A Quote by John Cooper Clarke

To approach a poem as if it is a puzzle to be understood is to miss the point. — © John Cooper Clarke
To approach a poem as if it is a puzzle to be understood is to miss the point.
I terribly miss - we all miss, I think - somebody like the great producer Irving Thalberg. He had a foot in both camps: He understood us creative people. And he understood the money people.
Poetry is like a puzzle-solving strategy for me. I like to poem my way through tricky questions and ideas. That's about the only consistent thread through my poem-creation process.
Reviewing good puzzle books is frustrating, because you get to page one of the introduction, find a curious puzzle, become engrossed for 20 minutes, miss your stop and then fail to get home in time to say goodnight to the kids.
There are only three great puzzles in the world, the puzzle of love, the puzzle of death, and, between each of these and part of both of them, the puzzle of God. God is the greatest puzzle of all.
You know, people call mystery novels or thrillers 'puzzles.' I never understood that, because when I buy a puzzle, I already know what it is. It's on the box. And even if I don't, if it's a 5,000-piece puzzle of the 'Mona Lisa', it's not like I put the last piece in and go, 'I had no idea it's the 'Mona Lisa'!'
I think a good poem should have some inscrutable part. You can't quite explain it. The poem can only explain itself to a certain limit and at that point you enter into a little bit of mystery. That for me is the perfect poem: to begin in clarity and to end in mystery.
I write poems from dreams pretty frequently. It's limiting to think the poem has to come from a sensical lyric "I" stating things clearly or dramatically. This whole course is trying to say there are millions of ways to approach writing a poem.
The poem is not only the point of origin for all the language and narrative arts, the poem returns us to the very social function of art as such.
Each poem seems to demand its own formal approach. In both drafting and revision, I'll play around with line lengths and stanza formations, eventually letting the poem settle into what I think is its own best form.
In reggae I have a model of artistic excellence and possibility that is challenging and inspiring. The poem remains a demanding thing - an object to be understood and shaped into my own sense of self, the same is true of the play, the novel, the short story. Yet, for some reason, I approach these existing genres with the kind of confidence that the reggae artist approaches any song floating around out there.
The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.
I think the teams biggest struggle is remaining a team. It's kinda like a puzzle, If one piece of the puzzle is missing then the puzzle can't be completed. Every team member plays an important part.
I think Miss Moore was right to cut "The Steeple-Jack" - the poem seems plainer and clearer in its shortened state but she has cut too much... The reader may feel like saying, "Let her do as she pleases with the poem; it's hers, isn't it?" No; it's much too good a poem for that, it long ago became everybody's, and we can protest just as we could if Donatello cut off David's left leg.
What a poem can do is provide you this intimate eye that, for the length of a poem and hopefully a little bit after, can provide testimony or a point of view.
Do not wait for a poem; a poem is too fast for you. Do not wait for the poem; run with the poem and then write the poem.
Honestly, as an actor, all I need to know, the way I kind of look at a scene, is like a puzzle. There are certain puzzle pieces that are bigger than others, and all I need to know is if this is going to fit here to make this part of the puzzle work.
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