“After a while one is embarrassed not so much for them as for poetry, which is for these poor poets one more of the openings against which everyone in the end beats his brains out; and one finds it unbearable that poetry should be so hard to write — a game of Pin the Tail on the Donkey in which there is for most of the players no tail, no donkey, not even a booby prize.”

— Randall Jarrell

"Verse Chronicle," The Nation (23 February 1946); reprinted as "Bad Poets" in Poetry and the Age (1953)
General sources
Context: Sometimes it is hard to criticize, one wants only to chronicle. The good and mediocre books come in from week to week, and I put them aside and read them and think of what to say; but the "worthless" books come in day after day, like the cries and truck sounds from the street, and there is nothing that anyone could think of that is good enough for them. In the bad type of thin pamphlets, in hand-set lines on imported paper, people's hard lives and hopeless ambitions have expressed themselves more directly and heartbreakingly than they have ever expressed in any work of art: it is as if the writers had sent you their ripped-out arms and legs, with "This is a poem" scrawled on them in lipstick. After a while one is embarrassed not so much for them as for poetry, which is for these poor poets one more of the openings against which everyone in the end beats his brains out; and one finds it unbearable that poetry should be so hard to write — a game of Pin the Tail on the Donkey in which there is for most of the players no tail, no donkey, not even a booby prize.

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Randall Jarrell 215

poet, critic, novelist, essayist 1914–1965

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“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…”

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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.

“Many young poets, nowadays, are insured against everything. For them poetry is a game like court tennis or squash racquets — one they learned at college — and they play it with propriety, as part of their social and academic existence; their poems are occasional verse for which life itself is only one more occasion.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

"Recent Poetry," The Yale Review (Autumn 1955) [p. 231]
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)

“She is one of the most brilliant poets ever and has inspired thousands to write poetry on the level of the Vogons and cause widespread fear of such good poetry.”

Minnie Haskins (1875–1957) British poet and sociologist

“I’m a failed poet. Maybe every novelist wants to write poetry ﬁrst, ﬁnds he can’t, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing.”

William Faulkner (1897–1962) American writer

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“He says his aim is poetry. One does not aim at poetry with pistols. At poets, perhaps.”

Tom Stoppard Arcadia

Source: Arcadia

“Stevens’s poetry makes one understand how valuable it can be for a poet to write a great deal. Not too much of that great deal, ever, is good poetry; but out of quantity can come practice, naturalness, accustomed mastery, adaptations and elaborations and reversals of old ways, new ways, even—so that the poet can put into the poems, at the end of a lifetime, what the end of a lifetime brings him. Stevens has learned to write at will, for pleasure; his methods of writing, his ways of imagining, have made this possible for him as it is impossible for many living poets—Eliot, for instance. Anything can be looked at, felt about, meditated upon, so Stevens can write about anything; he does not demand of his poems the greatest concentration, intensity, dramatic immediacy, the shattering and inexplicable rightness the poet calls inspiration.”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Collected Poems of Wallace Stevens”, p. 65
The Third Book of Criticism (1969)

“Emerson writes in his Journal that all men try their hands at poetry, but few know which their poems are. The poets are not those who write poems, but those who know which of the things they write are poems.”

Carl Andre (1935) American artist

Quote from a 1962 essay by Andre; as quoted in ' Objects Are What We Aren't' https://www.theparisreview.org/blog/2015/02/26/objects-are-what-we-arent/, by Andy Battaglia; The Parish Review, February 26, 2015

“In Russia - Poets are considered a danger to the political system and are sent into Asylums.
What a compliment to the Russian People
that poetry could move them so.
In NZ Poets are not considered a danger.
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Tim Shadbolt (1947) New Zealand politician

From the introduction to "Concrete Reality"

“Platero is a small donkey, a soft, hairy donkey: so soft to the touch that he might be said to be made of cotton, with no bones. Only the jet mirrors of his eyes are hard like two black crystal scarabs.”

Juan Ramón Jimenéz book Platero

Source: ‪Platero and I‬ (1917), Ch. 1 : Platero, as translated by Eloïse Roach (1957).

“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.”

Subramanya Bharathi (1882–1921) Tamil poet

English translation originally from "Subramaniya Bharathi" at Tamilnation.org, also quoted in "Colliding worlds of tradition and revolution" in The Hindu (13 December 2009) http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/colliding-worlds-of-tradition-and-revolution/article662079.ece

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