Matthea Harvey Quotes

I'm pretty lenient with myself about time - if I feel like taking photographs of small things inside ice cubes or making animal collages, I just do it. When I want to write, I write. It's all part of the same thing for me.

Writing directly from a feeling of anger or sadness is difficult, but if you distract part of your brain with word games, the ignored emotion often tiptoes in.

When I get interested in a new topic I teach a class on it. There's a graduate seminar I teach in which the students and I try to expand the terminology we use to talk about poetry as well as expand our notion of what makes a poem - we read source texts on architecture, dance, photography, film and the graphic novel.

I like to photograph miniature constructed scenes - I'll buy a very sad cake decoration like a plastic computer for a dreary office birthday party and construct a wildly colorful scene to put on its screen, or do a series of dollhouse chairs frozen in ice cubes.

In my own writing, I've mostly abandoned end-rhyme, but wordplay is still a huge part of my process. I've written a series of mermaid poems in the last few years. The first one was called "The Straightforward Mermaid" which arose from my delight in that word combination. After that, I decided that future mermaid poems would have to be words ending in "d" or "t," which led to "The Deadbeat Mermaid," "The Morbid Mermaid" and so forth . . .

S. E. Smith's I Live in a Hut has a deceptively simple title, considering that the brain in that hut contains galaxies-worth of invention: At night when your soldiers are praying ceaselessly for less rain and more underwear my soldiers make underwear out of rain. These poems seesaw between despair and delight but delight is winning the battle. Smith is a somersaulting tightrope walker of a poet and her poems will make you look at anything and everything with new eyes: For days I tried to rub the new freckle // off my hand until I realized what it was / and began to grant it its sovereignty.

Recently, while I was in England, I saw a documentary on the BBC about the border between India and Pakistan at Wagah. When the border closes each evening around six o' clock, the soldiers on each side do these amazing high-stepping peacock march-offs (like a dance-off). The displays are almost identical on each side and thousands gather to watch them. Though they're patrolling along their separate borders, what comes across is how similar they are.

I do love the prose poem because it's such a perverse and provocative little box - always asking to be questioned, never giving a straight or definitive answer.

I'm interested in concrete poems - anything that complicates the line between the written and the visual.

Not everyone is going to like every carnival ride.

If I begin a poem, "I am a donkey," reason kicks in and says, "She is taking on the persona of a donkey." But if I write, "I have taken so many drugs I can't see my feet," the tendency is to take that as a confession on the part of the poet. Maybe that doesn't matter. I'd almost prefer for it to be the other way round.

I would love to collaborate on a graphic novel with an artist - I'm terrible at drawing but I really love that genre.

I am pretty interested in hybrid forms. I love graphic novels and I think there should be more graphic poems in the world.

I grew up spending time at my grandmother's farm in Germany and she lived a few kilometers away from the border between east and west Germany. It was so strange that roads which used to connect two towns now ended in the middle.

I suppose it's useful in designating writing that tends to come from personal experience, work that delineates an "I," but it's a loose lasso, one which may rope certain poems by one poet and not others.

I think there are people who do write regionally, because that's their subject matter - the way the sunset looks over a strip mall, memories of flirting at the ice rink, waking up to a deer at the window... Up to now, that hasn't been mine.

I don't think that you can say by any stretch of the imagination that all Wisconsin or Brooklyn-based poets write in a particular way. Similar sensibilities can spring up next to each other in the flower bed, or across oceans.

Having my poems set to music by Eric Moe has completely knocked my socks off.

As a reader I don't distinguish between confessional and non-confessional work. After all, how do we even know that certain "I" poems are confessional? It's a tricky business, this correlating of the speaker and the poet.

I let my narrative embroidering impulses take over in prose poems.

I write poems from dreams pretty frequently. It's limiting to think the poem has to come from a sensical lyric "I" stating things clearly or dramatically. This whole course is trying to say there are millions of ways to approach writing a poem.

