A poem may be an instance of morality, of social conditions, of psychological history; it may instance all its qualities, but never one of them alone, nor any two or three; never less than all.
According to its doctors, my one intransigent desire is to have been a Confederate general, and because I could not or would not become anything else, I set up for poet and beg an to invent fictions about the personal ambitions that my society has no use for.
At twelve I was determined to shoot only For honor; at twenty not to shoot at all; I know at thirty-three that one must shoot As often as one gets the rare chance - In killing there is more than commentary.
For some reason most critics have a hard time fixing their minds directly under their noses, and before they see the object that is there they use a telescope upon the horizon to see where it came from.
I am not ridiculing verbal mechanisms, dreams, or repressions as origins of poetry; all three of them and more besides may have a great deal to do with it.
I believe the term modulation denotes in music the uninterrupted shift from one key to another: I do not know the term for change of rhythm without change of measure.
Narcissism and the Confederate dead cannot be connected logically, or even historically; even were the connection an historical fact, they would not stand connected as art, for no one experiences raw history.
Serious poetry deals with the fundamental conflicts that cannot be logically resolved: we can state the conflicts rationally, but reason does not relieve us of them.
So the poet, who wants to be something that he cannot be, and is a failure in plain life, makes up fictitious versions of his predicament that are interesting even to other persons because nobody is a perfect automobile salesman.