200 definitions
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Jim Finnegan: top 200 quotes
200 definitions
A Metaphor (n.) must be exploratory, not explanatory.
The Metaphor (n.) is an unholy yoking that somehow holds true.
The Poem (n.) is, when great, a hypertext into the universal and eternal.
The Poem (n.) is best when it openly refutes the poets last definition of poetry.
The Poem (n.) has many rooms, corridors, and closets.
The Poem (n.) is a by-product of existence. It has no value as artifact unless connected to a life.
The Poem (n.) is a cabinet of curiosities.
The Poem (n.) is a contract of adhesion. Drafted by one party and offered to the reader on a take-it-or-leave-it basis.
The Poem (n.) is a desperate struggle between release and resolve.
The Poem (n.) is a flag for no nation.
The Poem (n.) is a garden planted too large to ever be perfectly kempt.
A Poem (n.) is a genre wrecking literary instrument.
The Poem (n.) is a mosaic of well-placed words.
The Poem (n.) is a novel distilled to its essential paragraph.
A Poem (n.) is a ping in the universe whose sender cares not if it hits anything and echoes back.
A Poem (n.) is a resonant hive. Hear it, and feel its vibrant thrum.
The Poem (n.) is a skiffle language: scrounged, improvised, vagrant.
The Poem (n.) is a thing in which the expression may be apt rather than exact.
The Poem (n.) is a thing in which the lines strain to weave themselves into a simultaneous tapestry of experience.
The Poem (n.) is a thing in which the temporal collapses into the universal now.
The Poem (n.) is a thing in which the words are given their personal space.
A Haiku (n.) is, when good, able to humble a poem of a hundred lines.
The Conspiracy theory (n.) is that at whose heart lies narcissism.
A Title (n.) is too often tight-lipped, offering but a word or two.
The Sonnet (n.) is poetry's elephant graveyard…the place where old poets go before they die.
The Sonnet (n.) is poetry’s jewel box.
The List (n.) is a thing in which the poem always lurks.
Art (n.) is made by artists and by the critics who recognize it in all its itness.
Time (n.) is human measure of change, be it creation or decay.
Poetry (n.) is one of humankind’s primal urges.
Poetry (n.) is an intellectual luxury good when it is cut off from its social, cultural and political underpinnings.
Poetry (n.) needs to have so many prizes and awards, otherwise its undertaking would be of uncertain value.
Poetry (n.) is a human sensory faculty as yet not fully understood.
Poetry (n.) exists at the poles of unnecessary language and essential language.
Poetry (n.) keeps language close to nature.
Poetry (n.) , if good, can easily survive a partial misquoting.
Poetry (n.) , much to a critic’s dismay, resists all manner of demystification.
Poetry (n.) presupposes its purpose.
Poetry (n.) is existence elucidated by means of the imagination.
Poetry (n.) is held back by the tether of the line.
Poetry (n.) is impractical language.
Poetry (n.) is in a running argument with the lingua franca.
Poetry (n.) is literature’s vice. When critics admonish the current state of poetry for its lack of social acceptability, for its recalcitrance, we know the art is going wrong in a good way.
Poetry (n.) is locution of what is normally elided.
Poetry (n.) is often recognized by its language speed.
Poetry (n.) is software written in a programming language for the human soul.
Poetry (n.) is the apotheosis of speech.