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#poe

Read through the most famous quotes by topic #poe




What seems real one moment is fiction the next and gone out of existence the moment after that. Nostalgia is the greatest enemy of truth, and change our only constancy. ↗


— David Budbill


#poetry #truth #vermont #change

Poets can't march in protest or do that sort of thing. I feel that's against the rules, and pointless. If mankind wants a great big final bang, that's what it'll get. One should never protest against anything unless it's going to have an effect. None of those marches do. One should either be silent or go straight to the top. ↗


— Robert Graves


#apocalypse #change #poets #protest #change

Miltons were, on the whole, the most enthusiastic poet followers. A flick through the London telephone directory would yield about four thousand John Miltons, two thousand William Blakes, a thousand or so Samuel Colleridges, five hundred Percy Shelleys, the same of Wordsworth and Keats, and a handful of Drydens. Such mass name-changing could have problems in law enforcement. Following an incident in a pub where the assailant, victim, witness, landlord, arresting officer and judge had all been called Alfred Tennyson, a law had been passed compelling each namesake to carry a registration number tattooed behind the ear. It hadn't been well received--few really practical law-enforcement measures ever are. ↗


— Jasper Fforde


#law-enforcement #names #poets #change

It still is on the run, time that is. Sometimes it seems like everything’s changing; my whole world is rearranging. Everything’s different, and yet everything’s the same. Time is just a crazy game. ↗


— Amanda Leigh


#change

Sometimes it seems like everything’s changing; my whole world is rearranging. ↗


— Amanda Leigh


#change

If there has been one overriding change in poetic practice, it is that under the influence of free verse the poets have made a primary virtue out of exactitude and economy of meaning: this has replaced metrical skill as the first thing the poet tunes to. ↗


— Martin Langford


#change

unless you're the lead dog the view never changes... mercy out does justice every time: always find your way back home/ ↗


— Bob Mitchley


#metaphor #poetry #change

When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism. The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them. In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void. Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned. ↗


— John Crowley


#creativity #inspiration #novel #poem #poetry

I've changed, you've changed We've become something more than what was hoped for or foreseen ↗


— Tiffany Fulton


#contemporary-poetry #change

If you prefer, I'll be pure raging meat, or if you prefer, as the sky changes tone, I'll be absolutely tender, not a man, but a cloud in trousers! ↗


— Vladimir Mayakovsky


#russian-poetry #change






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