A Quote by Andre Naffis-Sahely

I can't quite see the point of poems like "Wittgenstein Goes for a Walk with A Hawk in Sherwood Forest." I know they're trying to be clever, but they're not. — © Andre Naffis-Sahely
I can't quite see the point of poems like "Wittgenstein Goes for a Walk with A Hawk in Sherwood Forest." I know they're trying to be clever, but they're not.
When I was a kid, I thought I saw a ghost in the forest when I was on a bush walk, like a walk through the forest. I saw something weird pass from one side of the track to the other, and it was sort of a white, blurry... it's hard to describe, really - something that was almost see-through, but it just moved in front of me.
If you have forest, if you have green forest, the water table goes up. What happens with deforestation is the water level goes down and we all know how much importance drinking water has.
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.
When I was a kid I thought I saw a ghost in the forest when I was on a bush walk, like a walk through the forest. I saw something weird pass from one side of the track to the other, and it was sort of a white, blurry... it's hard to describe, really, something that was almost see-through but it just moved in front of me. It was definitely something you could tell was there, and it really freaked me out. I think I was probably 10, and I ran all the way home.
There are many poets that use as my models. In my first book of poems, I had several for the "Sleepwalkers," I had several poems that were apprentice poems like this in which I take a walk with a poet who is no longer alive.
I'm very clever at hiding poems perhaps more clever than I am at writing them.
All I want to say to people, man, is, "Yo, you see me walking down the street and I got a little bop in my walk, don't think because I've got a bop in my walk I'm trying to be all that. The bop in my walk is because I'm just like you, man. I bop when I walk." Know what I'm saying? I'm proud. If you see me smiling, standing straight up, gold around my neck, it's not because I'm conceited. It's because I'm proud of what I achieved. I made this. I worked hard for this. That's all this is about.
It feels good, you know. It feels like you're out there, you know, doin' your own thing, know what I'm sayin'? It's like, people can't really compare it to anything, and that kinda feels good. It opens me up to a lot of different arenas, a lot of different type of situations, you know like Tony Hawk will call. You know what I'm sayin'? I can just image if my songs was about shootin' up, and like sellin' cocaine, I doubt Tony Hawk would be callin' you know?
[On how she goes about trying to live authentically] Well really listening to my point of view and if I am on a set, say, that doesn't really value a woman's point of view, regardless of how they feel, continuing to give my point of view and try to find a way to be heard and not diminishing myself because other people are diminishing me. Because that, I think, is the worst temptation that, you know, you judge yourself by how others are judging you, and to fall into that trap is to walk into the realm of self-annihilation.
The point is not that I don't recognise bad people when I see them — I grant you I may quite well be taken in by them — the point is that I know a good person when I see one.
I've reached a point in life where it would be easy to let down my guard and write simple imagistic poems. But I don't want to write poems that aren't necessary. I want to write poems that matter, that have an interesting point of view.
Ryan Stout, a straight-arrow-looking kind of guy, shocks the crowd into laughter with his inventive interplay between innocence and a jarringly twisted point of view. He goes from loony to weirdly logical. With him, it’s more than clever writing; his comedy is based on clear and clever thinking.
I have a certain amount of creative energy, and it used to go painting. Now most of it goes to music. I like to make things. I treat the songs more like poems than prose, so in that sense, I don't really have a point to make. I just try to be surprised.
Put him in there and chain him up," he ordered curtly. "Yes, that chain, you fool - do you see any other chain in that cell? Peaceable Sherwood? I'm tired of hearing about Peaceable Sherwood! Turn him loose in the cell for the night. - Which one of you said 'Where'll he be by morning?' Where does he look like he's going to be by morning, I ask you - a hundred and fifty miles away?" I was, to be exact, only seven and a half miles away by morning.
At night, what you see is a city, because all you see is lights. By day, it doesn't look like a city at all. The trees out-number the houses. And that's completely typical of Seattle. You can't quite tell: is it a city, is it a suburb, is the forest growing back?
Everyone goes to the forest; some go for a walk to be inspired, and others go to cut down the trees.
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