A Quote by Sharon Olds

Well, 'The Wellspring' was written from 1983 to 1986. And it had a section in the beginning that was poems that began from others' experience. — © Sharon Olds
Well, 'The Wellspring' was written from 1983 to 1986. And it had a section in the beginning that was poems that began from others' experience.
In every well-written play the battle rages between the primary powers of Good and Evil, and it is this battle which constitutes the life impulse of the play, its driving force, and is basic to all plot structures...In any true piece of art...the beginning and the end are, or should be, polar in principle. All the main qualities of the first section should transform themselves into their opposites in the last section.
I was unnerved to learn in my twenties that the poems of Emily Dickinson that I had memorized as a girl were not the poems as she had written them.
I had written here and there about my mother in my poems. There are poems for her in my first and second books.
Well it is certainly the case that the poems - which were in fact published during Shakespeare's lifetime - are weird if they began or originated in this form, as I think they did, because the poems get out of control.
I had always written. I had written stories and poems. Then I started writing plays.
The act of song writing and recording became one and the same to me; because I essentially recorded everything I did from the day I began trying to write songs. I've always had a lot to say. I'd always written poems.
I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.
There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.
DuBois - my intellectual hero - had written an obit of Madam, praising her... I began to see Madam Walker beyond the definitions others had given her.
In the beginning, it was quite challenging because I had zero acting experience, and delivering dialogues was the most difficult thing for me to do. But after I began to act, I grew as an artiste.
When I first encountered the poems of Jon Woodward, I was stunned into the state that is my life's joy-I was in the presence of the inimitable. Uncanny Valley extends that experience-almost into another dimension. These apocalyptic, pixilated poems forge a mythology of our ravaged culture, one that might have been written in the future. If you want poetry to give you a persimmon on a plate, look elsewhere; if you want to know what happens when seven trees fall on the highway and the story is told by a stutterer, this is the book, and it could only have been written by Woodward.
I began composing the next poem, the one that was to be written next. Not the last poem of those I had read, but the poem written in the head of someone who may never have existed but who had certainly written another poem nonetheless, and just never had the chance to commit it to ink and the page.
By the time I was 12, I had memorised hundreds of couplets. I could recite for hours poems written by others. I knew I could write a line in metre. But I never dared to do it till I was 33 years old.
I had a bad experience on Ned Kelly, which I'd written the screenplay for. I thought: "Well Jesus, if these are the type of people directing movies I might as well direct one myself!"
The Eucharist is the full realization of the worship which humanity owes to God, and it cannot be compared to any other religious experience.... The risen Lord ... calls the faithful together to give them the light of His Word and the nourishment of His Body as the perennial sacramental wellspring of redemption. The grace flowing from this wellspring renews mankind, life, and history.
I arrived in the U.S. for graduate study in literature in the fall of 1986. I was twenty-three. After a year, I began to paint, even though I had come to the U.S. intending to become a writer.
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