A Quote by Gerard Malanga
Whether it's a poem I'm working on or a picture I've snapped, it all has to do with the curiosity I feel without thinking about it.
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All you can usually say about a poem or a picture is, 'Look at it, listen to it.' Whether you listen to a piece of music or a poem, or look at a picture or a jug or a piece of sculpture, what matters about it is not what it has in common with others of its kind, but what is singularly its own.
I never think of my audience when I write a poem. I try to write out of whatever is haunting me; in order for a poem to feel authentic, I have to feel I'm treading on very dangerous ground, which can mean that the resulting revelations may prove hurtful to other people. The time for thinking about that kind of guilt or any collective sense of responsibility, however, occurs much later in the creative process, after the poem is finished.
I can't read my poem "Distracted by an Ergonomic Bicycle" without thinking of Seattle, where the events of the poem took place, and I can't read "In Defense of the Semicolon" without thinking of Toronto - but why should that matter to anyone else? If another reader imagines "In Defense of the Semicolon" taking place in New Orleans, great.
I do feel like no matter what you're doing, whether it's music or writing a play or a poem or drawing a picture or painting something, that you're speaking to what is it you want to express, what is it you want to see.
Working with Barneys, and choosing the looks, I was thinking about whether a real woman would buy this outfit and feel beautiful and comfortable.
Whether you listen to a piece of music, or a poem, or look at a picture or a jug, or a piece of sculpture, what matters about it is not what it has in common with others of its kind, but what is singularly its own.
A picture is a poem without words
A picture is poem without words.
A picture is a poem without words.
My thought process when I'm on the court is always thinking about getting better, and thinking about how I'm playing. Thinking about it as a process, as the big picture and what I need to work on, instead of being close-minded and thinking, 'I'm so nervous and have to win this match, if I don't, it'll be the worst.'
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.
Being an actor, I feel I need to take up challenges and do different roles without thinking about whether the audience will accept me in those roles or not.
It does not matter whether one paints a picture, writes a poem, or carves a statue - simplicity is the mark of a master-hand.
When I start writing a poem, I can usually know quite early on whether it's a lineated or prose poem, but I don't think I can explain how. It's like deciding whether to wear a skirt or a pair of pants.
There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.
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