I grew up in this town, my poetry was born between the hill and the river, it took its voice from the rain, and like the timber, it steeped itself in the forests.
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I did not believe political directives could be successfully applied to creative writing . . . not to poetry or fiction, which to be valid had to express as truthfully as possible the individual emotions and reactions of the writer.
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A writer needs loneliness, and he gets his share of it. He needs love, and he gets shared and also unshared love. He needs friendship. In fact, he needs the universe. To be a writer is, in a sense, to be a day-dreamer - to be living a kind of double life.
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Reading it aloud – poetry is, after all, just written down speech – allow the poem to have a moment to exist. The reader has to put as much care into the reading of the poem as the poet has into writing it. In the relationship between poet, poem and reader, every element has to pull its weight.
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Writing free verse is like playing tennis with the net down.
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It is worth remembering that every writer begins with a naively physical notion of what art is. A book for him or her is not an expression or a series of expressions, but literally a volume, a prism with six rectangular sides made of thin sheets of papers which should include a cover, an inside cover, an epigraph in italics, a preface, nine or ten parts with some verses at the beginning, a table of contents, an ex libris with an hourglass and a Latin phrase, a brief list of errata, some blank pages, a colophon and a publication notice: objects that are known to constitute the art of writing.
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If I could live as a tree, as a river, as the moon, as the sun, as a star, as the earth, as a rock, I would. ...Writing permits me to experien...
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Writers, you know, are the beggars of Western society.
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The art of writing is mysterious; the opinions we hold are ephemeral , and I prefer the Platonic idea of the Muse to that of Poe, who reasoned, or feigned to reason, that the writing of a poem is an act of the intelligence. It never fails to amaze me that the classics hold a romantic theory of poetry, and a romantic poet a classical theory.
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The moving finger writes, and having written moves on. Nor all thy piety nor all thy wit, can cancel half a line of it.
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Despots play their part in the works of thinkers. Fettered words are terrible words. The writer doubles and trebles the power of his writing when a ruler imposes silence on the people. Something emerges from that enforced silence, a mysterious fullness which filters through and becomes steely in the thought. Repression in history leads to conciseness in the historian, and the rocklike hardness of much celebrated prose is due to the tempering of the tyrant.
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There is much pain that is quite noiseless; and vibrations that make human agonies are often a mere whisper in the roar of hurrying existence. There are glances of hatred that stab and raise no cry of murder; robberies that leave man or woman for ever beggared of peace and joy, yet kept secret by the sufferer /committed to no sound except that of low moans in the night, seen in no writing except that made on the face by the slow months of suppressed anguish and early morning tears. Many an inherited sorrow that has marred a life has been breathed into no human ear.
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Historians desiring to write the actions of men, ought to set down the simple truth, and not say anything for love or hatred; also to choose such an opportunity for writing as it may be lawful to think what they will, and write what they think, which is a rare happiness of the time.
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Every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future.
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Language is political. That's why you and me, my Brother and Sister, that's why we supposed to choke our natural self into the weird, lying, barbarous, unreal, white speech and writing habits that the schools lay down like holy law. Because, in other words, the powerful don't play; they mean to keep that power, and those who are the powerless (you and me) better shape up --mimic/ape/suck --in the very image of the powerful, or the powerful will destroy you --you and our children.
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Readers of the twenty-first chapter must decide for themselves whether it enhances the book they presumably know or is really a discardable limb. I meant the book to end in this way, but my aesthetic judgement may have been faulty. Writers are rarely their own best critics, nor are critics. 'Quod scripsi scripsi' said Pontius Pilate when he made Jesus Christ the King of the Jews. 'What I have written I have Written.' We can destroy what we have written but we cannot unwrite it. I leave what I wrote with what Dr. Johnson called frigid indifference to the judgement of that .00000001 of the American population which cares about such things. Eat this sweetish segment or spit it out. You are free.
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The minute you decide to write a poem you are making artistic and technical decisions about rhyme and form and structure. Each one of those decisions pushes it away from the personal and makes it an artwork. If you were writing entirely personally, you would just write in that “Oh my god I’m so in love, I don’t know what to do with myself” voice. A poem moves away from you as you write it.
