anything not everything

Anything can be a poem but not everything becomes a poem.

the subject is

 The poem is the subject of the poem.

stance against subject

By style one finds the stance necessary to confront the subject.

water is fine

Not one to dally, Dickinson drops in quickly to her subject: I often think of the her dashes as those wooden docks jutting out into country ponds, where on summer days she may have desired to jump into the cool water.

sound subject

Sometimes the subject is the sound.

suspect subject

Never write a poem about anything that ought to have a poem written about it, a wise man once told me.

―Richard Hugo, The Triggering Town: Lectures and Essays on Poetry and Writing (Norton, 1979)

the nothing that is

Nothing is what those without content write about.

little done well

Most poems fail because they accomplish very well so little.

nothing to work with

It was the kind of poem that didn't deserve revision. Nothing of its subject justified further effort.

afraid of having said

You have a right to write about nothing, as I have a right to skip reading what you’ve written.

enough already

The poet never thinks ‘More could be said about this’.

fear factor

Every once and a while a poem should scare you. Either because of its subject or because you don’t even recognize the aesthetic.

table setting

He’d properly set the table with the form, however no meal was served.

site and vector

The subject matters: A matter of perspective or approach.

serifs, filigrees and flourishes

Without a compelling subject the poet always overcompensates with style.

not passing through

But the poet does not write chiefly for his own generation; he must therefore write about permanent things, or things that are permanent because they are perpetually renewed, like grass and humanity. The most important part of a poem is the subject; and permanence is the one essential element in the subject of poetry.

—Robinson Jeffers, fragment "Preface" to Continent's End

it's that simple

Subject enacted, language exacted.

pressure of the contemporaneous

Two nights ago, The Friends & Enemies of Wallace Stevens with the Hartford Public Library had James Longenbach as our guest speaker. His talk was entitled "An Examination of Wallace Stevens in a Time of War." Generally, Longenbach's thesis was that Stevens did care about what was happening around him in the world, and that he used his poetry not as evasion but as way to inflect and to change those impinging circumstances of existence. Longenbach, using the example of the composition of one his own poems, told about how a box of paperclips had been one of the poem's triggering elements. However, Longenbach choose not to make that specific thing an image in the poem. The imagination would not be pinned to that particular reality.

A key quote in the talk was this one from Opus Posthumous:

"The pressure of the contemporaneous from the time of the beginning of the World War to the present time has been constant and extreme. No one can have lived apart in a happy oblivion."

Stevens goes on to state:

"In poetry, to that extent, the subject is not the contemporaneous, because that is only the nominal subject, but the poetry of the contemporaneous. Resistance to the pressure of ominous and destructive circumstance consists of its conversion, so far as possible, into a different, an explicable, an amenable circumstance."

substitution of terms

Mathematics may be defined as the subject in which we never know what we are talking about, nor whether what we are saying is true.

—Bertrand Russell (1872-1969), Mysticism and Logic

Poetics may be defined as the subject in which we never know what we are talking about, nor whether what we are saying is true.

always writing about two things

One is always writing about two things at the same time in poetry and it is this that produces the tension characteristic of poetry. One is the true subject and the other is the poetry of the subject.

—Wallace Stevens, "The Irrational Element in Poetry" (OP 227).