A Quote by Joel Salatin
I inherited Mom's verbal skills, and participated in forensics and essay contests in elementary school - and won every essay contest I ever entered.
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The essay I had to read was called, "An Essay on Criticism" by Alexander Pope. The first challenge was that the essay was, in fact, a very long poem in "heroic couplets". If something is called an essay, it should be an essay.
In high school, I won a prize for an essay on tuberculosis. When I got through writing the essay, I was sure I had the disease.
An essay is a thing of the imagination. If there is information in an essay, it is by-the-by, and if there is an opinion, one need not trust it for the long run. A genuine essay rarely has an educational, polemical, or sociopolitical use; it is the movement of a free mind at play.
An essay is not an op-ed that tells its reader what to think. An essay is a complicated working-out of one's own contradictions and complicities.
Every essay - the subject matter of every essay - is ultimately about the essayist; him or herself. That ultimately, every essayist is writing about his or her view of the world.
While I was in junior high, I wrote an entire essay in rhyme about manufacturing in New York State. In high school, I won a Scholastic poetry contest.
If an essay has a 'motive,' it is linked more to happenstance and opportunity than to the driven will. A genuine essay is not a doctrinaire tract or a propaganda effort or a broadside.
The "How to Slowly Kill Yourself and Others" essay was so hard to write because of the memories, the sensory stuff, but also because it didn't follow the form of any essay that I've ever read. And the truth that I was exploring necessitated that obliteration of traditional form, I think.
I was definitely a thespian of sorts in elementary school. I went to a real small private school, and every year, I participated in the talent shows and the school plays - all of 'em.
I was definitely a thespian of sorts in elementary school. I went to a real small private school and every year I participated in the talent shows and the school plays, all of 'em.
The drama of the essay is the way the public life intersects with my personal and private life. It's in that intersection that I find the energy of the essay.
The word "essay" means to try out, test, probe. In the essay style, successive clauses and sentences are not produced by an overarching logic, but by association; the impression that prose gives is that it can go anywhere in a manner wholly unpredictable.
Genres have a history and impose a historical character upon the writer. What is interesting in the poem involves a certain kind of dramatization of the self that you don't have to engage in in the essay. In fact, the essay is a more social medium than the poem.
A key text for me is James Baldwin's essays. And, in particular, his essay Stranger in the Village. It's a text that I've used in a lot of paintings. The essay is from the mid-'50s, when he's moved to Switzerland to work on a novel, and he finds himself the only black man living in a tiny Swiss village. He even says, "They don't believe I'm American - black people come from Africa." The essay is not only about race relations, but about what it means to be a stranger anywhere.
I'd be in elementary school all week, and then on the weekend, my mom would take us to Kauai or to the Big Island or to California for a contest. That was really fun.
I began researching and writing what I intended as a book-length essay entitled Fascination and Liberation, exploring the question of whether there is a conflict between creativity and the Eastern form of enlightenment. I don't know if I'll ever finish that essay, because I had an experience, after I'd written two or three chapters, in which it seemed to me that my psychic antibodies decisively rejected Buddhism. Interestingly, the rejection felt as if it happened in Zen terms.
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