A Quote by John Steinbeck

Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. — © John Steinbeck
Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream.
How can the poem and the stink and the grating noise - the quality of light, the tone, the habit and the dream - be set down alive?
The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
He never forgot anything but he never bothered to arrange his memories. -Hazel, Cannery Row
The inherent lightness or darkness of a form - its local-tone - is a given quality of all forms. It is affected by, but separate from, the light and dark areas that result from light falling on forms.
I really want to dive in the kelp forests of Monterey Bay in California. I hear it's like floating through a forest.
Introduction To Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem's room and feel the walls for a light switch. I want them to waterski across the surface of a poem waving at the author's name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
I grew up right in Santa Cruz, right across the bay from Monterey. I would go to Monterey all the time.
Noise is the typographical error and the poorly designed page...Ambiguity is noise. Redundancy is noise. Misuse of words is noise. Vagueness is noise. Jargon is noise.
Row, row, row your boat. Gently down the stream. Merrily, merrily, merrily, merrily, life is but a dream.
My mother was a very wonderful woman. When she and my dad divorced, she moved to California and worked two jobs in the cannery at night and as a waitress during the day. But she saved enough money to establish a restaurant.
I've always said about 50% of what happens at a concert has to do with the audience. If you play for a dead audience you're gonna stink. If we play for a great crowd we're much better. You want 'em to make noise. It's kinda like sex, if they don't make noise, you ain't doin' it right.
Lindsay Hatton's novel 'Monterey Bay' so beautifully evokes the landscape of the titular locale, you'll feel transported to Northern California even if you're reading it on the bus on your morning commute.
Monterey, I remember, but I seem to remember the Fillmore West, that we played the week before Monterey. That was much more memorable for me. The first time in San Francisco. They were good gigs.
You can't control the quality of projects that are coming to you, so if you get several in a row that are quality, you take them.
And as part of my activity there, he had indicated he wanted me to work with him on that and conduct the various technical tests. And so a few months later I moved from Southern California up to the Monterey Peninsula where I still live today.
Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy-the tone range isn't right and things like that-but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention.
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