A Quote by Anna Journey
Many of the poets I most admire have a way of embodying their peculiar obsessions via landscape that can sometimes seem magical.
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I'm about fifty years behind as far as my preferences go and I must say that the poets who excite me most are the Americans. There are very few contemporary English poets that I admire.
It's a blessing as an artist to express myself - whether that be via dance, via song or via speech - in so many different ways.
There are all sorts of inventive ways to get your film out there: sometimes via the Internet, sometimes via viral screenings in people's living rooms across the country.
Some of the stories I admire seem to zero in on one particular time and place. There isn't a rule about this. But there's a tidy sense about many stories I read. In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.
The way we learn to write is the way we learn to talk: We listen to others and start mimicking speech, and that's how we come to become speakers. Writers you admire, you admire the way they plot, you admire the way they create a character, you admire the way they put a sentence together, those are the writers you should be reading.
There have been many most excellent poets that have never versified, and now swarm many versifiers that need never answer to the name of poets.
I've always been more than a little mystified by poets who seem to think talking to people as directly as possible is a bad thing. I mean, I don't want to set up a straw man here: I understand that for many poets - and for me, at times - writing truly means writing in a way that is difficult, simply because the poem is trying to grasp for something elusive. So the difficulty of the poem is just unavoidable, and not in any way artificially imposed. So "as possible" is the key part of the phrase above, I suppose.
Even when a film is finished, when I direct a film, sometimes it's a dark profession, but it requires a peculiar form of courage that I admire.
I believe in magical things happening and spiritual goings on. Sometimes the most mundane things can surprise you and be magical.
I have a magical work in a magical way. I give magical service for magical pay.
Most poets, like most people, try hard to be like someone they admire or they are possessed with an image of what they ought to be.
Everyone is a poet at 16, but how many are poets at 50? Generally, people seem to get more conservative as they age, but in my case, I seem to have gotten more radical.
In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
The Analytical Engine is an embodying of the science of operations, constructed with peculiar reference to abstract number as the subject of those operations.
The most effective tool I have to work with artists I admire is to point to other artists that I admire and show that I've worked with them many, many times. It's not because I have option deals; it's because they want to keep working with us.
There is a world which poets cannot seem to enter. It is the world everybody else lives in. And the only thing poets seem to have in common is their yearning to enter this world.
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