I believe that these devices like repetition and rhyme are not artificial, that they're not imposed, somehow, on the language.

For whatever reason, people, including very well-educated people or people otherwise interested in reading, do not read poetry.

Living at that pitch, on that edge, is something which many poets engage in to some extent.

I believe that these devices like repetition and rhyme are not artificial, that they're not imposed, somehow, on the language.

The other side of it is that, despite all that, people reach out to poetry at the key moments in their lives.

We simply have not kept in touch with poetry.

One will never again look at a birch tree, after the Robert Frost poem, in exactly the same way.

I do a lot of readings.

Words want to find chimes with each other, things want to connect.

I'm sure 50 percent of television ads use rhyme.

It seems to me the structure of the Quartets is too imposed.

I was born in Northern Ireland in 1951. I lived most of my life there until 1986 or 1987.

That's one of the great things about poetry; one realises that one does one's little turn - that you're just part of the great crop, as it were.

I certainly am interested in accessibility, clarity, and immediacy.

Of course, you can't legislate for how people are going to read.

The ground swell is what's going to sink you as well as being what buoys you up. These are cliches also, of course, and I'm sometimes interested in how much one can get away with.

Your average pop song or film is a very sophisticated item, with very sophisticated ways of listening and viewing that we have not really consciously developed over the years - because we were having such a good time.

I suppose for whatever reason I actively welcome being put down, something which perhaps goes back to my upbringing - that accusation of not being worthy which could be laid at one's door.

What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.

On the other hand, at some level the mass of unresolved issues in Northern Ireland does influence the fact that there are so many good writers in the place.

I live in New Jersey now, which always gets a bad rap here and there, but I must say, I enjoy living here too.

Frost isn't exactly despised but not enough people have worked out what a brilliant poet he was.

Obviously one of the things that poets from Northern Ireland and beyond - had to try to make sense of was what was happening on a day-to-day political level.

At high school, instead of the weekly essay, I would write a poem, and the teacher accepted that. The impulse was one of laziness, I'm certain. Poems were shorter than essays.

Believe it or not, one of the first poets I was aware of was Yeats. I recited 'The Lake Isle of Innisfree' at a verse speaking competition when I was eight or nine.

I met Seamus Heaney and Michael Longley on the same day in 1968. I was sixteen at the time. Very exciting. They were reading at Armagh. One of my teachers brought me to meet them, introduced me, and I became friends with them.

I read a lot of nineteenth-century French poetry. And Irish poetry from the ninth century on.

If the poem has no obvious destination, there's a chance that we'll be all setting off on an interesting ride.

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.