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Robert Morgan Quotes


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Robert Morgan
July 31, 1918 - May 15, 2004
Nationality: American
Category: Soldier
Subcategory: American Soldier

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.

   

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.

   

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.

   

The decision to write in prose instead of poetry is made more by the readers than by writers. Almost no one is interested in reading narrative in verse.

   

Pound's translation of Chinese poetry was maybe the most important thing I read. Eliot a little bit later.

   

Southern poets are still writing narrative poems, poems in forms, dramatic poems.

   

I learned to impersonate the kind of person that talks about poetry. It comes from teaching, I think.

   

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.

   

One of the most powerful devices of poetry is the use of distortions. You can go from talking about the way a minute passes to the way a century passes, or a lifetime.

   

Some people swear by writing courses, but whether it really helps American poetry, I have doubts.

   

I don't think the creative writing industry has helped American poetry.

   

I have taught students from the New York City area so long I have a special affinity and rapport with them. It surprises me sometimes that there are students from anywhere else.

   

I love to create interesting textures with language. You can do it as long as it seems like a discovery.

   

The fact that something is in a rhymed form or in blank verse will not make it good poetry.

   

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.

   

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.

   

I think that it's more likely that in my 60s and 70s I will be writing poetry rather than fiction.

   

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.

   

Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.

   

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