Stephen Dobyns

“It was as if pain were a room he had entered and the door had been locked behind him.”

“For the past thirty years or so, much American poetry has been marked by an earnestness that rejects the comic. This has nothing to do with seriousness. The comic can be very serious. The trouble with the earnest is that it seeks to be commended. It seeks to be praised for its intention more than for what it is saying.”

“Why are doors more difficult to openas if some sadness were leaning against them?Why do windows darken and trees bendwhen there is no wind? You call that occasionalroar the roar of a plane and I imaginea time when I might have believed that. But now the darkness has been going onfor too long, and I have accustomed myselfto the pleasure of thinking that soonthere will be no reason to hold on in this placewhere rocks are like water and it’s so difficultto find something solid to hold on to.”

“These people you used to see every day, friends or acquaintances, after a while they become as distant as any stranger, people you suddenly recall late at night--you remember something they said or something silly that someone once did. For a few moments they completely occupy your mind; then you forget them again.”

“I can't believe there is a poet who hasn't eagerly put down a word one day, only to erase it the next day deciding it was sheer lunacy. It's part of the process of selection.”

“I like it to be quiet, and it usually occurs in the morning. There are three or four places in my house where I can write and I like to keep moving around. The moment I find myself falling into a necessary routine, I change it. I'd rather not accumulate superstitions.”

“Most women are more into real estate than sex. They want to own you.”

“Many of my poems try to use a comic element to reach a place that isn't comic at all. The comic element works as a surprise. It is unexpected and energizing.”

“Hesitancy is the surest destroyer of talent. One cannot be timorous and reticent, one must be original and loud. New metaphors, new rhythms, new expressions of emotion can only spring from unhindered gall. Nothing should interfere with that intuition--not the fear of appearing stupid, nor of offending somebody, nor jeopardizing publication, nor being trivial. The intuition must be as unhindered as a karate chop.”

“The obsession was gone. We liked each other, even loved each other. And our sex was still good, but the hunger was gone. Either it just wore out or we wore each other out. A passion like that pushes everything else out of its path. You can't be married and have jobs and children and work and write and have something like an emotional bubonic plague.”

“One writes a poem when one is so taken up by an emotional concept that one is unable to remain silent.”

“My poems always begin with a metaphor, but my way into the metaphor may be a word, an image, even a sound. And I rarely know the nature of the metaphor when I begin to write, but there is an attentiveness that a writer develops, a sudden alertness that is much like the feel of a fish brushing against a hook.”