A Quote by Anne Waldman
There is a pretty interesting document called 'action writing.' Which is not all about spontaneity and first thought, best thought,' but a certain kind of attention to the smallest increments of the phonemes of language, The kind of power of connection, what he is able to do with language.
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Reading and writing and the preservation of language and its forms and the kind of eloquence and the kind of beauty which the language is capable of is terribly important to the human beings because this is connected to thought.
Thought is the creative power, or the impelling force which causes the creative power to act; thinking in a Certain Way will bring riches to you, but you must not rely upon thought alone, paying no attention to personal action. That is the rock upon which many otherwise scientific metaphysical thinkers meet shipwreck–the failure to connect thought with personal action.
Freedom is the thing that has attracted me most to jazz. Within improvisation, you're really able to express something that maybe I'm not so adept at expressing via language. So I develop a language through the instrument to tell stories. So it's kind of this freedom of thought and freedom of expression that kind happens.
One must avoid ambition in order to write. Otherwise something else is the goal: some kind of power beyond the power of language. And the power of language, it seems to me, is the only kind of power a writer is entitled to.
Writing engenders in us certain attitudes toward language. It encourages us to take words for granted. Writing has enabled us to store vast quantities of words indefinitely. This is advantageous on the one hand but dangerous on the other. The result is that we have developed a kind of false security where language is concerned, and our sensitivity to language has deteriorated. And we have become in proportion insensitive to silence.
Moreover, metaphor is typically viewed as characteristic of language alone, a matter of words rather than thought or action. For this reason, most people think they can get along perfectly well without metaphor. We have found, on the contrary, that metaphor is pervasive in everyday life, not just in language but in thought and action. Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.
Language is power, in ways more literal than most people think. When we speak, we exercise the power of language to transform reality. Why don't more of us realize the connection between language and power?
Language is called the garment of thought: however, it should rather be, language is the flesh-garment, the body, of thought.
I have thought about some kind of musical involving my music. That would be kind of interesting. I have thought of it in that way, as a creator of something, not so much a performer. So that's in my head.
I thought why not write a kind of mystery, murder, thriller book, but use romance language where the language plays completely against the very dark subject matter, that very strange murderous plot, but use that Harlequin Romance language.
A special kind of beauty exists which is born in language, of language, and for language.
I really never thought I was that good at film. And honestly still don't. My strength is language. My background is monologues and a certain kind of Brechtian spin on theater.
There is a kind of nonlinguistic thought going on which we are trying to represent in language, and we know that sometimes we fail.
The important thing is to be able to understand anyone who has something useful to say. - There is a general moral here. Be very careful and very clear about what you say. But do not be dogmatic about your own language. Be prepared to express any careful thought in the language your audience will understand. And be prepared to learn from someone who talks a language with which you are not familiar.
People do not think in English or Chinese or Apache; they think in a language of thought. This language of thought probably looks a bit like all these languagesBut compared with any given language, mentalese must be richer in some ways and simpler in others.
You kind of notice what's going on in your body, and you can kind of feel a certain tightening, or fear, which is something that, as an artist, I've kind of befriended. I can pretty much count on it for anything that I engage in - that thing like, "Am I going to be able to pull this off?" Well, what am I gonna do with this feeling? The more nervous you get, the more worried you get about it. So you pay attention to what you might need.
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