We simply have not kept in touch with poetry.

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 grew up in this town, my poetry was born between the hill and the river, it took its voice from the rain, and like the timber, it steeped itself in the forests.

Art: If the object of poetry is, to make men, then poetry is the heir of prophecy.

I want to promote poetry to the point where you got all the baldhead kids running around doing poetry, getting the music out of the way and having only words, the spoken word, and then see what happens.

But in the finished art of the song the use of words has no connection with the use of words in poetry.

The gross heathenism of civilization has generally destroyed nature, and poetry, and all that is spiritual.

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

There is probably nothing wrong with art for art's sake if we take the phrase seriously, and not take it to mean the kind of poetry written in England forty years ago.

Because people are very interested in my poetry, in what I say.

The poetry from the eighteenth century was prose; the prose from the seventeenth century was poetry.

It is the timber of poetry that wears most surely, and there is no timber that has not strong roots among the clay and worms.

I was reading the poems of Rochester. Rochester made himself out to be bisexual, but I think that was only to shock. Most of his poetry is sexual, even pornographic.

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.

Poetry is fascinating. As soon as it begins the poetry has changed the thing into something extra, and somehow prose can go over into poetry.

Poetry is an art, the easiest to dabble in, but the hardest to reach true excellence.

Write verse, not poetry. The public wants verse. If you have a talent for poetry, then don't by any means mother it, but try your hand at verse.

Narrative art, the novel, from Murasaki to Proust, has produced great works of poetry.

To know anything of a poet but his poetry is, so far as the poetry is concerned, to know something that may be entertaining, even delightful, but is certainly inessential.

Lapped in poetry, wrapped in the picturesque, armed with logical sentences and inalienable words.

I don't know a better preparation for life than a love of poetry and a good digestion.

On the other hand, if there's an underlying core of poetry that I go to, I go to the sea. I've lived on the sea all my life. I live on the sea in Cape Breton.