“The sediments are a sort of epic poem of the earth.”
Rachel Carson book The Sea Around Us
Chapter 6, Page 98 https://books.google.com/books?id=PvkDFTtW6f4C&&pg=PA98 <br class="br">The Sea Around Us (1951)
Source: The Bhagavadgītā (1973), p. 18. (12. The composition of the Bhagavadgītā)
“The sediments are a sort of epic poem of the earth.”
Rachel Carson book The Sea Around Us
Chapter 6, Page 98 https://books.google.com/books?id=PvkDFTtW6f4C&&pg=PA98 <br class="br">The Sea Around Us (1951)
Ogden Nash (1902–1971) American poet
It has been dated to at least 1927 http://www.fun-with-words.com/shortest_poem.html, as published in the Mt Rainier Nature News Notes (1 July 1927). <br class="br">Misattributed
W. Douglas P. Hill (1884–1962) British Indologist
Source: The Bhagavadgītā (1973), p. 1. (1. Problems)
“Inspiration comes within a framework. A poem that gets out of hand is not a poem.”
John Hollander (1929–2013) American poet
Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter
Review http://www.rogerebert.com/reviews/troy-2004 of Troy (14 May 2004) <br class="br">Reviews, Two star reviews
“Nature composes some of her loveliest poems for the microscope and the telescope.”
Theodore Roszak (1933–2011) American social historian, social critic, writer
Source: Where the Wasteland Ends
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
Edgar Allan Poe (1809–1849) American author, poet, editor and literary critic
The Poetic Principle (1850)
William J. Baumol (1922–2017) American economist
William J. Baumol. "Predation and the Logic of the Average Variable Cost Test." Journal of Law and Economics, Vol. XXXIX, April 1996, p. 51.
A.R. Ammons (1926–2001) American poet
Paris Review interview (1996)
Context: I write for love, respect, money, fame, honor, redemption. I write to be included in a world I feel rejected by. But I don’t want to be included by surrendering myself to expectations. I want to buy my admission to others by engaging their interests and feelings, doing the least possible damage to my feelings and interests but changing theirs a bit. I think I was not aware early on of those things. I wrote early on because it was there to do and because if anything good happened in the poem I felt good. Poems are experiences as well as whatever else they are, and for me now, nothing, not respect, honor, money, seems as supportive as just having produced a body of work, which I hope is, all considered, good.