From The Poem Full Fathom Five Quotes

You defy questions;
You defy other godhood.
I walk dry on your kingdom's border,
Exiled to no good. ~ Sylvia Plath

The Process of Explication"

I

Students, look at this table
And now when you see a man six feet tall
You can call him a fathom.

Likewise, students when yes and you do that and other stuff
Likewise too the shoe falls upon the sun
And the alphabet is full of blood
And when you knock upon a sentence in the
Process of explication you are going to need a lot of rags

Likewise, hello and goodbye.


II

Nick Algiers is my student
And he sits there in a heap in front of me thinking of suicide
And so, I am the one in front of him
And I dance around him in a circle and light him on fire
And with his face on fire, I am suddenly ashamed.

Likewise the distance between us then
Is the knife that is not marriage.


III

Students, I can't lie, I'd rather be doing something else, I guess
Like making love or writing a poem
Or drinking wine on a tropical island
With a handsome boy who wants to hold me all night.

I can't lie that dreams are ridiculous.
And in dreaming myself upon the moon
I have made the moon my home and no one
Can ever get to me to hit me or kiss my lips.

And as my bridegroom comes and takes me away from you
You all ask me what is wrong and I say it is
That I will never win. ~ Dorothea Lasky

The animal encounter poem is now so distinct a genre that it would be possible to create a full-length anthology from deer encounter poems alone, and many varieties of experience would emerge from such an exercise. ~ John Burnside

How long would our poem be?
How much would it weigh?
The first verse would be yours, of course−
Age before beauty, you'd say.

You would not rush so much as crest,
a wave that spreads and breaks
across the eyes and ears to fill
some deeper, inner space.

The next verse would be mine,
self-conscious, yes, it's true,
and full of fits and starts
but bits of music too.

Would we share some lines then,
just we two?
Here's a place for my words;
here, only yours will do,

And would it matter, really,
after all is said and done,
who made which piece of glory?
Who, this moon? Who, that sun?

The pen drops from my hand,
but there's still more to say.
So I must write our final line,
which is simply
stay. ~ Louise Hawes

Let's sort the injury from the injured,
Asking: What field? What battle?

Is this the site of your disaster?

An emergency room full of old friends.
Someone asking: Recollect, if you will,
A poem of Pindar's: That which above all

Shines through everything. Shines through
Each thing present all around.

Everything quietly unconcealing in the golden hospital
Light. Here's the chart, the anamnesis, of how and when
We want to kill each other, let each other die.

We, the living, breathe
Although we have lost old friends.

We have left them behind like dirty bandages.
We have left them ripped open, wide.
We've left rooms saying: Fuck you
And you and you. ~ Olena Kalytiak Davis

These are the ashes of fiery weather,
Of nights full of the green stars from Ireland,
Wet out of the sea, and luminously wet,
Like beautiful and abandonded refugees. ~ Wallace Stevens

I forgot to sup
annoyance
from his glass full of
mingled dread and rage
Now let me take
a small draught of solace
from my own little cup
full of predicaments!
From the poem- Draught ~ Munia Khan

. . .In a heartbeat, you will fall right into that novel, that poem, the story that you are most in love with right now. When you learn to be able to decide in the moment to take breaks from your internal voices - even though it's only for a split second - you will be taking your first baby steps toward the full-out exhilaration of living in the midst of the wholly realized writer's life.

Then all the negatives - yes, even your cherished writer's block ego trip - will fade into background noise, then you will find silence, and your story will take over. Before you know it, you will be working calmly and clearly for hours, rather than for a couple minutes.

1 hour, not 1 second, 2 hours, not 2 seconds, 3 hours, 4 hours, 5 hours of allowing your mind to come to rest from the horrid, every day, mental chatter we lock ourselves up with - a time to anchor within the natural spaciousness that you already know instinctively, know from deep within will make you feel full inside. . . . ~ Terry Kennedy

I have never received full credit from the SPLA [Sudanese People's Liberation Army], because the men are very sexist and feel that I'm acting out of place, bringing too much attention to myself - but for the funeral of our leader John Garang, they had me write the poem "Chol Apieth" to eulogize him, and that was their way of acknowledging my contributions. ~ Kola Boof