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Writing prejudicial, off-putting reviews is a precise exercise in applied black magic. The reviewer can draw free-floating disagreeable associations to a book by implying that the book is completely unimportant without saying exactly why, and carefully avoiding any clear images that could capture the reader's full attention.
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For a Jewish Puritan of the middle class, the novel is serious, the novel is work, the novel is conscientious application -- why, the novel is practically the retail business all over again.
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The last publicized center of American writing was Manhattan. Its writers became known as the New York Intellectuals. With important connectio...
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We all start out with the same alphabet. We are all unique. Talent is not the most important thing --- discipline and dedication are. Craft can be learned but desire and longing are innate. Despite the demands of school and just being young, try to write SOMETHING every day --- a description, a captured emotion, a simile, a metaphor. Read, for crying out loud! A writer must read the way a ball player must go to the ballfield every day to practice. Everything is possible in this world of ours--- and so's publication.
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To exclude from positions of trust and command all those below the age of 44 would have kept Jefferson from writing the Declaration of Independence, Washington from commanding the Continental Army, Madison from fathering the Constitution, Hamilton from serving as secretary of the treasury, Clay from being elected speaker of the House and Christopher Columbus from discovering America.
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To endow the writer publicly with a good fleshly body, to reveal that he likes dry white wine and underdone steak, is to make even more miraculous for me, and of a more divine essence, the products of his art. Far from the details of his daily life bringing nearer to me the nature of his inspiration and making it clearer, it is the whole mystical singularity of his condition which the writer emphasizes by such confidences. For I cannot but ascribe to some superhumanly the existence of beings vast enough to wear blue pajamas at the very moment when they manifest themselves as universal conscience.
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Reading while waiting for the iron to heat, writing, My Life had stood—a Loaded Gun—
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Letters to absence can a voice impart, And lend a tongue when distance gags the heart.
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Another piece of advice: when you proofread cross out as many adjectives and adverbs as you can. You have so many modifiers that the reader has trouble understanding and gets worn out. It is comprehensible when I write: The man sat on the grass, because it is clear and does not detain one's attention. On the other hand, it is difficult to figure out and hard on the brain if I write: The tall, narrow-chested man of medium height and with a red beard sat down on the green grass that had already been trampled down by the pedestrians, sat down silently, looking around timidly and fearfully. The brain can't grasp all that at once, and art must be grasped at once, instantaneously. And then one other thing; you are lyrical by nature. The timber of your soul is soft. If you were a composer you would avoid writing marches. It is unnatural for your talent to curse, shout, taunt, denounce with rage. Therefore, you'll understand if I advise you, in proofreading, to eliminate the sons of bitches, curs, and flea-bitten mutts that appear here and there on the pages of Life.
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There is no mistaking a real book when one meets it. It is like falling in love, and like that colossal adventure it is an experience of great social import. Even as the tranced swain, the booklover yearns to tell others of his bliss. He writes letters about it, adds it to the postscript of all manner of communications, intrudes it into telephone messages, and insists on his friends writing down the title of the find. Like the simple-hearted betrothed, once certain of his conquest,
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Prose is architecture, not interior decoration, and the Baroque is over.
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Translation is entirely mysterious. Increasingly I have felt that the art of writing is itself translating, or more like translating than it is like anything else. What is the other text, the original? I have no answer. I suppose it is the source, the deep sea where ideas swim, and one catches them in nets of words and swings them shining into the boat... where in this metaphor they die and get canned and eaten in sandwiches.
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It is my belief that the writer, the free-lance author, should be and must be a critic of the society in which he lives. It is easy enough, and always profitable, to rail away at national enemies beyond the sea, at foreign powers beyond our borders who question the prevailing order. But the moral duty of the free writer is to begin his work at home; to be a critic of his own community, his own country, his own culture. If the writer is unwilling to fill this part, then the writer should abandon pretense and find another line of work: become a shoe repairman, a brain surgeon, a janitor, a cowboy, a nuclear physicist, a bus driver.
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