Edward Hirsch Writing Quotations

I think that the dark side of MFA programs is that they're generating more poets than the culture can absorb and there are more people writing poetry than possibly read it or can certainly earn a living around it.

I think the culture can absorb so many people writing poetry and trying to earn their living in poetry.

So, the process of revision, it's not systematic. But for me, I mean, I know a lot of poets who write out a draft and then revise it and I think they're happier people. But, I'm just not able to do it that way. I need to just continually examine it as I do it.

think what you hope for is that at different times of your life you're able to write the poetry that reflects the moment that you're in on your own journey.

I was once doing a question and answer period with the novelist Jane Smiley in a bookstore and someone asked us what our processes were and Jane said hers and then I said mine and Jane said, "Well, if I had a student like that I'd force him never to write like that again because you could never write a novel in the way that you write poetry."

So, it's a continual process of trial and error and then I find things and I throw it out and start again, but I keep writing it over again.

Now, as I've gotten older I've been able to write more quickly. Sometimes I get in the space of something and I can do a lot in a day.

The mysterious thing about writing poetry is that when you're - when things are going poorly, when you're not thinking well, even making two sentences together is extremely hard and I just can't make the connections.

And when I'm writing well and when I'm inside the feeling, then I can do fairly complicated things with some fluency.

I think the deepest thing is that many fiction writers tell stories but are not elegant writers. But, we're not writing journalism when we're making literature.

I write a line and then I revise the line and then I write two lines and then I revise lines one and two and then I write one, two and three and I revise one and two and then I write seven and eight and then I see that should be line four and I continually work it over as I go.

I mean, when I was young I could write all through the night and I loved to work late into the night. Now that I'm older I work really well in the early morning when your synapses are firing a little better. But I work at different times of the day.

You're alone with yourself and your own feelings and that gives you deeper access to what you need to get in touch with to write poetry.

Now, the process of writing poetry is very messy. Not systematic, never quite the same

Sometimes I have a feeling that I just can't get rid of. Sometimes there's an experience that I want to write about that I have to get off my chest. Sometimes there are some words that appeal to you.

She [Carol Parsinan] somehow read my poems and came back to me and convinced me that I could be a poet, that I had the passion and the enthusiasm and the creativity to become a poet, but that what I was writing was not poetry because I was just expressing my feelings and I wasn't try to make anything.

I guess that would have been 1968. I was a freshman in college and I wasn't writing good poems, but I was at least trying to write poems then.

In a way, that's also a recognition that Dante needs Virgil and that the Inferno needs the Aeneid and that the epic needs a model and that for Dante to write this great poem he needs someone to come before him and he turns to Virgil's text, especially book six where Aeneas goes down into the underworld. And for me, that's a model of the poet's relationship to previous poetry, to another poetry as calling out for guidance.

I started then to try and shape something rather than just express it and when I started to shape something and to imitate other poems that were written by other people, when I had tried to integrate my reading and my writing I was on my path.

But, that was the beginning, though I didn't start writing until I was in high school and when I was in high school I really began to write poetry with great energy and enthusiasm.

I didn't sit down then and start writing poems, but it was in the back of my mind.

And what I've found over time is that for me to write a poem that I think is worthy that I can live with, two things have to happen.

One, something emotional has to be at stake. There has to be something important for me that I'm writing about. And then two, I have to have a formal idea. Something has to be being worked out in poetry.

Gertrude Stein said, "I write for myself and strangers." I would say I write for myself, strangers and the great dead.

When I taught at the University of Houston in the Creative Writing program we required the poets to take workshops in fiction writing and we required the fiction writers to take workshops in poetry. And the reason for that is because the fiction writers seemed to need to learn how to pay greater attention to language itself, to the way that language works.

That you write a phrase or you think of something and it seems to have a deeper charge because the title has to be some kind of marker, something setting out a space, creating a space for what's going to come.

And my experience is the best titles, for me, emerge in the process of writing. They don't usually come at the very beginning and hopefully they don't come at the very end because then it's getting late in the day.

I would say there are different kinds of poems. There are things that poets in the history of poetry hit upon when they're very young that can never be outdone and it's a remarkable, strange experience when you think of say Arthur Rimbaud who write poetry between the ages of 17 and 21 whose career was over by the time he was 22.