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The white sun like a moth on a string circles the southpole.
A. R. Ammons
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A. R. Ammons
Age: 75 †
Born: 1926
Born: February 18
Died: 2001
Died: February 26
Poet
University Teacher
Writer
Whiteville
North Carolina
A.R. Ammons
A R Ammons
AR Ammons
Circles
Sun
White
Like
Moth
Moths
November
String
Strings
More quotes by A. R. Ammons
One can't have it both ways and both ways is the only way I want it.
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Only silence perfects silence.
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To be saved is here, local and mortal
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A poem generated by its own laws may be unrealized and bad in terms of so-called objective principles of taste, judgement, deduction.
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Where but in the very asshole of comedown is redemption: as where but brought low, where but in the grief of failure, loss, error do we discern the savage afflictions that turn us around: where but in the arrangements love crawls us through
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Anything looked at closely becomes wonderful.
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Things go away to return, brightened for the passage
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Is it not careless to become too local when there are four hundred billion stars in our galaxy alone.
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Everything is discursive opinion instead of direct experience.
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Besides the actual reading in class of many poems, I would suggest you do two things: first, while teaching everything you can and keeping free of it, teach that poetry is a mode of discourse that differs from logical exposition
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There's something to be said in favor of working in isolation in the real world.
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Each poem in becoming generates the laws by which it is generated: extensions of the laws to other poems never completely take.
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I take the walk to be the externalization of an interior seeking so that the analogy is first of all between the external and the internal.
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I can't tell you where a poem comes from, what it is, or what it is for: nor can any other man. The reason I can't tell you is that the purpose of a poem is to go past telling, to be recognised by burning.
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The poet exposes himself to the risk. All that has been said about poetry, all that he has learned about poetry, is only a partial assurance.
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If we ask a vague question, such as, 'What is poetry?' we expect a vague answer, such as, 'Poetry is the music of words,' or 'Poetry is the linguistic correction of disorder.'
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Once every five hundred years or so, a summary statement about poetry comes along that we can't imagine ourselves living without
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I am grateful for - though I can't keep up with - the flood of articles, theses, and textbooks that mean to share insight concerning the nature of poetry.
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If the greatest god is the stillness all the motions add up to, then we must ineluctably be included.
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For though we often need to be restored to the small, concrete, limited, and certain, we as often need to be reminded of the large, vague, unlimited, unknown
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