A Quote by Grace Cavalieri
If anything, hearing another poet is a sacred experience I enter, but I can honestly say this does not influence my own work.
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As actors, the magic is in the almost spiritual experience to really enter another world, to really enter a belief of being in another person's shoes and to really take on their experiences as someone else has written them and imagined them. It's kind of a sacred thing. It's a very spiritual experience. That in itself for me is the main thing that keeps me coming back to it. I like to travel, but for me, this is the greatest travel.
Every one interprets everything in terms of his own experience. If you say anything which does not touch a precisely similar spot in another man's brain, he either misunderstands you, or doesn't understand you at all.
From the animist point of view, humans belong in a sacred place because they themselves are sacred. Not sacred in a special way, not more sacred than anything else, but merely as sacred as anything else -- as sacred as bison or salmon or crows or crickets or bears or sunflowers.
The relation between a poet and audience is really insignificant. What matters is the poet is hearing something that he is broadcasting. And whether there is anybody with a receiver isn't the reason he does it. He hopes there is somebody receiving it.
Let every man abide in the calling wherein he is called and his work will be as sacred as the work of the ministry. It is not what a man does that determines whether his work is sacred or secular, it is why he does it.
Does it mean this, does it mean that, that's all anybody wants to know. I'd say what any decent poet would say if anyone dared ask him to analyze his work: if you see it, darling, then it's there!
You learn from things that you experience in life. I'd never want to say that I regret anything or that anything was a mistake. Honestly, that isn't how I have chosen to live my life.
Although this garrulity of advising is born with us, I confess that life is rather a subject of wonder, than of didactics. So muchfate, so much irresistible dictation from temperament and unknown inspiration enter into it, that we doubt we can say anything out of our own experience whereby to help each other.
Influences come from everywhere but when you are actually shooting you work primarily by instinct. But what is instinct? It is a lifetime accumulation of influence: experience, knowledge, seeing and hearing. There is little time for reflection in taking a photograph. All your experiences come to a peak and you work on two levels: conscious and unconscious.
People are always asking me what my lyrics mean. Does it mean this, does it mean that, that's all anybody wants to know. F**k them, darling. I say what any decent poet would say if you dared ask him to analyze his work: If you see it, dear, then it's there. ... I think my melodies are superior to my lyrics. ... I was never too keen on the British music press. They've called us a supermarket hype, and they used to suggest that we didn't write our own songs.
But I think you have to - whatever the environment looks like, it does enter into people's art work one way or another; it's very remote or it isn't. It's remote in my work but it has to have a certain degree of ordinariness.
If a poet would work politically, he must give himself up to a party; and so soon as he does that, he is lost as a poet.
We cannot turn our back and say that violence in films or anything that we do doesn't have a sort of influence. It does.
I'm usually the last to see my influence in other people's work. People give me stuff and say "Oh look, this guy's ripping you off," and I'm like "What do you mean?" Often I see the people that I've ripped off filtered into my own work. In other people's work, I can only see specific, tiny little instances of inflections stolen from another artist.
"Work" does not exist in a nonliterate world. The primitive hunter or fisherman did no work, any more than does the poet, painter, or thinker of today. Where the whole man is involved there is no work.
A painting lets us know how somebody literally saw things. A piece of music is another language that transmits a whole wealth of emotion and wordless experience. But writing is special in the way at allows us to temporarily enter another person's world, to step outside the boundaries of our own time and space.
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