A Quote by Lucie Brock-Broido

That's what interests me in poetry. That withholding, that white space, the pressure, and my long-term faith in violent concision, is still with me. — © Lucie Brock-Broido
That's what interests me in poetry. That withholding, that white space, the pressure, and my long-term faith in violent concision, is still with me.
There's a sameness about American poetry that I don't think represents the whole people. It represents a poetry of the moment, a poetry of evasion, and I have problems with this. I believe poetry has always been political, long before poets had to deal with the page and white space . . . it's natural.
I've been around a long time, and I've been interested in memory for a long time. And one of my earlier interests in molecular biology of memory led me to define the switch that converts short term to long term memory.
Being captive to quarterly earnings isn't consistent with long-term value creation. This pressure and the short term focus of equity markets make it difficult for a public company to invest for long-term success, and tend to force company leaders to sacrifice long-term results to protect current earnings.
If you like the precision and concision of poetry, a page of prose is unsatisfying in a certain way. And poetry is so direct.
White in the moon the long road lies, The moon stands blank above; White in the moon the long road lies That leads me from my love. Still hangs the hedge without a gust, Still, still the shadows stay: My feet upon the moonlit dust Pursue the ceaseless way. The world is round, so travellers tell, And straight through reach the track, Trudge on, trudge on, 'twill all be well, The way will guide one back. But ere the circle homeward hies Far, far must it remove: White in the moon the long road lies That leads me from my love.
I think there's a lot we could do that maybe would give a little more decision space to CEOs, to shareholders who want to hold for the long term, to investors who want to be part of the long term, that they would maybe have a little more room to withstand the pressure that is otherwise coming down on them.
It matters not how great the pressure is, only where the pressure lies. As long as the pressure does not come between me and my Savior, but presses me to Him, then the greater the pressure, the greater my dependence upon Him.
In the short term, it would make me happy to go play outside. In the long term, it would make me happier to do well at school and become successful. But in the VERY long term, I know which will make better memories.
I will maintain the position that, long-term, a strong and dependable dollar is in the best interests of the United States while recognizing that, at times over the long-term, that may not be the case.
My interests still are my interests. That doesn't make me a bad mother. I think that makes me a really good mother, because when I go and creatively satisfy myself and those interests, I come home satisfied.
Certainly for me prose has a dilatory capacity, insofar as I don't trust my abilities in prose. I imagine I could have done the same thing in poetry, but sometimes I feel more fluent in poetry than in prose, and as a consequence perhaps I might pass too quickly by a thing that I might, in prose, have struggled merely to articulate. That struggle creates space, and it seems to me a particular kind of space into which memory flows easily. I suspect I think better in poetry, however.
If you're long-term oriented, customer interests and shareholder interests are aligned.
To different minds, poetry may present different phases. To me, the reverent faith of the people I lived among, and their faithful everyday living, was poetry; blossoms and trees and blue shies were poetry. God himself was poetry.
I've never thought of my poems as violent. Violence, to me, has so much negativity attached to it - maybe that's my trouble with the word. But ferocious - indeed, I'll take it. And yes, poetry does need a bit of ferocity. Poetry needs to be alive, unabashedly, and, for me, that entails seeing its complexity - the grit and grimness and jubilance and beauty.
Everywhere you turn you see Americans sacrifice their long-term interests for a short-term reward.
There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.
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