The fear of poetry is the fear.

The fear of poetry is an indication that we are cut off from our own reality.

...there are times when silence is a poem.

The poet...nothing affirmeth, and therefore never lieth.

It's a feature of our age that if you write a work of fiction, everyone assumes that the people and events in it are disguised biography — but if you write your biography, it's equally assumed you're lying your head off. This last may be true, at any rate of poets: Plato said that poets should be excluded from the ideal republic because they are such liars. I am a poet, and I affirm that this is true. About no subject are poets tempted to lie so much as about their own lives; I know one of them who has floated at least five versions of his autobiography, none of them true. I of course — being also a novelist — am a much more truthful person than that. But since poets lie, how can you believe me?

The bad poet is usually unconscious where he ought to be conscious, and conscious where he ought to be unconscious. Both errors tend to make him "personal." Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.

This poetry. I never know what I'm going to say.
I don't plan it.
When I'm outside the saying of it,
I get very quiet and rarely speak at all.

The impulse to create begins - often terribly and fearfully - in a tunnel of silence. Every real poem is the breaking of an existing silence, and the first question we might ask any poem is, What kind of voice is breaking silence, and what kind of silence is being broken? (p150)

Poetry has died, asphyxiated by metaphors.

But then, poets are almost always wrong about facts. That’s because they are not really interested in facts: only in truth: which is why the truth they speak is so true that even those who hate poets by simple natural instinct are exalted and terrified by it.
No: that’s wrong. It’s because you dont dare to hope, you are afraid to hope. Not afraid of the extent of hope of which you are capable, but that you — the frail web of bone and flesh snaring that fragile temeritous boundless aspirant sleepless with dream and hope — cannot match it; as Ratliff would say, Knowing always you wont never be man enough to do the harm and damage you would do if you were just man enough. — and, he might add, or maybe I do it for him, thank God for it. Ay, thank God for it or thank anything else for it that will give you any peace after it’s too late; peace in which to coddle that frail web and its unsleeping ensnared anguish both on your knee and whisper to it: There, there, it’s all right; I know you are brave.

The poet is a pretender.
He pretends so completely,
that he even pretends that it is pain
the pain he really feels.

Poetry is when words are robbed of their attributed truth.

The poet needs to be deluded about his poems — for who can be sure that it is delusion? In his strongest hours the public hardly exists for the writer; he does what he ought to do, has to do, and if afterwards some Public wishes to come and crown him with laurel crowns, well, let it! if critics wish to tell people all that he isn’t, well, let them — he knows what he is. But at night when he can’t get to sleep it seems to him that it is what he is, his own particular personal quality, that he is being disliked for. It is this that the future will like him for, if it likes him for anything; but will it like him for anything? The poet’s hope is in posterity, but it is a pale hope; and now that posterity itself has become a pale hope...

By mourning tongues The death of the poet was kept from his poems. <p> But for him it was his last afternoon as himself, An afternoon of nurses and rumours; The provinces of his body revolted, The squares of his mind were empty, Silence invaded the suburbs. The current of his feeling failed: he became his admirers. <p> Now he is scattered over a hundred cities And wholly given over to unfamiliar affections; To find his happiness in another kind of wood And be punished under a foreign code of conscience. The words of a dead man Are modified in the guts of the living.