Zitat des Tages von Edward Hirsch:
Writing poetry is such an intense experience that it helps to start the process in a casual or wayward frame of mind.
As far as I'm concerned, freedom is the most important thing to creativity. You should feel free to write in whatever way, whatever language, feels comfortable to you.
'Liberty Brass' is a small machine that unfolds in a single unpunctuated wave, which is interrupted by the rotating sign, the refrain. Each part is meant to do its work in relentless progression.
I'm so happy to be an advocate for poetry.
I read a lot as a kid and in high school.
I don't think you can read poetry while you're watching television very well.
The sense of flowing, which is so crucial to song, is also crucial to poetry.
There are a lot of poems where I am questing for God. I don't think there is any finding of God.
You're trying to write about something that's sacred. You're trying to bring the seriousness of life and death to it, and you're trying to find a way to dramatize it, and you're trying to give language to it, which is inadequate. But it's important to try.
A novel takes place over time. It's a historical narrative, and it needs to have a series of peaks and valleys and the move through. You can't just start at the highest pitch and stay there, but you can in a lyric poem.
The elegy does the work of mourning; it allows us to experience mortality. It turns loss into remembrance, and it delivers an inheritance.
Poets have always celebrated grief as one of the deepest human emotions.
The idea that a poem was a made thing stayed with me, and I decided then that I wanted to be an artist, not just a diarist. So I put myself through a kind of apprenticeship in writing poetry, and I understood even then that my practice as a poet was deeply related to my reading.
I didn't read poetry seriously until college, when I really began to devour it in a very intense way. I also discovered that a poet is a maker. Before that, I thought a poet was someone who wrote about his own experiences.
As soon as something happens to us in America, everyone begins talking about healing. But before you heal, you have to mourn.
The commitment to working at poetry is important because a poet is a maker, and a poem is a made thing. We have to honor our feelings by working to transform them into something meaningful and lasting.
You are always trying to make something that is more than the sum of its parts.
The very good thing about MFA programs is their democratizing. They bring a lot of different people to the table.
I'm a poet, and I spent my life in poetry.
I'd say people do need some help with poetry because I think poetry just helps takes us to places that Americans aren't always accustomed to going.
I love the leisurely amplitude, the spaciousness, of taking a walk, of heading somewhere, anywhere, on foot. I love the sheer adventure of it: setting out and taking off.
My cultural experiences were as important to my formation as many of the other things that happened to me.
Poetry itself hasn't been well served by poets who fled to the margins.
Poetry is a form of necessary speech... I have sought to restore the aura of sacred practice that accompanies true poetic creation, to honor both the rational and the irrational elements of poetry.
A person who's only suffering can't write a poem. There are choices to be made, and you need to be objective.
I grew up in a middle-class house without books, without art. No one around me wrote poetry or even read it.
Poetry takes place in time. It is a durational. Things take place in sequence.
The muse, the beloved, and duende are three ways of thinking of what is the source of poetry, and all three seem to me different names or different ways to think about something that is not entirely reasonable, not entirely subject to the will, not entirely rational.
The terms of poetry - some simple, some complicated, some ancient, some new - should bring us closer to what we're hearing, enlarging our experience of it, enabling us to describe what we're reading, to feel and think with greater precision.
When poetry separates from song, then the words have to carry all the rhythm themselves; they have to do all the work. They can't rely on the singing voice.
I aspire to a poetry of great formal integrity, deep passion and high intellect, and I have many models for how to do that.
I found a comfort in trying to solve some poetic problems because there were human ones I just couldn't solve.
I think ancient cultures incorporated death into the experience of life in a more natural way than we have done. In our obsessive focus on youth, on celebrity, our denial of death makes it harder for people who are grieving to find a place for that grief.