Sharon Olds Quotes

I was a late bloomer. But anyone who blooms at all, ever, is very lucky.

Poets are like steam valves, where the ordinary feelings of ordinary people can escape and be shown.

Take your vitamins. Exercise. Just work to love yourself as much as you can - not more than the people around you but not so much less.

.. to a poet, the human community is like the community of birds to a bird, singing to each other. Love is one of the reasons we are singing to one another, love of language itself, love of sound, love of singing itself, and love of the other birds.

The older I get, the more I see the power of that young woman, my mother.

Writing or making anything-a poem, a bird feeder, a chocolate cake-has self-respect in it. You're working. You're trying. You're not lying down on the ground, having given up.

There is something in me maybe someday to be written; now it is folded, and folded, and folded, like a note in school.

I did not know him, I knew my idea of him.

Poems come from ordinary experiences and objects, I think. Out of memory - a dress I lent my daughter on her way back to college; a newspaper photograph of war; a breast self-exam; the tooth fairy; Calvinist parents who beat up their children; a gesture of love; seeing oneself naked over age 50 in a set of bright hotel bathroom mirrors.

The older I get, the more I feel.

I have learned to get pleasure from speaking of pain

I didn't have time to sit down and look at the work of a year and choose what to type.

I did not deceive him, he did not deceive me, I did not leave him, he did not leave me, I freed him, he freed me.

Baseball is reassuring. It makes me feel as if the world is not going to blow up.

I wish I wrote more about the world at more distance from myself.

If I wrote in a sonnet form, I would be distorting. Or if I had some great new idea for line breaks and I used it in a poem, but it's really not right for that poem, but I wanted it, that would be distorting.

it is forbidden to love where we are not loved

Well, 'The Wellspring' was written from 1983 to 1986. And it had a section in the beginning that was poems that began from others' experience.

When anyone escapes, my heart / leaps up. Even when it's I who am escaped from, / I am half on the side of the leaver.

To me, the mind seems to be spread out in the whole body - the senses are part of the brain. I guess they're not where the thinking is done.

Maybe in order to understand sex fully/one has to risk being destroyed by it.

This creature of the poem may assemble itself into a being with its own centrifugal force.

Well, one thing I'm really interested in, when I'm writing, is being accurate.

I'm not asking a poem to carry a lot of rocks in its pockets. Just being an ordinary observer and liver and feeler and letting the experience get through you onto the notebook with the pen, through the arm, out of the body, onto the page, without distortion.

Seeing yourself as responsible for the quality of your relationship, as a prime mover in your life, I think is a bold, amazing step.

... sometimes I can feel it, the way we are pouring slowly toward a curve and around it through something dark and soft, and we are bound to each other.

One of the duties of a baseball fan is to engage in arguments with the man behind him.

Every poet I know - although there may be some I don't know who lead very different lives, who maybe live in the country and don't teach - tends to be just like the rest of us: just really busy, really overcommitted.

Because a poem is not written while running or while answering the phone. It's written in whatever minutes one has. Sometimes you have half an hour.

The amount of horror one used to hear about in one village could be quite extreme. But one might not have heard about all the other villages' horrors at the same time.

My poems - I don't even like the sound of that, in a way. Not that anyone else wrote them. But we know that only people who are really close to us care about our personal experience.

I have heard about the civilized, the marriages run on talk, elegant and honest, rational. But and I are savages.

Their spirits and their visions are embodied in their craft. And so is mine. It's not Jane Saw Puff. But the clarity of Jane Saw Puff is precious to me.

Maybe we can use a metaphor for it, out of dance. I think for many years I was aware of the need, in dance and in life, to breathe deeply and to take in more air than we usually take in.

The teaching is very rewarding, and very time-consuming, and very exhausting. But it's wonderful. The community here at NYU is very precious to me.

So I did quit coffee and I did quit smoking. But I haven't managed that with drinking!

Once you lose someone it is never exactly the same person who comes back.

We're all taking on too much, we're all asking too much of ourselves. We're all wishing we could do more, and therefore just doing more.

Many poets write books. They'll tell you: Well, I've got my next book, but there are two poems I need to write, one about x, one about y. This is a wonder to me.

I think that my work is easy to understand because I am not a thinker, I am not a... How can I put it? I write the way I perceive, I guess.

I think this is true for all artists. My senses are very important to me.

I'm not sure that the benefit - as a writer and as a citizen - that I would get from reading at least the front page of the Times every day or every other day would outweigh the depression.

Everyone is so different. I sometimes wish I wrote in a different way. You know, that feeling of: So-and-so writes slowly, if only I wrote slowly.

I have never thought I could take it, not even for the children. It is all I have wanted to do, to stand between them and and pain. But I come from a long line of women who put themselves first.

At one point I took on a new job, and I just didn't have time to do anything but work.

When I quit all these things and said I didn't have any time, I meant I didn't have any time.

A family is a mystery.

Who wants to put together something that will bear some relationship to the vision or memory or experience or story or idea or dream or whatever.

The decision for me was whether to have 'The Father' be a book that told a story - from the point of view of this speaker, the daughter - without, as in the earlier books, then having a section on something else and a section on something else.

It might be a bad thing, not to know what's going on in the world. I can't say I really approve of it.