A Quote by Jacqueline Woodson
I think I had gotten messages really young that poetry wasn't for me, that it was for, basically, some dead white men. My experience and my intellect was on the outside of understanding that. I think that's what's so destructive.
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When I walk into a room that is all white and all male, I'm sitting on the outside of that club. That's sometimes an intimidating experience. But I think that everywhere that I've gotten is because I've worked hard. I have the experience, I have the credentials - I continue not to take any of that for granted.
I've gotten so many messages I could even get emotional thinking about it, but I've gotten so many messages from young kids all over the country that my story's resonated with them.
I think I felt at some point that I couldn't understand poetry or that it was beyond me or it didn't speak to my experience. I think that was because I hadn't yet found the right poems to invite me in.
I think the entire message of the psychedelic experience, which is basically the sine qua non of the rebirth of alchemical understanding, the very basis of that understanding is that nature seeks to communicate.
There's this whole problem of trafficking, which has gotten worse in the economic downturn, which disproportionately affects young women, but also affects some young men who are sold into bondage, into basically servitude for indebted work that they can often never escape from.
There's a sameness about American poetry that I don't
think represents the whole people. It represents a poetry
of the moment, a poetry of evasion, and I have problems
with this. I believe poetry has always been political, long
before poets had to deal with the page and white
space . . . it's natural.
A lot of people don't know I'm from the West Coast. My swag is different. Me being from Young Money, affiliated with them, some people think I'm from down South. They think maybe I'm from New Orleans like them. It's just good to show people and build outside of Young Money, build my brand outside of that.
I think for some people who leave Westboro, losing that sense of specialness feels like you've lost something really valuable and important. I had the opposite experience. I was so grateful to know that I wasn't uniquely evil. I was just a human being who had had this set of experiences that were outside of my control.
When I was a kid and a young man I read everything. When I was about 23, I was incredibly lucky in that I wound up with several book review columns, which meant that I had to read huge amounts of stuff that was outside my experience and outside my comfort zone. I think every young writer should be forced to read the kind of stuff they would not normally read for pleasure.
When I was young I thought of friendship as a matter of total loyalty and unchanging preference and I was often disappointed. But as an adult I had come to see that it was more the refraction of some total faithfulness and joy of which we all had some primordial notion. The exchange of trust and the experience of understanding between two people was like a sign or witness to the possibilitity of eternal caring and understanding and communication.
I think it's really hard to move between genres, and I think, especially in Britain, we're very judgmental about it - me included. I know that when an actor comes out with some poetry or an album, I think, 'Oh crikey, what's this going to be like?'
Basically the real decision making in the Labour party is old white men, assisted by young, posh men.
It's not about what you achieve, it's actually what you do for your industry and that's what I think is important. And when people look at me and they see my achievements with the restaurants do you know what I think? I think I did more than that. What I achieved was teaching young men and young women when they were young and inspiring them.
When I was twelve or thirteen, if you liked something that was outside of your friend group genre, you had to rationalize and explain it in some way. It's totally irrelevant, I think, now. I don't think anybody cares. Not young people, at least. Maybe journalists.
Young men are as apt to think themselves wise enough, as drunken men are to think themselves sober enough. They look upon spirit to be a much better thing than experience; which they call coldness. They are but half mistaken; for though spirit without experience is dangerous, experience without spirit is languid and ineffective.
I can understand how people who don't really follow baseball can look at 'dead arm' and think the absolute worst. Basically, a dead arm is when your arm kind of feels a little heavy, kind of feels weak, and basically, it's just muscular fatigue.
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