A Quote by Edmund Wilson
On the one hand, I have wanted to supply documentation on myself by including material relevant to my emotions and ideas in my youth; and, on the other, not to let myself down by publishing inferior material. My poetry comes under the latter head. My only advice to the reader is to skip any verse that he sees coming.
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Write verse, not poetry. The public wants verse. If you have a talent for poetry, then don't by any means mother it, but try your hand at verse.
... imaginary gardens with real toads in them ... ... if you demand on one hand, the raw material of poetry in all its rawness and that which is on the other hand genuine, then you are interested in poetry.
When I say 'publishing is the new literacy,' I don't mean there's no role for curation, for improving material, for editing material, for fact-checking material. I mean literally, the act of putting something out in public used to be reserved in the same way.
Part of me sees myself as talented, and the other part sees me as strange. Ideas get stuck in your head and nothing changes them. Not even fame.
If only a small fraction of what is already known about the effects of sugar were to be revealed in relation to any other material used as a food additive, that material would promptly be banned.
I read round the subject, I make a skeleton outline, and then I start work in the relevant archives. During the marshaling of the material, I copy the material from each archive file across to the relevant chapter in the skeleton outline.
I used to worry that I had a finite supply of ideas, that I should hold on to each of them in case it was the last. But then I talked to other cartoonists, and I realized ideas are cheap; you can have a million ideas. The tricky part is the follow-through: making good ones work, making the best out of the raw material!
There's a reason that so much good material is coming down to the small presses: it's difficult to turn a profit, all things considered. But you can't go into small press publishing and complain about the money. Our Little Island publishing just needs to survive. If we're still around in a few years - in vaguely the same shape as we are today - then, to me, that's success.
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Obviously, if a director doesn't communicative a clear, relevant vision of the material, it will not succeed no matter how good the material.
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My voice is the only material thing in which I can still reveal myself. Go ahead and cut off the hand or the testicles of a voice. Try to find the head of a voice, the orifice through which it passes, or even the breasts to which you can attach the clips of your electrodes. Nothing. Resonant tooth.
I am notoriously hard on myself in terms of working on new material and while I am critical of my performance on the Led Zeppelin material, I am way more critical of my own stuff. I'm pretty hard on myself.
I'm a poetry-skipper myself. I don't like to boast, but I have probably skipped more poetry than any other person of my age and weight in this country - make it any other two persons. This doesn't mean that I hate poetry. I don't feel that strongly about it. It only means that those who wish to communicate with me by means of the written word must do so in prose.
If you do a serious presidential bio, you want to supply the reader with maximum material because otherwise you're offending the reader. A president for many people is a serious thing and they want to know everything.
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