Alice Oswald

“There's a whole range of words that people use about landscape. Pastoral? Idyll? I can't stand them.”

“It's the stickiness of earth that makes it problematic - the way it stains your straps and ingrains your hands so you can't quite tell where you start and stop.”

“Stripped of its plot, the 'Iliad' is a scattering of names and biographies of ordinary soldiers: men who trip over their shields, lose their courage or miss their wives. In addition to these, there is a cast of anonymous people: the farmers, walkers, mothers, neighbours who inhabit its similes.”

“That is the best instruction you could ever give a poet: whether you're examining a bad line in a poem or a bad motive for action, keep well your repining - meaning, don't ignore the honest muttering in your head.”

“To be a poet is as serious, long-term and natural as the effort to be the best human you can be. To express something well is not a question of having a top-class education and understanding poetic forms: rather, it's a question of paying attention.”

“Even when writing your own poems, you need to talk to people; you need to magpie around, getting words and things. I'm very against the celebrity culture that wants to say: 'this is a genius, this is one person who has done something brilliant.' There are always a hundred people in the background who have helped to make it.”

“I think it is the easiest mentality for a human being to be either colonized or to colonize. The structure of either the slave or the master seems to be the simplest and the most relaxing one to slip into. Either you are a slave, and you don't have to think for yourself, or you're a master, and you don't have to work for yourself.”

“A living tree is a changing, sleeve shape, a wet, thin, bright green creature that survives in the thin layer between heartwood and bark. It stands waiting for light, which it catches in the close-woven sieves of its leaves.”

“People are so used to reading novels now, they just read a poem straight through to get the meaning. And that's something totally different from the slow way you read something if it's a tune; which to me a poem has to be.”

“I have this exercise where I force myself to look out from the flower's point of view at these great walloping humans coming down the path, and try, just try and feel it from their point of view because it's a different world to them, a fascinating hard one.”

“It's a relief to hear the rain. It's the sound of billions of drops, all equal, all equally committed to falling, like a sudden outbreak of democracy. Water, when it hits the ground, instantly becomes a puddle or rivulet or flood.”

“There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.”

“Spring, when the earth tilts closer to the sun, runs a strict timetable of flowers.”

“A dead tree, cut into planks and read from one end to the other, is a kind of line graph, with dates down one side and height along the other, as if trees, like mathematicians, had found a way of turning time into form.”

“The sea has this contradictory quality, that the more you see of it, the more it overwhelms the eye and disappears in its own brightness. Like a flame, whose meaning is light but whose centre is dark, it demands to be undefined.”

“Topsoil is a place of digestion. It sucks and chews things into smaller pieces. When it's hungry, it turns grey and stony; when it's thirsty, it opens thousands of cracked lips. Subsoil is more skeletal: it doesn't digest.”

“I much preferred Latin to Greek. I loved the language being such a pattern that you could not shift a word without the whole sentence falling to pieces.”

“I believe the poet shouldn't be in the poem at all except as a lens or as ears.”

“One of the rules of Greek lament poetry is that it mustn't mention the dead by name in case of invoking a ghost. Maybe the 'Iliad,' crowded with names, is more than a poem. Maybe it's a dangerous piece of the brightness of both this world and the next.”

“I've always felt, with 'The Iliad,' a real frustration that it's read wrong. That it's turned into this public school poem, which I don't think it is. That glamorising of war, and white-limbed, flowing-haired Greek heroes - it's become a cliched, British empire part of our culture.”