Zitat des Tages von Paul Muldoon:
It seems to me the structure of the Quartets is too imposed.
I'm sure 50 percent of television ads use rhyme.
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 read a lot of nineteenth-century French poetry. And Irish poetry from the ninth century on.
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.
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 love the fact that Inuit poetry may resonate with me as much as Irish.
We simply have not kept in touch with poetry.
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.
For whatever reason, people, including very well-educated people or people otherwise interested in reading, do not read poetry.
The other side of it is that, despite all that, people reach out to poetry at the key moments in their lives.
I live in New Jersey now, which always gets a bad rap here and there, but I must say, I enjoy living here too.
I was born in Northern Ireland in 1951. I lived most of my life there until 1986 or 1987.
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.
Frost isn't exactly despised but not enough people have worked out what a brilliant poet he was.
I do a lot of readings.
I believe that these devices like repetition and rhyme are not artificial, that they're not imposed, somehow, on the language.
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.
I certainly am interested in accessibility, clarity, and immediacy.
Living at that pitch, on that edge, is something which many poets engage in to some extent.
Words want to find chimes with each other, things want to connect.
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.
Of course, you can't legislate for how people are going to read.
I think poetry, rather than suffering, is more and more sufficient to the needs of our society. It's one of the reasons so much of it is, for want of a better term, 'surreal.'
I don't shape trends, I'd say. I merely reflect them. I think the emphasis is on 'them.' I like variety in poetry. I love how it comes in so many guises. As rock lyric, as rap, as note on a fridge.
I spent about five years stuck in a room between the ages of 16 and 20 while I wrote the first book, which came out when I was 21. I should have been out playing tennis.