each moment is a place you've never been.

Usually a life turned into a poem is misrepresented.

The number of people writing poems is vast, and their reasons for doing so are many, that much can be surmised from the stacks of submissions.

For some of us, the less said about the way we do things the better.

Pain is filtered in a poem so that it becomes finally, in the end, pleasure.

A life is not sufficiently elevated for poetry, unless, of course, the life has been made into an art.

Once you start describing nothingness, you end up with somethingness.

I believe that in a great city, or even in a small city or a village, a great theater is the outward and visible sign of an inward and probable culture.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

I don't have space to enter into the examples or the history of this, so I'm left with having to make the bold statement that culture is extinct.

We need to have a culture that says 'the less energy you can use to be comfortable, the better off you are and the better you should feel about yourself'.

Concerning culture as a process, one would say that it means learning a great many things and then forgetting them; and the forgetting is as necessary as the learning.

No doubt Western civilization has in the past been full of wars and revolutions, and the national elements in our culture, even when they were ignored, always provided an unconscious driving force of passion and aggressive self-assertion.

The things that I draw on, and the world that I feel part of, aren't particularly youth culture.

I recommend the same therapies for all humans with HIV. There is no reason to believe that physiologic responses to therapy will vary across lines of class, culture, race or nationality.

Towns are suffering from all these things, we should unite until we are all satisfied, man cannot be killing each other as if we were animals, as if we had no culture; that is a lack of culture.

You're a Catholic in Italy when you're born, it's unthinkable to stop being Catholic. You just take the rules a lot more seriously, because it pervades your culture.

Sex and drugs were simply not discussed in our culture at that time.

You have to open your mind. I like the ability to express myself in a deep way. It's the closest music to our humanity - it's like a folk music that rises up out of a culture.

Lives have been altered in fundamental ways, and later, after they acquire a more complete understanding of what goals are actually attainable, many are left facing a lot of pain and frustration. And yet, there's no culture of complaint.

I've always been interested in the relationship between total external surround, culture, the political matrix, technology, etc., and the internal human consciousness.

Writing is about culture and should be about everything. That's what makes it what it is.

And there are so many people in the third world suffering so horribly right now, and we are so focused on ourselves and our culture that a lot of things are showing up in our culture that are making it impossible for us to focus on others. We're so self-focused.

One very important aspect of our contemporary musical culture - some might say the supremely important aspect - is its extension in the historical and geographical senses to a degree unknown in the past.

Mr. Speaker, genocide is the most potent of all crimes against humanity because it is an effort to systematically wipe out a people and a culture as well as individual lives.

When I go to Japan and do shows I play for 1,000 to 1,500 people. I like a lot about Japan. Their popular culture and mass commercialization appeals to me.

The question was heatedly debated of how much Western culture should be brought into China.

The whole drive of western culture, the part of it which is serious, is towards an extreme objectification. It's carried to the point where the human subject is treated almost as if it's dirt in the works of a watch.

I've never understood why artists, who so often condescend to the cliches of their own culture, are so eager to embrace the cliches of cultures they know nothing about.