A Quote by A. S. Byatt
There are many ways of writing badly about painting... There is an 'appreciative' language of threadbare, not inaccurate, but overexposed and irritating words... the language of the schools which 'situates' works and artists in schools and movements... novelists and poets [that] see paintings as allegories of writing.
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The Language Poets are writing only about language itself. The Ashbery poets are writing only about poetry itself. That seems to me a kind of dead end.
Real novelists, those we admire, those we consider timeless in their language and character and scene, those who receive accolades for inventive language and form, have writing lives we imagine in specific ways.
The wonderful thing about writing for theatre is you can go anywhere you want with the language. There are no limits. With film, they frown on language - it's always 'Too many words.'
There are dance artists, painting artists and writing artists. Authors are writing artists. You can practice art in whatever medium you choose, and words are mine.
Writing engenders in us certain attitudes toward language. It encourages us to take words for granted. Writing has enabled us to store vast quantities of words indefinitely. This is advantageous on the one hand but dangerous on the other. The result is that we have developed a kind of false security where language is concerned, and our sensitivity to language has deteriorated. And we have become in proportion insensitive to silence.
When I taught at the University of Houston in the Creative Writing program we required the poets to take workshops in fiction writing and we required the fiction writers to take workshops in poetry. And the reason for that is because the fiction writers seemed to need to learn how to pay greater attention to language itself, to the way that language works.
There is something false in this search for a purely feminine writing style. Language, such as it is, is inherited from a masculine society, and it contains many male prejudices. We must rid language of all that. Still, a language is not something created artificially; the proletariat can't use a different language from the bourgeoisie, even if they use it differently, even if from time to time they invent something, technical words or even a kind of worker's slang, which can be very beautiful and very rich. Women can do that as well, enrich their language, clean it up.
The politics of language and the politics of writing really got to me. I've heard this phrase more than once now: this idea of the poetry wars, or the idea that people within the space of writing are at odds with one another or manipulating language to further one's political stance, manipulating language in ways that really felt dirty to me. All of these things worked their way into and through language for me.
That is a horrible thing in a way, but it is the one thing poets can bring back to experience, this intense focus on language, which activates words as a portal back into experience. It's a mysterious process that's very hard to articulate, because it's focused entirely on the material of language in a way, but in the interests not just of language itself whatever that would mean - that's the mistake, by the way, that so many so-called "experimental" poets make - but in service to human experience.
There are many schools of painting. Why should there not be many schools of photographic art? There is hardly a right and a wrong in these matters, but there is truth, and that should form the basis of all works of art.
I approach writing a poem in a much different state than when I am writing prose. It's almost as if I were working in a different language when I'm writing poetry. The words - what they are and what they can become - the possibilities of the words are vastly expanded for me when I'm writing a poem.
Speaking, writing, and signing are the three ways in which a language lives and breathes. They are the three mediums through which a language is passed on from one generation to the next.
I like to write about painting because I think visually. I see my writing as blocks of color before it forms itself. I think I also care about painting because I'm not musical. Painting to me is not a metaphor for writing, but something people do that can never be reduced to words.
To talk about paintings is not only difficult but perhaps pointless too. You can only express in words what words are capable of expressing-- what language can communicate. Painting has nothing to do with that.
For purposes of marketing, writers are designated as poets, novelists, or something else. But writing is about matchmaking, an attempt to marry sensations with apt words.
Marches work, rallies work, civil disobedience works, direct action works, voting works, writing letters works, speaking to churches and schools works, rioting works.
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