A Quote by Edwin Morgan
I just discovered when I was, oh, 12 or 13, that I was very interested in language - and this showed itself as poetry. There was no looking back.
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I read a lot of poetry. All types of poetry, but mostly Catalan poetry, because I believe poetry is the essence of language. Reading the classics, be they medieval or contemporary, gives me a stylistic energy that I'm very interested in.
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 have any interest in doing superhero franchise movies. I don't connect to the fantastic and I'm not a comic person, it's just not my thing, so I'm not looking in that direction - but ambitious films on a big scale I'm very interested in looking at. I'm interested in reality, I'm interested in people, so it's just about finding a project I'm interested in.
My son Wesley has just turned 13. He was 12 during the recording of this record and he is quite a drummer already and has been studying drums since he was four, but he's also very interested in African percussion and studies percussion.
When I devoted myself to poetry - and poetry is a very serious medium - I don't think the people that knew me as an individual with that tongue-in-cheek kind of humor...well, it didn't always lend itself to my poetry. When you're writing poetry, it's like working with gold, you can't waste anything. You have to be very economical with each word you're going to select. But when you're writing fiction, you can just go on and on; you can be more playful. My editor's main task is to cut back, not ask for more.
What a great poem teaches you - and it's not intellectual at all - is the resonance in the language that's heard there. This goes back to the very origins of poetry and to the very origins of language.
We were discovered by Don Fury; he was the first record producer who discovered us and essentially plucked us out of the rough. But I think in another way, we were discovered when we discovered each other, right before we started high school. We were 12 and 13. I don't want to speak for Justin Beck, but that's a big moment, linking up with your foil for the first time. Glassjaw definitely changed my life in the biggest way possible.
I think neuroscience is obviously very esoteric, but I think there are aspects of it that can absolutely be brought down to the level of an interested 11-, 12-, 13-year-old easily.
I didn't get a formal introduction to horror until right about the age of 12, when my uncle showed me 'Twilight Zone: The Movie.' When you're 12 years old, and you see that - oh, God. I devoured as many horror movies and novels as possible.
I knew being a musician was my calling when I was 12 or 13. I started singing when I was six but didn't actually see myself being a singer when I was 12 or 13.
That is a horrible thing in a way, but it is the one thing poets can bring back to experience, this intense focus on language, which activates words as a portal back into experience. It's a mysterious process that's very hard to articulate, because it's focused entirely on the material of language in a way, but in the interests not just of language itself whatever that would mean - that's the mistake, by the way, that so many so-called "experimental" poets make - but in service to human experience.
Since the boundary of the world of poetry is fluid, the language in it is also fluid. Hence, the language that is outside of the poetry world, namely the language that is not the language of poetry, cannot go into the poetry world.
Urdu can not die out because it has very strong roots in Persia. The language itself is not only just the language of the Muslims, but it's also the language of the Hindus.
I found poetry at 12 and 13 and, lo and behold, learned that my attorney father had a background in poetry - as he wore dashikis and Afros in the '70s and named his kids Arabic names. He was a poet and a lot like The Last Poets and Gil Scott-Heron and all of these folks. He definitely was an artist.
I mean, what's thematic? How to put it? Going back to, like, 1980, when I started writing poetry. Language itself became an issue. I'd even think about font as an aspect of text, you know, how something looks on a page. A lot of this is the product of a very solitary existence, it's like, language, I mean, you know. A lot of time spent alone in the creation of all of this stuff.
Think about when you were 12 or 13. The stuff I watched was awful! I tried to watch a 'He-Man' cartoon recently, and I was like, 'Oh my God!' I just had, like, a small brain. I was stupid.
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