“I keep coming back to the statement… (Heaney)

“I keep coming back to the statement because it gets at the truth. It’s another way of accounting for the fact that, if a poem is any good, you can repeat it to yourself as if it were written by somebody else. The completedness frees you from it and it from you. You can read and reread it without feeling self-indulgent: whatever it was in you that started the writing has got beyond you. The unwritten poem is always going to be entangled with your own business, part of your accident and incoherence – which is what drives you to write. But once the poem gets written, it is, in a manner of speaking, none of your business.” ~ Seamus Heaney

“Sometimes she seemed like a woman without skin… (Jong)

“Sometimes she seemed like a woman without skin. She felt everything so intensely, had so little capacity to filter out pain that everyday events often seemed unbearable to her. Paradoxically it is also that skinlessness which makes a poet. One must have the gift of language, of course, but even a great gift is useless without the other curse: the eyes that see so sharply they often want to close. Her eyes were astoundingly blue and astoundingly sharp. Nothing escaped her. She saw everything, and since most of what there is to see in the world is painful, she often lived in pain. . . . Words spared her for a while. With the process of writing the poem, there is a kind of connection which sustains one. Then the poem is done and one is alone again. Other people may enjoy the poem later, but the poet can hardly relate to it. The poet is happy only while writing the poem.”

– Erica Jong, Remembering Anne SextonAnne Sexton (November 9, 1928 – October 4, 1974).

“Read poetry every day of your life… (Bradbury)

“Read poetry every day of your life. Poetry is good because it flexes muscles you don’t use often enough. Poetry expands the senses and keeps them in prime condition. It keeps you aware of your nose, your eye, your ear, your tongue, your hand. And, above all, poetry is compacted metaphor or simile. Such metaphors, like Japanese paper flowers, may expand outward into gigantic shapes. Ideas lie everywhere through the poetry books, yet how rarely have I heard short story teachers recommending them for browsing.

What poetry? Any poetry that makes your hair stand up along your arms. Don’t force yourself too hard. Take it easy. Over the years you may catch up to, move even with, and pass T. S. Eliot on your way to other pastures. You say you don’t understand Dylan Thomas? Yes, but your ganglion does, and your secret wits, and all your unborn children. Read him, as you can read a horse with your eyes, set free and charging over an endless green meadow on a windy day.”

 

“In the act of writing the poem, I am obedient… (Oliver)

“In the act of writing the poem, I am obedient, and submissive. Insofar as one can, I put aside ego and vanity, and even intention. I listen. What I hear is almost a voice, almost a language. It is a second ocean, rising, singing into one’s ear, or deep inside the ears, whispering in the recesses where one is less oneself than a part of some single indivisible community. Blake spoke of taking diction. I am no Blake, yet I know the nature of what he meant. Every poet knows it. One learns the craft, and then casts off. One hopes for gifts. One hopes for direction. It is both physical, and spooky. It is intimate, and inapprehensible. Perhaps it is for this reason that the act of first-writing, for me, involves nothing more complicated than paper and pencil. The abilities of a typewriter or computer would not help in this act of slow and deep listening.”
~ Mary Oliver

“Tonight I Am In Love” by Dorianne Laux

Tonight, I am in love with poetry,
with the good words that saved me,
with the men and women who
uncapped their pens and laid the ink
on the blank canvas of the page.

I am shameless in my love; their faces
rising on the smoke and dust at the end
of day, their sullen eyes and crusty hearts,
the murky serum now turned to chalk
along the gone cords of their spines.

I’m reciting the first anonymous lines
that broke night’s thin shell: sonne under wode.
A baby is born us bliss to bring. I have labored
sore and suf ered death. Jesus’ wounds so wide.

I am wounded with tenderness for all who labored
in dim rooms with their handful of words,
battering their full hearts against the moon.

They flee from me that sometime did me seek.
Wake, now my love, awake: for it is time.
For God’s sake hold your tongue and let me love!

What can I do but love them? Sore throated
they call from beneath blankets of grass,
through the wind­torn elms, near the river’s
edge, voices shorn of everything but the one
hope, the last question, the first loss, calling

Slow, slow, fresh fount, keep time with my salt tears.
Whenas in silks my Julia goes, calling Why do I
languish thus, drooping and dull as if I were all earth?

Now they are bones, the sweet ones who once
considered a cat, a nightingale, a hare, a lamb,
a fly, who saw a Tyger burning, who passed
five summers and five long winters, passed them
and saved them and gave them away in poems.

They could not have known how I would love them,
worlds fallen from their mortal fingers.
When I cannot see to read or walk alone
along the slough, I will hear you, I will
bring the longing in your voices to rest
against my old, tired heart and call you back.

~ Laux, Dorianne. “Tonight I Am In Love.” Facts About the Moon: Poems. New York: W.W. Norton &, 2006.