A Quote by Jay Asher
That's what I love about poetry. The more abstract, the better. The stuff where you're not sure what the poet's talking about. You may have an idea, but you can't be sure. Not a hundred percent. Each word, specifically chosen, could have a million different meanings.
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That’s what i love about poetry. The more abstract, the better. The stuff were your not sure what the poets talking about. You may have an idea, but you cant be sure. Not a hundred percent. Each word, specifically chosen, could have a million different meanings. Is it a stand-in ?a symbol for another idea? Does it fit into a larger, more hidden, metaphor? ...I hated poetry until someone showed me how to appreciate it. He told me to see poetry as a puzzle. Its up to the reader to decipher the code, or the words, based on everything they know about life and emotions.
... when we are talking about 'Christians' and 'Moslems' we must first make sure that we are talking about people who have an idea, which should be more or less correct, as to what the other is supposed to believe and what he is expected to do as a consequence of that belief.
I think that the next album is specifically for sure from Cry Baby's perspective, but it's not necessarily about her family-life or her love-life, or anything like that, it's more about this place in this town. The place has different characters in there, so in every song there's gonna be different characters that appear.
If you're writing, you're a writer. If you're talking about it or thinking about it, I'm not so sure. Writing is ninety-eight percent work and two percent magic.
The kind of love my mum talks about is full of worry and work and forgiving people and putting up with things and stuff like that. It's not a lot of fun, that's for sure. If that really is love, the kind my mum talks about, then nobody can ever know if they love somebody, can they? It seems like what she's saying is, if you're pretty sure you love somebody, the way I was sure in those few weeks, then you can't love them, because that isn't what love is. Trying to understand what she means by love would do your head in.
Those books of mine that are remunerative - I'm not talking about poetry here - take years to write, and I am never sure they'll be successful. So writing is a risk in more senses than one.
You have no idea what I'm talking about, I'm sure.
I don't think I was talking specifically about Steve Jobs. It was just a general philosophy about one person grows up and he's kind of managing companies and every day he's working making sure this is in place and that's in place.
I'm primarily a poet, so I'd have to say in my case I'd investigate the mystery in poetry in a different way than prose might investigate it, in a way that includes the power of the music of language and maybe more imaginatively in poetry, but I don't really know about better or worse. I guess it depends on the writer.
First and foremost, I love Riddick Bowe more than anybody else could love him. If I wasn't 100 percent sure that I was 100 percent sound, I wouldn't jeopardize my life by getting back into the ring.
I believe the doctrine of election, because I am quite sure that if God had not chosen me I should never have chosen him; and I am sure he chose me before I was born, or else he never would have chosen me afterwards; and he must have elected me for reasons unknown to me, for I never could find any reason in myself why he should have looked upon me with special love.
One of the appeals of William Carlos Williams to me is that he was many different kinds of poet. He tried out many different forms in his own way of, more or less, formlessness. He was also a poet who could be - he was a love poet, he was a poet of the natural order and he was also a political poet.
I've tried to get better about weighing what I think the accessibility of an idea is against the cost of executing it. I've tried to be smarter about that, because if you're not smart about that, you're going to be unemployed. But I'm still mystified about what works for people. And I'm not talking about my movies, I'm talking in general. I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too.
I always buy the same things. I have about a million sweaters and a million jackets, so I'm sure I'll get some more of that.
I usually base my characters on composites of people I know. One trumpet player in SIDE MAN is really a mix of four different guys I knew growing up. Patsy , the waitress, is a mix of about three different people. I like doing it that way. I start with the characters, as opposed to plot, location, or some visual element. I write more by ear than by eye. I always work on the different sound of each character, trying to make sure each has a specific voice and speech pattern, which some writers could care less about.
I like showing different types of comedy - showing that I could tell a story, or showing that I could do a one-liner, showing I could do stuff about music - so just trying to be versatile and talking about different topics.
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