A Quote by Frank O'Hara
I dislike a great deal of contemporary poetry - all of the past you read is usually quite great - but it is a useful thorn to have in one's side.
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The past is the prism through which we see a great, great, great deal of ourselves; it's a useful prism. It doesn't mean that we're fascinated by the dead or that we're fascinated by things that are settled. It is just one place where we can go to understand ourselves in the present.
Anyway I read more contemporary poetry than contemporary fiction so my mind goes first to a kind of crass "conceptualism" that repeats vanguard gestures of the past minus the politics and historical context.
There is a great deal of freshness and charm in '400 Blows.' There is also a great deal of visual poetry in the way in which Truffaut's camera looks at his beloved city.
If you read the stories of the great spiritual teachers of the past, we find that they have attained spiritual realization through a great deal of meditation, solitude and practice. They did not take any shortcuts.
Read. Read. Read. Read. Read great books. Read poetry, history, biography. Read the novels that have stood the test of time. And read closely.
I drift along, thinking about the past a great deal. The past is so reliable, so delightful, and the best place to live. I end up there quite often, you know; it's very comfortable and dependable.
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.
I have endured a great deal of ridicule without much malice; and have received a great deal of kindness, not quite free from ridicule. I am used to it.
I can see that "reap" and "deep," "prayers" and "bears," . . . do rhyme, and so I suppose it is a splendid effort, but if you had written it in plain prose, I could have understood it a great deal better and read it a great deal more easily.
There's a great freedom of forms and intonations in Luigi Fontanella's poetry. He doesn't take a strong formal stand; his poetry entertains moments of nearly proselike colloquial narrative along with moments of powerful lyrical tension. There is a movement of extremes, from powerful tonality to near atonality, and I like this a great deal; it's a stance that very effectively catches the spirit that makes work in poetry possible nowadays.
I wasn't all that attracted to writing originally. I read a great deal. My parents read a great deal. I do know that as my interest in tennis waned, my interest in academics increased. I mean, I started doing my homework in high school and discovering that it was somewhat fun. And then in college I barely even played on the team because just classes were much more interesting.
When I was young, I kept trying to read 'Moby-Dick', and I couldn't get that far into it. And I kept thinking, 'Well, man, if I can't read the great American novel, I could never be a writer.' And this bothered me a great deal.
It does not take a great deal of imagination or courage to believe that God is on your side when you are prospering or winning; it takes a great deal of courage and imagination to believe that God is on your side when you are suffering or losing.
I don't want to give the impression that I'm a great Bible reader. I don't sit down every day and read for an hour through the Bible. But I really do read it with a great deal of pleasure... which is the last thing I would have suspected. So I read it sometimes as a devotional, but really more, not for fun, but because it's fascinating.
I think every actor injects some of his own personality into his parts. There's a great deal of myself in McCoy, a great deal of Bill in Kirk, and a great deal of Leonard in Spock!
Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed. Their highest merit is suggestiveness.
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