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.

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.

Still, language is resilient, and poetry when it is pressured simply goes underground.

I have my own language and it's high time I put a little of it out there.

Well, with the French language, which I understood and spoke, however imperfectly, and read in great quantities, at certain times, the matter I suppose was slightly different from either Latin or Greek.

I belong to a specific category of writers, those who speak and write in a language different from that of their parents.

Poetry is a matter of life, not just a matter of language.

Our purpose is simply to ask how theological principles can be shown to have usable secular analogues that throw light upon the nature of language.

Countries under foreign command quickly forget their history, their past, their tradition, their national symbols, their way of living, often their own literary language.

French is a language that makes those who speak it both calm and dynamic.

I have eighteen titles in the German language. I had a number one song in 1965.

That's so different in Hong Kong when I'm using my own mother language, I can treat the line in one thousand different ways, with many different reactions.

The Internet is not just one thing, it's a collection of things - of numerous communications networks that all speak the same digital language.

Of all of our inventions for mass communication, pictures still speak the most universally understood language.

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.

Music is the soul of language.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

For me concrete poetry was a particular way of using language which came out of a particular feeling, and I don't have control over whether this feeling is in me or not.

I think I am too interested in my own ideas to copy anyone else's, but I find that other people's imagery, the flow of language in the outside world, games with words, and ideas about relationships are all most important to me.

I don't see it in terms of changing things, but rather using language and music as weapons for fighting a mainstream media which is predominately right wing, and loyal to the political framework and its corporate interests.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

Although spoken English doesn't obey the rules of written language, a person who doesn't know the rules thoroughly is at a great disadvantage.

I'm really fascinated and you know I've been wondering about that usage of language, various breathing techniques and why in these practices language is being used in another way.

Two races share today the soil of Canada. These people had not always been friends. But I hasten to say it. There is no longer any family here but the human family. It matters not the language people speak, or the altars at which they kneel.