A Quote by Elaine Equi
Sometimes you get lit students that know a lot about the canon but virtually nothing about contemporary poetry and vice versa. I like to mix things up.
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I'm educating myself more about world poetry. I know a lot about contemporary American poetry, so I felt I needed to learn more about figures like Borges, Akhmatova, Neruda, etc. I felt I needed a bigger lens to see poetry through. It really helps to see poetry as a world language, and not just something American.
My feeling about work is it's much more about the experience of doing it than the end product. Sometimes things that are really great and make lots of money are miserable to make, and vice versa.
It's sad. There's a lot about this industry that a lot of people don't know about and don't find out about. There are a lot of tough things and trials and stuff that you're faced with. Sometimes, God has other plans for people. Sometimes bands can't stick through it. It depends on the situation. Keep praying for the bands that you like, seriously, because a lot of things will try to get in the way of being together. We've been blessed with not deal with those yet, but if we ever did...?
One of the great things about collecting contemporary art is that you mix with contemporary people.
For a novelist, the great thing about the Stone Age people is that we know virtually nothing about their beliefs - which means that I get to make it up! But it's still got to be plausible.
I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet.
When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre. I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet. Or the comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.
Poetry is like walking along a little, tiny, narrow ridge up on a precipice. You never know the next step, whether there's going to be a plunge. I think poetry is dangerous. There's nothing mild and predictable about poetry.
You know how some people get worked up about things? That's a very human thing to do. Sometimes, I don't know - like, I feel like I don't want to waste my energy doing stuff like that. I think about this on the court, too.
The way things are supposed to work is that we're supposed to know virtually everything about what they [the government] do: that's why they're called public servants. They're supposed to know virtually nothing about what we do: that's why we're called private individuals.
The bad things about theatre get balanced by the good things in film and vice versa. So to tell you the truth, I love it when I can go back and forth - it feeds different parts of you and exercises different muscles.
I want to use things I learn about writing in my acting, and vice versa.
I don't know anything about chemistry, but I know that there's a whole world of chemistry, of professional chemists. They have their prizes, they have their publications, they have their work. Just because I don't know about it, doesn't mean that it doesn't exist. A lot of people say, "Isn't poetry in trouble today?" Or: "Nobody really reads poetry anymore." And I say, "You're crazy." There's a huge world of poetry out there. You may not know about it, but it's there.
Women's studies needed a syllabus and so invented a canon overnight. It puffed up clunky, mundane contemporary women authors into Oz-like, skywriting dirigibles. Our best women students are being force-fed an appalling diet of cant, drivel and malarkey.
There's nothing like a man watching a roomful of guys look his woman up and down to make him desire what he already has (and vice versa).
It's a beautiful idea to focus on how everything is temporary and always in flux. It may feel bad now, but it will feel good later, and vice versa. To write about those things brings this satisfying feeling as a creative person. There's a lot of music out there that's like, "I'm so mad! I'm sad! I'm into skulls and crossbones and the color black," and that's just meaningless and shallow. So much of metal is about that and it's hard to find metal that is substantial and meaningful in terms of its content.
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