“…I engage with poetry musically. I think I hear the music of the poem before I put words to it. The poem comes to me as it were a song more than a string of words or images. If I can’t transport that musical quality to the poem, then the poem doesn’t exist for me…”
On how she favors a musical quality to her poetry in the book Truthtellers of the Times: Interviews with Contemporary Women Poets https://books.google.com/books?id=LkVO9mmfwZYC&pg=PA23&lpg=PA23&dq
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Lucha Corpi 3
1945Related quotes
Source: The Life of Poetry (1949), p. 31
Context: The meanings of poetry take their growth through the interaction of the images and the music of the poem. The music is not the rhythm, which is a representation of life, alone. The music involves the interplay of the sounds of words, the length of the sequences, the keeping and breaking of rhythms, and the repetition and variation of syllables unrhymed and rhymed. It also involves the play of ideas and images.

“I try to apply colors like words that shape poems, like notes that shape music.”
from: Joan Miro: Selected Writings and Interviews, M.Rowell, Thames and Hudson, 1987
1940 - 1960

The Aran Islands (1907)

The Poetic Principle (1850)

WPFW-FM inteview with Grace Cavalieri 1995/96 season

Solomon Volkov (ed.), Testimony: The Memoirs of Dmitri Shostakovich (New York: Limelight, 2006) pp. 158-9.
Criticism

On how poetry writing eventually led to short stories and other works in “A Poet’s Novel: Jon Pineda talks LET’S NO ONE GET HURT” https://www.booklistreader.com/2018/03/22/books-and-authors/a-poets-novel-jon-pineda-talks-lets-no-one-get-hurt/ in Booklist Reader (2018 Mar 22)
Paris Review interview (1996)
Context: In the long poem, if there is a single governing image at the center, then anything can fit around it, meanwhile allowing for a lot of fragmentation and discontinuity on the periphery. Short poems, for me, are coherences, single instances on the periphery of a nonspecified center. I revise short poems sometimes for years, whereas, since there is no getting lost in the long poem, I engage whatever comes up in the moment and link it with its moment.