A Quote by Lawrence Osborne
Sometimes you can publish a first novel in a kind of lyrical flourish, but it is not really a lyrical form. The beautiful truths about the world are more hard won than that. Novels should be bleach boned. It's a question of cumulative observation and lived suffering. It takes time.
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As I am a lyrical singer, I really have to work hard. I'm still really training on a daily basis on my vocals. Because of the lyrical training, it never really ends.
I really appreciate Frank Ocean's lyrical style, I appreciate the way that he can kind of draw you into this personal space, but it's still lyrical. It's almost poetic, in a way, but it's very personal at the same time.
A lot of time, I'd spell things in standard English instead of phonetically because I want people to understand what's going on. It's also very lyrical, and the great thing about lyrical prose is even when you're not totally sure of the words, you can be swayed by the musicality of it.
A lyrical, brave and complex novel that takes enormous risks and pulls them all off.
Fiction and poetry are my first loves, but the really beautiful lyrical essay can do so much that other forms cannot.
Two questions form the foundation of all novels: "What if?" and "What next?" (A third question, "What now?", is one the author asks himself every 10 minutes or so; but it's more a cry than a question.) Every novel begins with the speculative question, What if "X" happened? That's how you start.
Since childhood, I was afflicted with a sick hypersensitivity, and my imagination quickly turned everything into a memory, too quickly: sometimes one day was enough, or an interval of a few hours, or a routine change of place, for an everyday event with a lyrical value that I did not sense at the time, to become suddenly adorned with a radiant echo, the echo ordinarily reserved only for those memories which have been standing for many years in the powerful fixative of lyrical oblivion.
My poems tend to be more celebratory and lyrical, and the novels so far pretty dark. Poetry doesn't seem to me to be an appropriate tool for exploring that.
Wonderful thing about novels is that sometimes we read a novel and we know the person in the novel more than we know people in our own lives.
Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.
When disco came around the first time, there was this real core of progressive thinking and a positive lyrical content - about freedom, the possibilities of love, change and expression.
I'm no lyrical stylist; you wouldn't pick me for a perfect sentence, and I certainly wouldn't describe my novels as intellectual.
I'm no lyrical stylist, you wouldn't pick me for a perfect sentence, and I certainly wouldn't describe my novels as intellectual.
I danced with Jacques d'Amboise. At that time, he was the tallest man in the company. So it was a different kind of choreography. It was lyrical.
Around the world, Gandhi, Nelson Mandela -- what they did was hard. It takes time. It takes more than a single term. It takes more than a single president. It takes more than a single individual.
It takes about a year to write an opera for me, but not a really a year of writing. I'm touring at the same time, and I'm playing, sometimes doing smaller projects.[The opera] Akhnaten fits in with Gandhi and Einstein, so that forms a trilogy in a way.I picked people who were these kind of larger than life characters, who kind of changed the world they lived in by almost the force of their personality and their inventiveness. People that I think not only do I admire but I think they're admirable people.
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