A Quote by Lawrence Ferlinghetti
Constantly risking absurdity and death whenever he performs above the heads of his audience, the poet, like an acrobat, climbs on rhyme to a high wire of his own making.
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the poet like an acrobat climbs on rime to a high wire of his own making.
As he walks away on his own two feet--the toddler's body-mind has reached its moment of perfection. The world is his and he the mighty conqueror of all he beholds.... As long as mother sticks around in the wings, the mighty acrobat confidently performs his trick of twirling in circles, walking on tiptoe, jumping, climbing, staring, naming. He is joyous, filled with his grandeur and wondrous omnipotence.
the translator, a lonely sort of acrobat, becomes confused in a labyrinth of paradox, or climbs a pyramid of dependent clauses and has to invent a way down from it in his own language.
Everyone his own cinematographer. His own stream-of-consciousness e-mail poet. His own nightclub DJ. His own political columnist. His own biographer of his top-10 friends!
Essentially, not only do we believe in this myth of 'de-risking', but it has become the one overriding goal; de-risking above growth, de-risking above innovation, de-risking above everything else. And we've reached the point where the Fed is using $70 Billion a month to 'de-risk' a largely insolvent banking system. And this can only end badly. The idea that you can do capitalism without risk is ridiculous on its face.
The painter puts brush to canvas, and the poet puts pen to paper. The poet has the easier task, for his pen does not alter his rhyme.
He who climbs above the cares of this world, and turns his face to his God, has found the sunny side of life.
A photographer is an acrobat treading the high wire of chance, trying to capture shooting stars.
Without the constantly living and articulated eperience of absurdity, there would be no reason to attempt to do something meaningful. And on the contrary, how can one experience one's own absurdity if one is not constantly seeking meaning?
Death most resembles a prophet who is without honor in his own land or a poet who is a stranger among his people.
Ambition devours gold and drinks blood and climbs so high by other men's heads, that at the length in the fall, it breaks its own neck; therefore, it is better to live in humble content than in high care and trouble.
In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever.
The poet does not fear death, not because he believes in the fantasy of heroes, but because death constantly visits his thoughts and is thus an image of a serene dialogue.
James Taylor is the kind of person I always thought the word 'folksinger' referred to. He writes and sings songs that are reflections of his own life, and performs in them in his own style. All of his performances are marked by an eloquent simplicity.
David O. Russell's best films are thrilling high wire acts that run the moment to moment risk of tumbling to the ground. In his latest, "Joy," Russell has more trouble than usual keeping his balance on the wire.
Branches grew from his hands, his hair. His thoughts tangled like roots in the ground. He strained upward. Pitch ran like tears down his back. His name formed his core; ring upon ring of silence built around it. His face rose high above the forests. Gripped to earth, bending to the wind's fury, he disappeared within himself, behind the hard, wind-scrolled shield of his experiences.
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