A Quote by Alan Moore
In a sense, the story, or poem or verse or whatever it is you're writing, you can kind of think of it as a kind of projectile. Imagine it is a kind of projectile which has been specially shaped to be aerodynamic, and that your target is the soft grey putty of the reader's brain.
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The poem is not, as someone put it, deflective of entry. But the real question is, 'What happens to the reader once he or she gets inside the poem?' That's the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.
I was the first one to allow a projectile to come off of the stage and into the audience. And I kind of take responsibility for the mosh pit.
PROJECTILE, n. The final arbiter in international disputes. With the growth of prudence in military affairs the projectile came more and more into favor, and is now held in high esteem by the most courageous.
In the broadest possible sense, writing well means to communicate clearly and interestingly and in a way that feels alive to the reader. Where there’s some kind of relationship between the writer and the reader - even though it’s mediated by a kind of text - there’s an electricity about it.
I hardly know what I'm going to write - an article, a story, a poem in free verse - or in some regular form. I only know that when I have the first sentence. And when the first sentence makes a kind of pattern, then I find out the kind of rhythm I'm looking for.
I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.
A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.
Well I've also kind of noticed that, whatever energy that you put out, is kind of the energy that you receive. And so people are just really lovely and kind and soft spoken with me.
When you're on the set, and sometimes, because it's been so complex and the writers have been really writing, sometimes up until the last minute... And you kind of sit back; you separate yourself from your brain, and you say, let me see if you can do this. And that's the kind of challenge I like.
BLANK-VERSE, n. Unrhymed iambic pentameters - the most difficult kind of English verse to write acceptably; a kind, therefore, much affected by those who cannot acceptably write any kind.
The curve of life is like the parabola of a projectile which, disturbed from its initial state of rest, rises and then returns to a state of repose... Like a projectile flying to its goal, life ends in death. Even its ascent and its zenith are only steps and means to this goal... For, enlightenment or no enlightenment, consciousness or no consciousness, nature prepares itself for death.
I think that that's the way the music grows and changes and becomes new and creative and vital. It's by synthesizing elements from all around it and not to maintain this kind of rigid myopic kind of tunnel vision, in a sense, trying to maintain a certain kind of purity, or whatever.
The speaker tentatively reaches out with that feeling and realizes that it's kind of absurd, or at least a dangerous consolation, which is what I think is discovered as that longish sentence at the end of the poem comes to its conclusion. But here I am interpreting my own poem, which is kind of like making out with one's own high school yearbook photo.
I'm opposed to censorship of any kind, especially by government. But it's plain common sense that producers should target their product with some kind of sensitivity.
I never think of my audience when I write a poem. I try to write out of whatever is haunting me; in order for a poem to feel authentic, I have to feel I'm treading on very dangerous ground, which can mean that the resulting revelations may prove hurtful to other people. The time for thinking about that kind of guilt or any collective sense of responsibility, however, occurs much later in the creative process, after the poem is finished.
I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.
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