Robert Morgan Famous Quotes
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Among the American contemporaries I read with most enjoyment are several North Carolinians. I think the best poetry being written these days is being written by Southerners.
If a poem is not memorable, there's probably something wrong. One of the problems of free verse is that much of the free verse poetry is not memorable.
Self-forgiveness comes when we realize that if God has forgiven us, we needn't remain angry with ourselves, needn't hate ourselves any longer. God will use it all for good.
We have a lot of long narrative poems written in the 20th century, but they're not very well known, and they're not read by very many people.
I don't think the creative writing industry has helped American poetry.
When you have an idea for a story, you want those characters to reach as many people as you can. I think you normally think of prose as a way of doing that. It fits our time, the culture.
With prose you can incorporate more details, develop scenes, sustain the tension in a special way. Prose has its own speed.
What actually makes poetry poetry is of course impossible to define. We recognize it when we hear it, when we see it, but we can't define it.
The young people have MTV and rock and roll. Why would they go to read poetry? Poetry belongs to the Stone Age. It awakens in us perceptions that go back to those times.
Distance not only gives nostalgia, but perspective, and maybe objectivity.
A poem in form still has to have voice, gesture, a sense of discovery, a metaphoric connection, as any poetry does.
The idea of avant-garde art is a very suspicious thing to me, the idea that poetry is new and it keeps being new the way Chevrolets every year are new.
I don't think poetry is something that can be taught. We can encourage young writers, but what you can't teach them is the very essence of poetry.
One of the most powerful devices is to distort time, to go from human time to atomic time, geologic time. Sometimes you can actually accomplish that, with one unexpected word choice.
The Language Poets are writing only about language itself. The Ashbery poets are writing only about poetry itself. That seems to me a kind of dead end.
I did not have a very literary background. I came to poetry from the sciences and mathematics, and also through an interest in Japanese and Chinese poetry in translation.
A lot of my students are Asian-American, and it has been thrilling to watch them break through the stereotypes into something alive and surprising.
The fact that something is in a rhymed form or in blank verse will not make it good poetry.
Southern poets are still writing narrative poems, poems in forms, dramatic poems.
What language shall I borrow To thank Thee, dearest Friend, For this, Thy dying sorrow, Thy pity without end? O make me Thine forever, And should I fainting be, Lord, let me never, never Outlive my love for Thee.
The best books of our times have included the three mature volumes of Philip Larkin. They're very short books of poems, and very carefully arranged.
Part of what we love about poetry is the fact that it seems ancient, that it has an authority of ancient language and ancient form, and that it's timeless, that it reaches back.
It was less a literary thing than a linguistic, philosophical preoccupation ... discovering how far you can go with language to create immediate, elementary experience.
Philip Larkin has a tough honesty and sense of humor that I find irresistible, as a contemporary poet.
Pound's translation of Chinese poetry was maybe the most important thing I read. Eliot a little bit later.
I tell students they will know they are getting somewhere when a scene is so painful they can just barely bring themselves to write about it. A writer has to draw blood.
You have to really dive deep back into yourself and get rid of so much modern analytical categorization. It's one of the great things poetry does.
I love to create interesting textures with language. You can do it as long as it seems like a discovery.
Young writers find their first audience in little magazines, and experimental writers find their only audience there.
One of the biggest changes that ever occurred in my life was going from the isolation of working part-time as a house painter in Henderson County, to Cornell, where everybody was a literary person.
We don't know a tenth of what there is to know," Mr. Pendergast said. "Why we don't even know a sixth.
The Black Mountain poet I like most is the early Creeley. Those early poems seem very lyrical and very traditional, with a lot of voice and character.
The good Lord made the world so we could earn our joy, Ma said. But it's no guarantee we'll ever be happy.
Young writers only take off when they find their subjects. Since almost everyone has a family and stories about family, that is often a place to start.
I love to compare different time frames. Poetry can evoke the time of the subject. By a very careful choice of words you can evoke an era, completely throw the poem into a different time scale.
Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.
Teaching writing over the years intrudes on your own writing in important ways, taking away some of the excitement of poetry.
The great watershed of modern poetry is French, more than English.
I seem to keep returning to my father in poems because his personality was so extreme, so driven. He did everything to excess.
Alchemy is the art of far and near, and I think poetry is alchemy in that way. It's delightful to distort size, to see something that's tiny as though it were vast.
Fiction is about intimacy with characters, events, places.
In the later books I am much more at home in the use of language to describe things. I had never thought of that until a critic pointed that out.
Some people want to call me an Appalachian writer, even though I know some people use regional labels to belittle.
Neither of my parents has been very sensitive about my writing.
Almost all good stories are sad because it is the human struggle that engages us readers and listeners the most. To watch characters confront their hardships and uncertainties makes us feel better about our own conflicts and confusions and fears. We have a sense of community, of sympathy, a cleansing sympathy, as Aristotle said, and relief that we are safe in our room only reading the story. A story of sadness, even tragedy, makes us feel, paradoxically, better, as though we are confronting our own conflicts and fears, and have endured.