Robert Morgan may refer to:
Maybe the example of Southern fiction writing has been so powerful that Southern poets have sort of keyed themselves to that.
The fact that something is in a rhymed form or in blank verse will not make it good poetry.
The young people have MTV and rock and roll. Why would they go to read poetry? Poetry belongs to the Stone Age. It awakens in us perceptions that go back to those times.
One of the biggest changes that ever occurred in my life was going from the isolation of working part-time as a house painter in Henderson County, to Cornell, where everybody was a literary person.
Young writers find their first audience in little magazines, and experimental writers find their only audience there.
A lot of my students are Asian-American, and it has been thrilling to watch them break through the stereotypes into something alive and surprising.
I did not have a very literary background. I came to poetry from the sciences and mathematics, and also through an interest in Japanese and Chinese poetry in translation.
I learned to impersonate the kind of person that talks about poetry. It comes from teaching, I think.
If people associate me with a region, that's fine with me.
I write as a way of keeping myself going. You build your life around writing, and it's what gets you through. So it's partly just curiosity to see what you can do.
We have a lot of long narrative poems written in the 20th century, but they're not very well known, and they're not read by very many people.
Distance not only gives nostalgia, but perspective, and maybe objectivity.
Young writers only take off when they find their subjects. Since almost everyone has a family and stories about family, that is often a place to start.
Some people swear by writing courses, but whether it really helps American poetry, I have doubts.
Teaching writing over the years intrudes on your own writing in important ways, taking away some of the excitement of poetry.
What actually makes poetry poetry is of course impossible to define. We recognize it when we hear it, when we see it, but we can't define it.
I considered going to film school; I took a course in film and was very interested in filmmaking as well as film writing.
With prose you can incorporate more details, develop scenes, sustain the tension in a special way. Prose has its own speed.
It was less a literary thing than a linguistic, philosophical preoccupation. . . discovering how far you can go with language to create immediate, elementary experience.
One of the most powerful devices is to distort time, to go from human time to atomic time, geologic time. Sometimes you can actually accomplish that, with one unexpected word choice.