“Poetry is not a branch of analytical philosophy. It is a primal, holistic kind of human communication. A poet needs innocence as much as knowledge, emotion as much as intelligence, vulnerability as much as rigor. A poet can become too smart for his or her own good and forget the childlike pleasures of sound and story, sense, and sensuality that poetry should provide. The challenge for a writer is to master the medium of poetry without losing that inner innocence.”

—  Dana Gioia

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

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Dana Gioia 80
American writer 1950

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“Shakespeare wrote better poetry for not knowing too much; Milton, I think, knew too much finally for the good of his poetry.”

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“He who writes poetry is not a poet. He whose poetry has become his life, and who has made his life his poetry — it is he who is a poet.”

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“I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?”

Dana Gioia (1950) American writer

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

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Edward Grey, 1st Viscount Grey of Fallodon photo

“There is much poetry for which most of us do not care, but with a little trouble when we are young we may find one or two poets whose poetry, if we get to know it well, will mean very much to us and become part of ourselves…”

Edward Grey, 1st Viscount Grey of Fallodon (1862–1933) British Liberal statesman

Recreation (1919)
Context: There is much poetry for which most of us do not care, but with a little trouble when we are young we may find one or two poets whose poetry, if we get to know it well, will mean very much to us and become part of ourselves... The love for such poetry which comes to us when we are young will not disappear as we get older; it will remain in us, becoming an intimate part of our own being, and will be an assured source of strength, consolation, and delight.

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“The priority for the poet must be his poetry, the poetry must determine his agenda and deadlines”

Dennis O'Driscoll (1954–2012) Irish poet, critic

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“If poets spoke their poetry, they would not need to write it.”

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