The air was steeped with the heady fragrance of roses, as if the entire hall had been rinsed with expensive perfume.
"Good Lord!" she exclaimed, stopping short at the sight of massive bunches of flowers being brought in from a cart outside. Mountains of white roses, some of them tightly furled buds, some in glorious full bloom. Two footmen had been recruited to assist the driver of the cart, and the three of them kept going outside to fetch bouquet after bouquet wrapped in stiff white lace paper.
"Fifteen dozen of them," Marcus said brusquely. "I doubt there's a single white rose left in London."
Aline could not believe how fast her heart was beating. Slowly she moved forward and drew a single rose from one of the bouquets. Cupping the delicate bowl of the blossom with her fingers, she bent her head to inhale its lavish perfume. Its petals were a cool brush of silk against her cheek.
"There's something else," Marcus said.
Following his gaze, Aline saw the butler directing yet another footman to pry open a huge crate filled with brick-sized parcels wrapped in brown paper. "What are they, Salter?"
"With your permission, my lady, I will find out." The elderly butler unwrapped one of the parcels with great care. He spread the waxed brown paper open to reveal a damply fragrant loaf of gingerbread, its spice adding a pungent note to the smell of the roses.
Aline put her hand over her mouth to contain a bubbling laugh, while some undefinable emotio ~ Lisa Kleypas

Interlaken

Get a running start. Catch
a good wind, he said: Be a good

bird. I thought him German
as his hand did the wave––tumult

of syllables, the ocean. A gust carried us
from the top of a ridge to where land

helixes hug vague bodies
of water, pebbled pastures

skimming treelines across the range
littered with wildflowers. Winds lilted:

It's not your day to go, as I watched
clouds blush vermillion, flying

in tandem as a crow does over
reservoirs and glacial gorges. That high

up, I thought maybe we could fall
in love, full of pomp and spectacle,

but he was a stranger, and to him, I was
strange; possibly ugly. Everyone

peddles timing––the random alchemy
of abutting molecules––though

I've grown weary of waiting. Stillness
is the danger. So I spread out

my arms, carved ciphers into ether
while a choir could be heard along

the nave where winding trails scissor
the basin. Spiraling downward,

I mouthed a new prayer, knelt in air
for deliverance, morphing into needle

of a compass, unbeholden to a place
inhospitable: the mind. The mind bent

on forgetting: I was blown wide open. ~ Su Hwang

A poet can take one word - maybe an abstraction, like love or fear or happiness, or an object, something concrete, like a flower or mountain or book - that feels for some reason full of potential energy, unexpressed meaning. The poet then gives herself the space and time and, most important, the freedom from any doctrine to try to allow her mind to leap, for no discernible reason, to another word. then she searches for a way to connect the two. Quite often it doesn't work - there is nothing there. Maybe she tries again, maybe many more times. Sometimes one element will change, or both. Eventually something clicks, an electrical connection is made, a way is found to connect the two things, and the poem begins. ~ Matthew Zapruder

Poem in October"

It was my thirtieth year to heaven
Woke to my hearing from harbour and neighbour wood
And the mussel pooled and the heron
Priested shore
The morning beckon
With water praying and call of seagull and rook
And the knock of sailing boats on the net webbed wall
Myself to set foot
That second
In the still sleeping town and set forth.

My birthday began with the water-
Birds and the birds of the winged trees flying my name
Above the farms and the white horses
And I rose
In rainy autumn
And walked abroad in a shower of all my days.
High tide and the heron dived when I took the road
Over the border
And the gates
Of the town closed as the town awoke.

A springful of larks in a rolling
Cloud and the roadside bushes brimming with whistling
Blackbirds and the sun of October
Summery
On the hill's shoulder,
Here were fond climates and sweet singers suddenly
Come in the morning where I wandered and listened
To the rain wringing
Wind blow cold
In the wood faraway under me.

Pale rain over the dwindling harbour
And over the sea wet church the size of a snail
With its horns through mist and the castle
Brown as owls
But all the gardens
Of spring and summer were blooming in the tall tales
Beyond the border and under the lark full cloud.
There could ~ Dylan Thomas

As I said, you have mistaken me for another. London is full of drab little peahens, sir. Now, then, I'm leaving," she said in a huff.
"To change?" he asked, unable to stop from goading her.
"To write a poem for my toast," she snapped. "And you may suffer, for I will not help you with yours."
"No need, darling," Matthew drawled, his words intending to push her away.
"I doubt you know a suitable word that will rhyme with fuck. "
"Stuck," she said, turning to face him. "For two days, my lord. We are stuck with one another. Let us make the best of it."
"And how do you propose we do that?"
"By giving each other wide berth. We will not stand together, we will not talk to one another and we will most certainly not look at one another."
"No problem from this quarter."
"Good. You may be assured that it will be no difficulty for me, either."
-Matthew and Jane ~ Charlotte Featherstone

