“And I'll flip through the newest issue, walking back from my blue mailbox, hunting for the poem he chose over mine, and it'll be the same thing as always. The prose will have pulled back, and the poem will be there, cavorting, saying, I'm a poem, I'm a poem. No, you're not! You're an impostor, you're a toy train of pretend stanzas of chopped garbage. Just like my poem was.”

“the poem doesn’t have stanzas, it has a body, the poem doesn’t have lines,/ it has blood, the poem is not written with letters, it’s written/ with grains of sand and kisses, petals and moments, shouts and/ uncertainties.”

“If you're angry, you don't have to write a poem dealing with the cause of your anger. But it needs to be an angry poem. So go ahead... write one. I know you're at least a little bit angry with me.And when you're done with your poem, decipher it as if you'd just found it printed in a textbook and know absolutely nothing about its author. The results can be amazing...and scary. But it's always cheaper than a therapist.”

“My mother is a poem I'll never be able to write, though everything I write is a poem to my mother.”

“If after I read a poem the world looks like that poem for 24 hours or so I'm sure it's a good one—and the same goes for paintings. ”

“No, I didn't. But I was aware that I was embarked on an epic. In the case of the Bradstreet poem, I didn't know. The situation with that poem was this. I invented the stanza in '48 and wrote the first stanza and the first three lines of the second stanza, and then I stuck. I had in mind a poem roughly the same length as another of mine, “The Statue”—about seven or eight stanzas of eight lines each. Then I stuck. I read and read and read and thought and collected notes and sketched for five years until, although I was still in the second stanza, I had a mountain of notes and draftings—no whole stanzas, but passages as long as five lines. The whole poem was written in about two months, after which I was a ruin for two years. When I finally got going, I had this incredible mass of stuff and a very good idea of the shape of the poem, with the exception of one crucial point, which was this. I'll tell you in a minute why and how I got going. The great exception was this: It did not occur to me to have a dialogue between them—to insert bodily Henry into the poem . . . Me, to insert me, in my own person, John Berryman, I, into the poem . . .”