A Quote by Donald Hall
Prose is not so dependent on sound. The line of poetry, with the breaking of the line - to me, sound is the kind of doorway into poetry. And my sense of sound, or my ability to control it, lapsed or grew less.
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For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.
As music is the poetry of sound, so is painting the poetry of sight and the subject-matter has nothing to do with harmony of sound or of color.
Poetry is not an issue of form and enjambments. Poetry, as the word is classically used, has to do with sound and sense. It can be rhyme. It can be rhythm, pace, breath.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
Sound had always been my portal to poetry, but in the beginning, sound was imagined through the eye.
I don't like poetry that doesn't give me a sense of ritual, but I don't like poetry that doesn't sound like people talking to each other. I try to do both at once.
Poetry is so close to music, not just in cadence and sound but in silences. That's why, to me, I can't talk about prose poems. I can talk about poetic prose.
Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea.
My ear is not working, my poetry ear. I can't write a line that doesn't sound like pots and pans falling out of the cupboard.
The line is a way of framing poetry. All verse is measured by lines. The poetic line immediately announces its difference from everyday speech and prose.
turns me on so loud it's like no sound, everybody yelling at me hands over their ears from behind a glass wall, faces working around in talk circles but no sound from the mouths. my sound soaks up all other sound.
I never made a distinction, really, between music and sound. Let me explain what I mean by that. I grew up near to a train station, and the sound of the trains became a very important part of my world. It was a very musical sound to me.
Poetry is the most direct and simple means of expressing oneself in words: the most primitive nations have poetry, but only quitewell developed civilizations can produce good prose. So don't think of poetry as a perverse and unnatural way of distorting ordinary prose statements: prose is a much less natural way of speaking than poetry is. If you listen to small children, and to the amount of chanting and singsong in their speech, you'll see what I mean.
I made that a point when I was creating my sound from the beginning, I didn't want to sound like anybody. Once I kind of found my own sound, I mastered it.
Ayahuasca is driven by sound, by song, by whistling. And its ability to transform sound, including vocal sound, into the visual spectrum indicates that some kind of information processing membrane or boundary is being overcome by the pharmacology of this stuff. And things normally experienced as acoustically experienced becomes visibly beheld, and it's quite spectacular.
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