Thom Gunn Quotes

I was much influenced by Jean-Paul Sartre.

A literary influence is never just a literary influence. It's also an influence in the way you see everything - in the way you feel your life.

I was at a benefit for some imprisoned students in the '60s at San Francisco State, and there were lots of poets reading for the benefit: one was Elizabeth Bishop.

I was reading the poems of Rochester. Rochester made himself out to be bisexual, but I think that was only to shock. Most of his poetry is sexual, even pornographic.

I don't know how to sit outside myself and test against a hypothetical self who stayed home.

Deep feeling doesn't make for good poetry. A way with language would be a bit of help.

As humans we look at things and think about what we've looked at. We treasure it in a kind of private art gallery.

My thoughts are crowded with death and it draws so oddly on the sexual that I am confused to be attracted by, in effect, my own annihilation.

I try not to observe myself in the process of composing a poem because I don't want to come up with a formula, which I would then be unscrupulous in using.

I deliberately decided to write a kind of guide to leather bars for straight people, for people not into leather, so that people could see what it was all about.

There have been two popular subjects for poetry in the last few decades: the Vietnam War and AIDS, about both of which almost all of us have felt deeply.

I had assumed that I would age with all my friends growing old around me, dying off very gradually one by one. And here was a plague that cut them off so early.

As if hands were enough To hold an avalanche off.

We learned in the university to consider Wordsworth and Keats as Romantics. They were only a generation apart, but Wordsworth didn't even read Keats's book when he gave him a copy.

We tend to put poems into factions. And it restricts our reading.

I work best in rhyme and meter. I was most confident of myself in that way.

How sociable the garden was. We ate and talked in given light. The children put their toys to grass All the warm wakeful August night.

The painter saw what was, an alternate Candor and secrecy inside the skin.

I admired what my students were writing, but I think their improvement doesn't directly result from me but from being in a class, being with each other.

Much that is natural, to the will must yield. Men manufacture both machine and soul, And use what they imperfectly control To dare a future from the taken routes.

Ginsberg's Collected Poems contains a wonderful poem about making it with Neal Cassady.

One joins the movement in a valueless world, Choosing it, till both hurler and the hurled, One moves as well, always toward, toward.

My old teacher's definition of poetry is an attempt to understand.

Many of my poems are not sexual.

Direct me gods, whose changes are all holy, To where it flickers deep in grass, the moly.

Thus for each blunt-faced ignorant one The great grey rigid uniform combined Safety with virtue of the sun. Thus concepts linked like chainmail in the mind.

I haven't written anything in four years. I'm sort of dried up.

I think most men, heterosexual and homosexual, enjoy being considered sexual objects.

We control the content of our dreams.

One is always nearer by not keeping still.