A Quote by Additi Gupta
Every story, each poem that a person shares, each voice that speaks against menstrual taboo, inspires me.
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I'm a storyteller, and as a story-teller, you see that each country, and therefore the language that it speaks has its very own way and very unique way of telling a story. And there's a lot to be learned from each country, and each language, and how they tell a story.
Ever since I was first read to, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It isn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the story or the poem itself.
I was thinking about the difference in voice between the different characters. Each voice has to be unique. Hypothetically you should be able to read each chapter without the heading that tells you who is telling the story.
The true story of every person in this world is not the story you see, the external story. The true story of each person is the journey of his or her heart.
In life, finding a voice is speaking and living the truth. Each of you is an original. Each of you has a distinctive voice. When you find it, your story will be told. You will be heard.
Each book tends to have its own identity rather than the author's. It speaks from itself rather than you. Each book is unlike the others because you are not bringing the same voice to every book. I think that keeps you alive as a writer.
One of the remarkable qualities of the story is that it creates space. We can dwell in a story, walk around, find our own place. The story confronts but does not oppress; the story inspires but does not manipulate. The story invites us to an encounter, a dialogue, a mutual sharing. As long as we have stories to tell to each other there is hope. As long as we can remind each other of the lives of men and women in whom the love of God becomes manifest, there is reason to move forward to new land in which new stories are hidden.
One should share their dreams with others right away in the morning. One can use my Lightning Dreamwork process. First, the person shares the dream without being interrupted. Then each person shares their thoughts about the dream by saying, "If it were my dream," not presuming to tell the person what the dream means in an objective way. Lastly, the dreamer is helped to make an action plan for embodying the energy and guidance from the dream.
David Foster Wallace was a brilliant experimentalist who I deeply admire. His ability to do formalism helped me understand how to tackle stories like "Dictionary" and "Failed Revolution." "Dictionary," in particular, functions against narrative in many ways - each of the definitions are their own mini-story or prose poem, and the collection of them adds up to create a different effect than the traditional Freytagian Pyramid story.
Whom do I write for? I write for the story. Each story, it seems to me, knows best how it should be told. As I once put my ear to the railroad track, I listen now for the voice of my story.
A voice speaks to each of us in the still silent places - a voice that tells us to stand, to have courage, to do what is right.
If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.
'The Notebook' gets me every time. It's a great love story. Boy from the wrong side of the tracks. They get on each other's nerves, but they can't live without each other. It almost makes me shed a tear.
As I work, I see my writing - each scene, each chapter, each section, each book - in three-act structures and classic myths, and I analyze them through the handy filter of the detective story.
All poems say the same thing, and each poem is unique. Each part reproduces the others, and each part is different.
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up
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