Top 22 Paul Engle Quotes

Has the painter not always gone to an art school, or at least to an established master, for instruction? And the composer, the sculptor, the architect? Then why not the writer? Good poets, like good hybrid corn, are both born and made.

The corncob was the central object of my life. My father was a horse handler, first trotting and pacing horses, then coach horses, then work horses, finally saddle horses. I grew up around, on, and under horses, fed them, shoveled their manure, emptied the mangers of corncobs.

Touch was important. The evening of the Third of July we would go around the neighborhood and look at the fireworks others had bought, taking them out of the brown paper sack and handling them cautiously as if they were precious stones. There was envy when we saw sacks with more in them than we had.

I had been warned about Jews by my gentile friends – they did terrible things with knives to boys.

I can still remember the feel in my hand of that most wonderful American coin ever minted, a nickel with a buffalo on one side and the head of an Indian on the other. That nickel was a daily proof of our country‘s past. Bring it back!

But maybe it’s up in the hills under the leaves or in a ditch somewhere. Maybe it’s never found. But what you find, whatever you find, is always only part of the missing, and writing is the way the poet finds out what it is he found.

When your first marriage goes into tragedy, you become very battle-scarred… I even thought of suicide. Luckily, I had known some happy marriages.

Soldiers of the American Revolution fought that 18th century war with heavy muskets. In the early 20th century, we kids fought it every Fourth of July not only with exploding powder and shimmering flares, but with all of our senses.

Without vision you don’t see, and without practicality the bills don’t get paid.

Corncobs are the greatest fire-making tinder.

Contrary to slanderous Eastern opinion, much of Iowa is not flat, but rolling hills country with a lot of timber, a handsome and imaginative landscape, crowded with constant small changes of scene and full of little creeks winding with pools where shiners, crappies and catfish hover.

I grew up in the prolonged survival of the great age of the horse, with harness and saddle and sleigh bells and horse pictures, not as antiques but the facts of our lives.

The sharpest memory of our old-fashioned Christmas eve is my mother‘s hand making sure I was settled in bed.

I wanted to write poetry almost a little more than I wanted to eat.

Wisdom is knowing when you can’t be wise.

I began to write poetry in high school, and would ride miles over sandy roads in the fine hills around Cedar Rapids, repeating the lines over and over until I had them right, making some of the rhythm of the horse help.

Our small ears never had such a workout as on the Fourth of July, hearing not only our own bursting crackers but also those of our friends, and often the boom of homemade cannon shot off by daring boys of 16 years, ready to lose a hand if it blew up.

You come to know the aches and vanities and tastes and intrigues of an entire neighborhood at a drug store.

I knew about holiness, never having missed a Sunday-school class since I started at four years. But if Jews were also religious, how could our neighbor with the grease-grimy shirt use the word ‘damn‘ about them?

The years rolled their brutal course down the hill of time. Still poor, my clothes still smelling of the horse barn, still writing those doubtful poems where too much emotion clashed with too many words.

Other families bought automobiles; we had a horse-headed hitching post in front of our house and drove horses.

For my Oxford degree, I had to translate French and German philosophy (as it turned out, Descartes and Kant) at sight without a dictionary. That meant Germany for my first summer vacation, to learn the thorny language on my own.