A Quote by Alberto Manguel
Nothing moves except my eyes and my hand occasionally turning a page, and yet something not exactly defined by the word "text" unfurls, progresses, grows and takes root as I read. But how does this process take place?
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Teaching literature is teaching how to read. How to notice things in a text that a speed-reading culture is trained to disregard, overcome, edit out, or explain away; how to read what the language is doing, not guess what the author was thinking; how to take evidence from a page, not seek a reality to substitute for it.
Personally, I need to learn every word on the page before I go in and audition. I have not mastered the skill of holding pages in my hand and acting with pages in my hand. I find that every time I have to look at the page it takes me completely out of the scene.
When you are writing a spoken word poem, the tools you're working with are your voice, your body, how it's going to sound to someone when you're saying it out loud. Which is different from when you're writing it on the page. That toolbox becomes how does this look visually on the page, how does this read among pages, how is this in relation to poems that are before it or after it. I don't think one is better or more successful than the other. You've just gotta think about "what are the tools I'm using, and how are they most effective in this form?"
There is an enormous redundancy in every well-written book. With a well-written book I only read the right-hand page and allow my mind to work on the left-hand page. With a poorly written book I read every word.
I want to wake up one morning and know how to write page one, or page 10, or page 250. But I never seem to know how to do it. Every book is different and takes a different structure, style, process, etc. And relearning how to write is where the insanity comes from.
I occasionally get glimpses, but I have to reprioritize, because that's how it naturally progresses - things like family, responsibilities, and your job all take precedent.
Whatever we read from intense curiosity gives us the model of how we should always read. Plodding along page after page with an equal attention to each word results in attention to mere words.
If we don't understand how metaphor works we will misunderstand most of what we read in the Bible. No matter how carefully we parse our Hebrew and Greek sentences, no matter how precisely we use our dictionaries and trace our etymologies, no matter how exactly we define the words on the page, if we do not appreciate the way a metaphor works we will never comprehend the meaning of the text.
We are chained hand and foot by protocol, enslaved to a static, empty world where men and women can’t read, where the scientific advances of the ages are the preserve of the rich, where artists and poets are doomed to endless repetitions and sterile reworking of past masterpieces. Nothing is new. New does not exist. Nothing changes, nothing grows, evolves, develops. Time has stopped. Progress is forbidden
Love takes nothing: how can it take something? Everything belongs to it. It does not say, "This is mine! And this is mine!" But it says: "This is yours!"
Most writing doesn’t take place on the page; it takes place in your head.
The rower need to know technique and has to be in shape. He won't wrong by using strategy. Yet what it takes to win races is the ability to reach inside and pull out something to keep you going - no, to go faster - when you have nothing left to give. There's a word for what that takes and the word is not magic, the word is guts.
The writing is clean. I really wouldn't have changed a word. Most of it is true, too, except that the hero quits drinking and the girl grows up. On the last page, the couple gets married, which is a nice way for a love story to end.
That's exactly why I came into music in the first place: to be inspired by what I hear to make it something else, to make it my own. That's how culture, creativity, moves, isn't it?
I'm just talking in my songs about what's going on, what's exactly happening right now. If I was upset about something, I wrote a song. There's nothing I can't speak on. And everything I learned is from real-life experience, all first-hand: contracts, record companies, representation, everything. It's not from books: It's coming from the the heart. You can feel my pain, you can hear me turning my pain into a party. I'm not gonna let no one take the fun out of it.
I know how long it takes me to draw a page, how long it takes me to complete a project, how long I can work before my hand gives out, that sort of thing.
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