A Quote by Donald Hall
I have seen so many poets who were famous, who won all sorts of prizes, disappear with their death. I write as good as I can and don't try to turn that into some hope for a future that I could never know.
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When I had finished the book I knew that no matter what Scott did, nor how he behaved, I must know it was like a sickness and be of any help I could to him and try to be a good friend. He had many good, good friends, more than anyone I knew. But I enlisted as one more, whether I could be of any use to him or not. If he could write a book as fine as The Great Gatsby I was sure that he could write an even better one. I did not know Zelda yet, and so I did not know the terrible odds that were against him. But we were to find them out soon enough.
I still believe many poets begin in fear and hope: fear that the poetic past will turn out to be a monologue rather than a conversation. And hope that their voice can be heard as that past turns into a future.
My life has been many examples of shortsighted goals that I thought would fix things. You know, if there's something broken inside me, if there's a hole in there, I thought: If I could just write a good song someday, then I'd be OK. You know, if I could just be on stage in front of people I'd never seen before and be validated by them.
I wish there was a museum of sorts for legends like Ellis R Dungan and many others who disappear with the turn of page in the book of time.
Our thoughts are always elsewhere; we are stayed and supported by the hope for a better life, or by the hope that our children will turn out well, or that our name will be famous in the future, or that we shall escape the evils of this life, or that vengeance threatens those who are the cause of our death.
Many poets are not poets for the same reason that many religious men are not saints: they never succeed in being themselves. They never get around to being the particular poet or the particular monk they are intended to be by God. They never become the man or the artist who is called for by all the circumstances of their individual lives. They waste their years in vain efforts to be some other poet, some other saint...They wear out their minds and bodies in a hopeless endeavor to have somebody else's experiences or write somebody else's poems.
I know there's a CSI game. I've never seen it, though, so I'm not really sure. I hope it's interesting. I hope that they've done a good job making it, but because I've never seen it, the jury is still out on whether it's interesting or not. But it is funny to imagine that it's been turned into a game.
Each one of them [referring to her family] believed that hiding things is never good and that by sharing them, we could give hope to some people - because so many people we know have suffered some of the same things.
I don't regret it, you know. I would do it all again. Children are our hope for the future." THERE IS NO HOPE FOR THE FUTURE, said Death. "What does it contain, then?" ME.
I think that poets can say, "What we want is for everybody on earth to wake up free from fear and with access to medicine and clean water and education." But I don't think poets have any special insight on how to get there. And the 20th century is a pretty good record of that because so many of the great poets were Stalinists: Vallejo, Neruda, Eluard, Aragon, etc. They wrote their odes to Lenin and Stalin. They glorified some of the most violent and grotesque dictatorships of the 20th century. And a lot of the ones who were not Stalinists were fascists or fascist sympathizers.
If I could have found what I needed at thirteen, I would not have lost so much of my life chasing vindication or death. Give some child, some thirteen-year old, the hope of the remade life. Tell the truth. Write the story that you were always afraid to tell. I swear to you there is magic in it.
Poets seem to write more easily about love than prose writers. For a start, they own that flexible ‘I’…. Then again, poets seem able to turn bad love – selfish, shitty love – into good love poetry. Prose writers lack this power of admirable, dishonest transformation. We can only turn bad love into prose about bad love. So we are envious (and slightly distrustful) when poets talk to us of love.
Many friends have said to me, 'I never know when you write your books, because I've never seen you writing, or even seen you go away to write.' I must behave rather as dogs do when they retire with a bone; they depart in a secretive manner and you do not see them again for an odd half hour. They return self-consciously with mud on their noses. I do much the same.
Joyce's writing in Dubliners contains some of the most unshowily beautiful sentences in the English language. I learned from him that if you write a good, clean line of English, you can get under a reader's skin. The reader won't even know why, but there you are. Didion, Berger, the many others I mentioned above, and many, many poets I haven't mentioned. Writers of this calibre are the moving targets the rest of us are always chasing.
One has to say that they [Eleanor and Franklin Roosevelt] were pioneering to some extent. They didn't know that some of the housing projects that they were putting up for the poor were going to turn into crack dens and rapists' bowers and things of that sort, which they have since become. But you can't always foresee the future. I'm sure their intentions were the best.
I've never had a divorce, but I've seen so many of my friends, my sister, my family go through that stuff, so I try to write for the people that can't write about it. I take on their sorrow, so I'm able to kind of express it, or their joy.
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