The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.
Only where there is disillusionment and depression and sorrow does happiness arise; without the despair of loss, there is no hope.
Hope is essential to any political struggle for radical change when the overall social climate promotes disillusionment and despair.
The story and the poem are obviously changed by being placed in the novel, so in a sense they're no longer the works that preceded the novel.
I'm a student of history and know that civilizations get lost - they are born and die - and so I recognize the tender mortality of our civilization. I'm not saying I'm separate from the despair of that, but I'm not controlled by the despair of that.
All the troubles of the world, especially the spiritual, such as grief, impatience, disillusionment, despair, the truly basic troubles of man-they came about only because of the failure to view clearly the majesty of God.
I was born in the era of the novel. I've written many, as well as collections of poetry, and essays for mouthing off. I've written to inches, word-counts, page-counts, even the sonnet and the screenplay (which I call a plot poem). I write narrative. That's it. I just want to tell it.
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'm English, and as such I crave disappointment. That's why I buy Kinder Surprise. Horrible chocolate; nasty little toy: a double-whammy of disillusionment! Sometimes I eat the toy out of sheer despair.
The novel is like a melancholy form. It's about some kind of disillusionment with the way things are versus the idea of how they could be or how they used to be.
When clever people ask me where
I get a poem, I despair.
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.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up
What I try to do is to go into a poem - and one writes them, of course, poem by poem - to go into each poem, first of all without having any sense whatsoever of where it's going to end up.
Compared with the person who is conscious of his despair, the despairing individual who is ignorant of his despair is simply a negativity further away from the truth and deliverance. . . . Yet ignorance is so far from breaking the despair or changing despair to nondespairing that it can in fact be the most dangerous form of despair. . . . An individual is furthest from being conscious of himself as spirit when he is ignorant of being in despair. But precisely this-not to be conscious of oneself as spirit-is despair, which is spiritlessness. . . .