It is odd how pleasant and sympathetic her poems are, in these days when many a poet had rather walk down children like Mr. Hyde than weep over them … - Randall Jarrell

I think that one possible definition of our modern culture is that it is one in which nine-tenths of our intellectuals can't read any poetry.

Lending a favorite book has its risks; the borrower may not like it. I still don’t know a better novel than Crime and Punishment — still, every fourth or fifth borrower returns it unfinished: it depresses him; besides that, he didn’t believe it. More borrowers than this return the first volume of Remembrance of Things Past unfinished: they were bored. There is no book you can lend people that all of them will like.

Consider some of the qualities of typical modernistic poetry: very interesting language, a great emphasis on connotation, "texture"; extreme intensity, forced emotion — violence; a good deal of obscurity; emphasis on sensation, perceptual nuances; emphasis on details, on the part rather than on the whole; experimental or novel qualities of some sort; a tendency toward external formlessness and internal disorganization — these are justified, generally, as the disorganization required to express a disorganized age, or, alternatively, as newly discovered and more complex types of organization; an extremely personal style — refine your singularities; lack of restraint — all tendencies are forced to their limits; there is a good deal of emphasis on the unconscious, dream structure, the thoroughly subjective; the poet's attitudes are usually anti-scientific, anti-common-sense, anti-public — he is, essentially, removed; poetry is primarily lyric, intensive — the few long poems are aggregations of lyric details; poems usually have, not a logical, but the more or less associational style of dramatic monologue; and so on and so on. This complex of qualities is essentially romantic; and the poetry that exhibits it represents the culminating point of romanticism.