A Quote by Robert Hass

Images are not quite ideas, they are stiller than that, with less implication outside themselves. And they are not myth, they do not have the explanatory power; they are nearer to pure story. Nor are they always metaphors; they do not say this is that, they say this is.
When we talk about the Universe Story we are talking about the acquisition of a totally new paradigm, one which overturns many of the patterns that we unconsciously believe to be true. There is not simply the addition of new metaphors and images, but the metaphors and images themselves flow out of a new consciousness inspired by a new awareness of the cosmos.
I say that a myth is a story which has particular energy, mythic resonance. I always say that a myth is a tear in the fabric of reality through which all of this spiritual energy pours.
The Last Of England works with image and sound, a language which is nearer to poetry than prose. It tells its story quite happily in silent images, in contrast to a word-bound cinema.
Myth is the system of basic metaphors, images, and stories that informs the perceptions, memories, and aspirations of a people; provides the rationale for its institutions, rituals and power structure; and gives a map of the purpose and stages of life.
Every myth is psychologically symbolic. Its narratives and images are to be read, therefore, not literally, but as metaphors.
I'm always thinking about story, and the development of ideas or images, so with all types of media, I'm simply trying to communicate the feelings and ideas in the story or characters in the most appropriate and effective way.
Naught is possessed, neither gold, nor land nor love, nor life, nor peace, nor even sorrow nor death, nor yet salvation. Say of nothing: It is mine. Say only: It is with me.
Poetry begins in trivial metaphors, pretty metaphors, "grace" metaphors, and goes on to the profoundest thinking that we have. Poetry provides the one permissible way of saying one thing and meaning another. People say, "Why don’t you say what you mean?" We never do that, do we, being all of us too much poets. We like to talk in parables and in hints and in indirections - whether from diffidence or some other instinct.
Writers who have nothing to say always strain for metaphors to say it in.
Depression, pain, and fear are gifts that say, "Sweetheart, take a look at your thinking in this moment. You're living in a story that isn't true for you." Living a lie is always stressful. And investigating a lie through The Work always leads you back to who you are. Who you are is not an option. You are love. It hurts to believe you're other than who you are, to live any story less than love.
The short story form allows evocation, suggestion, implication. Its potency often lies in what it does not say.
One thing my mother always instilled in me is to always know my worth. Don't settle for less. She used to say to me 'Iman, no is a complete sentence, learn to say no. You don't have to explain it you don't have to say anything after it. It's a complete sentence.' So when I came to America 1975, I found out that the black models were being paid less than white models. So the first thing I did was say I'm not going to do the job unless I'm paid the same amount.
The poet wants to ‘say’ something. Why, then, doesn’t he say it directly and fortrightly? Why is he willing to say it only through his metaphors? Through his metaphors, he risks saying it partially and obscurely, and risks saying nothing at all. But the risk must be taken, for direct statement leads to abstraction and threatens to take us out of poetry altogether.
Parenting, as an unpaid occupation outside the world of public power, entails lower status, less power, and less control of resources than paid work.
Materialism is the recognition of "objects in themselves", or outside the mind; ideas and sensations are copies of images of those objects.
Keep skid chains on your tongue. Say less than you think. Cultivate a pleasant voice. How you say it is often more important than what you say.
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