Think about this truck. Make believe this is not the darkest, wettest, most miserable Army truck you have ever ridden in. This truck, you've got to tell yourself, is full of roses and blondes and vitamins. This here is a real pretty truck. This is a swell truck. You were lucky to get this job tonight. When you get back from the dance ... Choose yo' pahtnuhs, folks! ... you can write an immortal poem about this truck. This truck is a potential poem. You can call it, "Trucks I Have Rode In", or "War and Peace", or "This Sandwich Has No Mayonnaise." Keep it simple. ~ J.D. Salinger

Should we only be interested to view the cherry blossoms at their peak, or the moon when it is full? To yearn for the moon when it is raining, or to be closed up in ones room, failing to notice the passing of Spring, is far more moving. Treetops just before they break into blossom, or gardens strewn with fallen flowers are just as worthy of notice. There is much to see in them. Is it any less wonderful to say, in the preface to a poem, that it was written on viewing the cherry blossoms just after they had peaked, or that something had prevented one from seeing them altogether, than to say "on seeing the cherry blossoms"? Of course not. Flowers fall and the moon sets, these are the cyclic things of the world, but still there are brutish people who say that there is nothing left worth seeing, and fail to appreciate. ~ Yoshida Kenko

Girls, I was dead and down
in the Underworld, a shade,
a shadow of my former self, nowhen.
It was a place where language stopped,
a black full stop, a black hole
Where the words had to come to an end.
And end they did there,
last words,
famous or not.
It suited me down to the ground.

So imagine me there,
unavailable,
out of this world,
then picture my face in that place
of Eternal Repose,
in the one place you'd think a girl would be safe
from the kind of a man
who follows her round
writing poems,
hovers about
while she reads them,
calls her His Muse,
and once sulked for a night and a day
because she remarked on his weakness for abstract nouns.
Just picture my face
when I heard -
Ye Gods -
a familiar knock-knock at Death's door.

Him.
Big O.
Larger than life.
With his lyre
and a poem to pitch, with me as the prize.

Things were different back then.
For the men, verse-wise,
Big O was the boy. Legendary.
The blurb on the back of his books claimed
that animals,
aardvark to zebra,
flocked to his side when he sang,
fish leapt in their shoals
at the sound of his voice,
even the mute, sullen stones at his feet
wept wee, silver tears.

Bollocks. (I'd done all the typing myself,
I should know.)
And given my time all over again,
rest a ~ Carol Ann Duffy

During the next few years I wrote a series of Martian pensées, Shakespearean "asides," wandering thoughts, long night visions, predawn half-dreams. The French, like St. John Perce, practice this to perfection. It is the half-poem, half-prose paragraph that runs as little as one hundred words or as long as a full page on any subject, summoned by weather, time, architectural facade, fine wine, good victuals, a view of the sea, quick sunsets, or a long sunrise. From these elements one upchucks rare hairballs or a maundering Hamlet-like soliloquy. ~ Ray Bradbury

The search began 10 years ago
To find a nasty viscous foe
They searched in caves and underground
But no Bin Laden could be found
The President full of seething
Calls his Generals to a meeting
Have you looked under your noses?
Is the question he proposes
Quick smart a search is under way
A General comes back the same day
Oh president you're the cats pyjamas
You really do have all the answers
Do you know that sneaky toad
Is in a house down the road
Obama calls him a useless bum
(It's time to get that terror scum)
The SEALS are sent to get their man
From a house in Pakistan
But from behind his wifely shield
Osama Bin Laden does not yield
You'll not take me you infidel
The SEAL replies you go to hell
You scum this is for 9-11
Then shoots him dead with his weapon ~ Papa G.

The ruinous deeds of the ravaging foe

(Beowulf)

The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it.
It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality.
................
Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, ~ Ronald Carter

Somewhat overly legibly, I wrote on a sheet of paper, "We're held up indefinitely by the parade. We're going to find a phone and have a cold drink somewhere. Will you join us?" I folded the paper once, then handed it to the Matron of Honor, who opened it, read it, and then handed it to the tiny old man. He read it, grinning, and then looked at me and wagged his head up and down several times vehemently. I thought for an instant that this was the full and perfectly eloquent extent of his reply, but he suddenly motioned to me with his hand, and I gathered that he wanted me to pass him my pad and pencil, I did so- without looking over at the Matron of Honor, from whom great waves of impatience were rising. The old man adjusted the pad and pencil on his lap with the greatest care, then sat for a moment, pencil poised, in obvious concentration, his grin diminished only a very trifle. Then the pencil began, very unsteadily, to move. An "i" was dotted. And then both pad and pencil were returned personally to me, with a marvellously cordial extra added wag of the head. He had written, in letters that had not quite jelled yet, the single word "Delighted." The Matron of Honor, reading over my shoulder, gave a sound faintly like a snort, but I quickly looked over at the great writer and tried to show by my expression that all of us in the car knew a poem when we saw one, and were grateful.

