strong stomach

You’ll have to stomach a lot if you’re going to be a taste-maker.

from the desk of the editor #3

Know that no one has read as many first few lines as you.

taste and timelessness

How shifty a thing taste can be, how shitty, even one’s own. I tremble to remember the poets, like Elizabeth Bishop, I dismissed out of hand, whose greatness dawned on me only later. Then there are poets I once admired and who opened ways through thickets for me, but whose work now I find clumsy and shiftless. I think we all tend to believe we can see through the vagaries of our moment to some absolute standard of judgment—this must be a characteristic of human consciousness itself—but the conviction is absurd. So, I never blab anymore about poets whose work doesn’t or no longer moves me. But there are, however and thank goodness, poets the power and force of whose work once nearly knocked me down with delight and envy, and still does, so that when I read them again I feel again like an apprentice.

—C. K. Williams, “On Being Old,” In Time: Poets, Poems, and the Rest (U. of Chicago Press, 2012)

poetry in its own way

I am perfectly willing to admit that it is not the best or the most poetical form of poetry, and that it is very far indeed from the forms that I myself like best. But one of the cries which a critic should never be tired of uttering, whether in the streets or in the wilderness, is that nothing is bad merely because it is different from another thing which is good, and that in this world there is no equality or fixed standard to which everything must be cut down or stretched out. The best rhetorical poetry of the eighteenth century is not the best poetry, but it is poetry in its own way, exhibiting the glow, the rush, the passion, which strict prose cannot, and which poetry can, give.

—George Saintsbury, “Eighteenth Century Poetry,” A Saintsbury Miscellany (Oxford U. Press, 1947)

court of judgment

Poetry 'tis a court
Of judgment on the soul.

—Henrik Ibsen, Lyrical Poems by Henrik Ibsen (Elkin Mathews, 1902, selected and translated by R. A. Streatfeild)