A Quote by Lawrence Ferlinghetti
You can publish a poem you think is a very important poem, and you don't hear a word from anyone. [...] You can publish a book of poetry by dropping it off a cliff and waiting to hear an echo. Quite often, you'll never hear a thing. So doing that, using older work, puts it in a context, and that sort of forces the reader to realize what its importance is-if it has any. Everything needs a context. You're not going to recognize a poet unless you have a context.
Related Quotes
Poetry is a river; many voices travel in it; poem after poem moves along in the exciting crests and falls of the river waves. None is timeless; each arrives in an historical context; almost everything, in the end, passes. But the desire to make a poem, and the world's willingness to receive it--indeed the world's need of it--these never pass.
You rarely hear anyone use the word pancreas in a not-horrible context.
Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry is a kind of circuit that takes place between a poet, a poem and a reader and that meaning doesn't exist or in here in poems alone.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry, is a kind of circuit that takes place between a poet, a poem and a reader, and that meaning doesn't exist or inhere in poems alone.
My first advice would be to read, read, read, which sounds interesting coming in a digital age, but it's so much easier to listen to a poem than it is to sit down and actually read it and to hear it in your head and that is something that every poet or aspiring poet needs to be able to do, I think to hear it in their head.
Nonbelievers may hear all the notes of science, but without a theistic context and perspective they will not hear the song.
It's only now that I realize that behaviour always has a context and precedents, it's what you do rather than what you are, although we often never recognise that context or understand what these precedents are.
When America installs a minimum income, it's going to be doing it in a very different historical context than Switzerland or Sweden or Germany, or any other country might do it. And we're doing it in a context where it has the potential, I think, for much better consequences than in those other countries.
Mental illness is a real thing. It has real material consequences for people who suffer from it and at the time even the most biological finding reflects social context in very important ways, and so I think psychiatry is better off looking both at biology and at social context and really trying to think of the relationship between these and I think doctors and patients are better off that way.
What I've learned from my gurus is that when you hear music, you hear a person, or you hear people, and you hear everything about them in those moments. They reveal themselves in ways that cannot be revealed any other way, and it contains historical truths because of that. To me, that is the most important thing. It shouldn't be a footnote, or the last chapter. It should be the complete thesis about a book on listening.
I think the thing is there's a work for every space, you always have to respond to a context, whether it be a physical context, or a political one, or a cultural one, whatever.
God's Word is not presented in Scripture in the form of a theological system, but it admits of being stated in that form, and, indeed, requires to be so stated before we can properly grasp it - grasp it, that is, as a whole. Every text has its immediate context in the passage from which it comes, its broader context in the book to which it belongs, and its ultimate context in the Bible as a whole; and it needs to be rightly related to each of these contexts if its character, scope and significance is to be adequately understood.
Rhythms and sounds are often the first thing I hear and want in a poem, so I can't imagine trying to translate something without at least being able to hear what it sounds like.
We are the only living creatures who can create a context, and as far as we know, everything else can only follow a context, without recognizing the context as such. Herein lies the source of creativity and the genuinely new.
Often when I write poetry I don't quite know what I'm saying myself. I mean, I can't restate the poem. The meaning of the poem is the poem.
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