When I start writing a poem, I can usually know quite early on whether it's a lineated or prose poem, but I don't think I can explain how. It's like deciding whether to wear a skirt or a pair of pants.

I have poetic failures all the time. Many failed poems. I try not to publish those, though some have slipped into each book, since I can't always tell they're failures until later... or I don't want to admit that they are.

I think poetry involves heightened noticing or imagining as well as creating a certain made shape. On the other hand, that shape can be made just by pointing at something and saying, "That's a poem".

I certainly believe you can write a narrative lyric or a lyrical narrative - why not a nyric or a larrative?

I thought that perhaps if the sky was truly free of clouds and any other distractions (birds, kites, skywriting), we could see if there was something else out there. I wasn't really raised in any religion (in England I attended an Anglican school and went to a Methodist church, but I left that all behind at the age of eight when we moved to the U.S.), but like most people, I sometimes wonder if there's anything or anyone out there.

I read a lot of graphic novels - some of my favorites graphic novelists or artists are Rebecca Kraatz, Gabrielle Bell, Graham Roumieu, Tom Gauld, and Renee French.

One of my favorite titles of an art piece is "Première Communion de Jeunes Filles Chlorotiques Par Un Temps De Neige" or "First Communion of Chlorotic Young Girls in Snowy Weather" by Alphonse Allais. It's essentially a joke of a title, since the accompanying image is a simple white square.

I think all poetry is accessible in a certain sense if you spend enough time with it.

A lot of people are writing poems and don't realize it. They have this limited idea of how the poem should sound or what subjects it should address.

I am charmed by concrete poetry (but it's very hard to do well, I think) and in general by the idea of mixing the visual and the textual.

What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.

There isn't a grand plan at work in the progression of the books with respect to the line. I do want the books to be different from each other, certainly, but I'm more aware of that on the level of theme or structure. I can tell when I'm writing the last of a particular type of poem because the writing is too easy and I start to feel queasy.

I'm all over my poems, even if their relation to my everyday life is that of dream to reality.

I think of poetry as a very inclusive term. Still, it's interesting that people want to make the distinction. I love the magazine Double Room for that reason (contributors have to write about their ideas on the prose poem/flash fiction).

Read widely (in and outside of your own genre), keep a notebook with you at all times. Do something that scares you every now and then. Try to locate your own frequency, knowing that one year your voice is on AM 532 and the next it's on FM 92.8.

I don't like basements, but definitely basements could be poems. Not fond of skin diseases, but again, there's a pattern. Probably anything could be a poem.

If you were going to make sculptures of them, the swivel poems would be disparate objects all attached with hinges and the prose poems would be small sheep wrapped in extra wool.

Some of my favorite poems are "confessional" poems written in the voices of aliens ("Southbound on the Freeway" by May Swenson" and "Report from the Surface" by Anthony McCann), sheep ("Snow Line" by John Berryman) or a yak ("The Only Yak in Batesville, Virginia" by Oni Buchanan).

I also like poems that are haunted by a structure or a narrative, or poems that frisk flirtatiously at the boundary of sense.

People "confess" can be wildly different. I might go into the confessional and say, "Father, what is my obsession with miniatures?"

Whether you're talking about political borders or aesthetic divisions (and clearly, the political ones have much more tragic consequences), it seems like once they are created, we want to patrol them, enforce them.

I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.

Writing a poem is always a process of subtracting: you start with all of language available to you, and you choose a smaller field.

Poems tend to have instructions for how to read them embedded in their language.

Poems can't help but be personal. Mine are certainly an accurate blueprint of the things I think about, if not a record of my daily life.

Erasures are interesting to me because they prove what particular sieves we all are.

Teaching is a great way to keep learning.

I have a vague memory of seeing an image of a child in an iron lung and the phrase "sad little breathing machine" coming into my head. The more I thought about it, the more I felt that on certain days - the worse ones - we could all be described as sad little breathing machines.

Encountering rhyme out of the blue is like finding a long-lost twin (fraternal), or a suitcase that closes with a particularly satisfying click.