Donald Hall Quotes

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Prose is not so dependent on sound. The line of poetry, with the breaking of the line - to me, sound is the kind of doorway into poetry. And my sense of sound, or my ability to control it, lapsed or grew less.

I really feel better about aging at the age of 86 than I did at 70.

Obviously, death is ahead of me. I don't look forward to dying one little bit. But, you know, I simply don't worry about it because it's going to happen to me as it does to anybody.

I have seen so many poets who were famous, who won all sorts of prizes, disappear with their death. I write as good as I can and don't try to turn that into some hope for a future that I could never know.

Everything important always begins from something trivial.

After a couple of years of public high school, I went to Exeter - an insane conglomeration of adolescent males in the wilderness, all of whom claimed to hate poetry.

My parents were willing to let me follow my nose, do what I wanted to do, and they supported my interest by buying the books that I wanted for birthdays and Christmas, almost always poetry books.

I loathe the trivialization of poetry that happens in creative writing classes. Teachers set exercises to stimulate subject matter: Write a poem about an imaginary landscape with real people in it. Write about a place your parents lived in before you were born. We have enough terrible poetry around without encouraging more of it.

In anything you write - in a short story, a poem - there has to be a counter-motion; it can't go all in one direction.

I think my very best work came out when I was about 60, not when I was 20. I was publishing all the time when I was in my 20s, and some of those poems I still like. And there were a few after 60, and in my 70s, that I like. But they became fewer and fewer.

I'd heard of writers who say they hate to write. Not me. I love to do it.

Many times I have written something, and after it was published, I understood what I was saying.

However alert we are, antiquity remains an unknown, unanticipated galaxy.

I have to do draft after draft... It takes me a long time, but I love doing it, and I have to do it every day, or I feel slack.

I've always felt that poetry was particularly erotic, more than prose was... I say that you read poems not with your eyes and not with your ears, but with your mouth. You taste it.

It used to be that phrases and lines would come into my head, often many of them in a period of five days or a week, and maybe I didn't know what I was talking about, but the words had a kind of heaviness or deliciousness to them.

Many years, I would publish four books - an anthology, a book of criticism, a new book of poems, a book of essays.

Some days I feel good about my work, and sometimes I feel I've never written anything worthwhile. That's par for the course.

I grew up in the suburbs of Connecticut - during the school time of year - but I preferred it in New Hampshire. I preferred the culture, the landscape, the relative solitude. I've always loved it.

I have written some poetry and two prose books about baseball, but if I had been a rich man, I probably would not have written many of the magazine essays that I have had to do. But, needing to write magazine essays to support myself, I looked to things that I cared about and wanted to write about, and certainly baseball was one of them.

When I lived summers at my grandparents' farm, haying with my grandfather from 1938 to 1945, my dear grandmother Kate cooked abominably. For noon dinners, we might eat three days of fricasseed chicken from a setting hen that had boiled twelve hours.

On September twentieth every year, I got to choose my menu - meatloaf, corn niblets, and rice were followed by candles on chocolate cake with vanilla icing and a scoop of Brock-Hall ice cream.

A fellowship to Oxford acquainted me with the depths of English cooking. By the twenty-first century, London's best restaurants are as good as Paris's, but not in the 1950s.

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