На едно листче - някак прекалено четливо - написах: „Парадът ще ни задържи неопреде ~ J.D. Salinger

Mistaken

Memories are all that I have to anchor me,
Yet they're often what leaves me unhinged,
Falling from that could I thought was so safe.
You came to a place, where – besides me –
You were uninvited.
Leaving, you promised me I could always
Count on you.

I especially miss that.

My kindred spirit,
The one who promised to love me,
Only to prove yourself a liar –
Going from Prince Charming
To the Big Bad Wolf,
Truly thinking only of yourself

Leaving me
With empty promises, alone in the dark,
Burnt from the initial spark
Of what I mistook for love,
Making my memories a false refuge.

(full poem) ~ Jenn Waterman

In 1952, I recited aloud for the first time, booming in Oxford's Sheldonian Theatre from a bad poem that had won a prize. I was twenty-three. ~ Donald Hall

In any case, it is a mistake to equate concreteness with things. An individual object is the unique phenomenon it is because it is caught up in a mesh of relations with other objects. It is this web of relations and interactions, if you like, which is 'concrete', while the object considered in isolation is purely abstract. In his Grundrisse, Karl Marx sees the abstract not as a lofty, esoteric notion, but as a kind of rough sketch of a thing. The notion of money, for example, is abstract because it is no more than a bare, preliminary outline of the actual reality. It is only when we reinsert the idea of money into its complex social context, examining its relations to commodities, exchange, production and the like, that we can construct a 'concrete' concept of it, one which is adequate to its manifold substance. The Anglo-Saxon empiricist tradition, by contrast, makes the mistake of supposing that the concrete is simple and the abstract is complex. In a similar way, a poem for Yury Lotman is concrete precisely because it is the product of many interacting systems. Like Imagist poetry, you can suppress a number of these systems (grammar, syntax, metre and so on) to leave the imagery standing proudly alone; but this is actually an abstraction of the imagery from its context, not the concretion it appears to be. In modern poetics, the word 'concrete' has done far more harm than good. ~ Terry Eagleton

The Bible says, "We are God's workmanship, created in Christ Jesus to do good works."1 Our English word poem comes from the Greek word translated "workmanship." You are God's handcrafted work of art. You are not an assembly-line product, mass produced without thought. You are a custom-designed, one-of-a-kind, original masterpiece. ~ Rick Warren

A writer, or any man, must believe that whatever happens to him is an instrument; everything has been given for an end. This is even stronger in the case of the artist. Everything that happens, including humiliations, embarrassments, misfortunes, all has been given like clay, like material for one's art. One must accept it. For this reason I speak in a poem of the ancient food of heroes: humiliation, unhappiness, discord. Those things are given to us to transform, so that we may make from the miserable circumstances of our lives things that are eternal, or aspire to be so. ~ Jorge Luis Borges

I caution against communication because once language exist only to convey information, it is dying.
In news articles the relation of the words to the subject is a strong one. The relation of the words to the writer is weak. (Since the majority of your reading has been newspapers, you are used to seeing language function this way).
When you write a poem these relations must reverse themselves: The relation of the word to the subject must weaken – the relation of the words to the writer (you) must take on strength.
This is probably the hardest thing about writing poems

In a poem you make something up, say for example a town, but an imagined town is at least as real as an actual town. If it isn't you may be in the wrong business.
Our triggering subjects, like our words, come from obsessions we must submit to, whatever the social cost. It can be hard. It can be worse 40 years from now if you feel you could have done it and didn't.


RICHARD HUGO
Public versus private poets:

With public poets the intellectual and emotional contents of the words are the same for the reader as for the writer. With the private poet, the words, at least certain key words, mean something to the poet they don't mean to the reader. A sensitive reader perceives this relation of poet to word and in a way that relation – the strange way the poet emotionally possesses his vocabulary – is one of the mysteries and preservative forces of the art.Richard Hugo

Creative Writing Poetry