A Quote by Cate Marvin
One of the reasons poetry is such an amazing genre to work with is because it constantly reinvents itself and re-negotiates its terms with the reader.
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Dealing with poetry is a daunting task, simply because the reason one does it as an editor at all is because one is constantly coming to terms with one's own understanding of how to understand the world.
Any genre as it's called, I think can be quite reductive in terms of what a film is, because I think there is an eagerness to put in any film, in anybody's work, to give it a genre title and I think as a consequence of that, the film starts to obey the rules of the genre.
The language of poetry is not stuck in place. Nothing can own language. I think, however, the genre of poetry itself is very feminine and motherly.
I don't want to get locked into any one type of genre. I just want to constantly be working with amazing directors and amazing actors, and just always pushing the envelope on what I can do, as an actor.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry is a kind of circuit that takes place between a poet, a poem and a reader and that meaning doesn't exist or in here in poems alone.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry, is a kind of circuit that takes place between a poet, a poem and a reader, and that meaning doesn't exist or inhere in poems alone.
There's so much pressure for actresses to constantly work or constantly be desired in terms of a value.
To think of writing poetry as a "career" is not only ridiculous, it's dangerous. To the imagination. To the way one thinks of art. The reason poetry as a genre is so special is because it cannot be made a commodity.
The one term I don't like to be called is a 'vulture.' Because to me, a vulture is a kind of asset-stripper that eats dead flesh off the bones of a dead creature. Our bird should be the phoenix, the bird that reinvents itself, recreates itself from its ashes. And that's much closer to what it is that we really do.
Edward Said talks about Orientalism in very negative terms because it reflects the prejudices of the west towards the exotic east. But I was also having fun thinking of Orientalism as a genre like Cowboys and Indians is a genre – they’re not an accurate representation of the American west, they’re like a fairy tale genre.
I come from a nation where fantastic fiction has a very low status, unless it fits into some very specific categories or is written by already established authors. I don't by any means try to hide what I write, but the way people think in categories here is pretty extreme: it blots out discussing the actual work on its own terms. That's made me loath to talk about my own work in terms of genre, because once you get a label, it sticks and poof go a slew of potential readers and reviewers because eww, fantasy cooties.
I am a voracious reader myself. I don't stick to one genre. My only criteria is that it's a good story. I try to bring that to my work because I think people can read your excitement about a story.
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.
When I speak of poetry I am not thinking of it as a genre. Poetry is an awareness of the world, a particular way of relating to reality. So poetry becomes a philosophy to guide a man throughout his life.
But to demand that a work be “relatable” expresses a different expectation: that the work itself be somehow accommodating to, or reflective of, the experience of the reader or viewer. The reader or viewer remains passive in the face of the book or movie or play: she expects the work to be done for her. If the concept of identification suggested that an individual experiences a work as a mirror in which he might recognize himself, the notion of relatability implies that the work in question serves like a selfie: a flattering confirmation of an individual's solipsism.
The game business reinvents itself every five years.
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