Edward Hirsch Quotes

There are a number of things that I'm trying to get into the books. There's a meta-fictional aspect, if I may use that pretentious word, to writing anything. You're writing in the shadow of all the people that have gone before and, in a way, you're having a dialogue with them. As someone who's read J.R. Tolkien and Robert E. Howard and all the great fantasists before, this is almost my answer to them.

All the poets are indebted more or less to those who have gone before them; even Homer's originality has been questioned, and Virgil owes almost as much to Theocritus, in his Pastorals, as to Homer, in his Heroics; and if our own countryman, Milton, has soared above both Homer and Virgil, it is because he has stolen some feathers from their wings.

Poetry can only be made out of other poems; novels out of other novels.

The poet's other readers are the ancient poets, who look upon the freshly written pages from an incorruptible distance. Their poetic forms are permanent, and it is difficult to create new forms which can approach them.

Really important books to me are the classics. I try very hard to read them well - you know, especially once I got serious about writing. So, reading Tolstoy several times - 'War and Peace,' 'The Kreutzer Sonata' - all those were really important to me.

Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.

The epic poet has behind him a tradition of matter and a tradition of style; and that is what every other poet has behind him too; only, for the epic poet, tradition is rather narrower, rather more strictly compelling.

I am suspicious of writers who say their work is original and influenced by nobody. If it is, it is probably uninteresting. The biggest source of novels is other novels.

Thus I rediscovered what writers have always known (and have told us again and again): books always speak of other books, and every story tells a story that has already been told.

Any book has behind it all the other books that have been written.

We did meet forty years ago. At that time we were both influenced by Whitman and I said, jokingly in part, 'I don't think anything can be done in Spanish, do you?' Neruda agreed, but we decided it was too late for us to write our verse in English. We'd have to make the best of a second-rate literature.

The anthology meets with two different kinds of reactions in living poets. They will either write toward the anthology or away from it. Anti-anthology poets often overreach themselves, inflicting protective distortions on their work - as parents in old Central Europe often deliberately maimed their sons to save them from compulsory military service.

I suppose every one must have reflected how primeval and how poetical are the things that one carries in one's pocket; the pocket-knife, for instance, the type of all human tools, the infant of the sword. Once I planned to write a book of poems entirely about things in my pockets. But I found it would be too long; and the age of the great epics is past.

A real writer learns from earlier writers the way a boy learns from an apple orchard -- by stealing what he has a taste for, and can carry off

It’s as much a writer’s concern, who is responsible to his readers for all the books written before him as well as those which will be written after him.

You searched through all my poets, From Sappho through to Auden, I saw the book fall from your hands, As you slowly died of boredom.

Every novel is a debtor to Homer.

Who were my mentors in poetry and literature? This is a matter of opinion. Some see in my books the influences of authors whose names, in my ignorance, I have not even heard, while others see the influences of poets whose names I have heard but whose writings I have not read. And what is my opinion? From whom did I receive nurture? Not every man remembers the name of the cow which supplied him with each drop of milk he has drunk.

A woman journalist in England asked me why Americans usually wrote about their childhood and a past that happened only in imagination, why they never wrote about the present. This bothered me until I realized why - that a novelist wants to know how it comes out, that he can't be omnipotent writing a book about the present, particularly this one.

There's no such thing as a folk writer. There's no such thing as somebody who's never read a book before suddenly sitting down one day and writing one. You have to learn how to captivate a reader. Right? And I don't mean you have to go to school for it. But if you're - if you pay attention, you can learn it by reading books. And so I feel like I learned a lot by reading books.

My family was big on sharing. I guess it was just the way I was brought up. Or maybe, I read those fairy tales in which one good turn elicits another. But in writing, yes, some older writers were kind to me when I was young; although some others were not.

Aspiring writers should read the entire canon of literature that precedes them, back to the Greeks, up to the current issue of The Paris Review.

I think novelists, when they write their books, end up having occasionally serving a purpose and playing roles that they never really fully either intended or even understood.

Once a year I try writing a poem, usually because I've read some poetry that amazed me and I want to do that.

The historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of literature from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order.