A Quote by Mary Lambert

Sylvia Plath, Rumi, there's a lot of spoken word poets who do a really incredible job putting their spoken work into page poetry - that's what I strive to do. — © Mary Lambert
Sylvia Plath, Rumi, there's a lot of spoken word poets who do a really incredible job putting their spoken work into page poetry - that's what I strive to do.
Since the beginning of establishment, poets and spoken word artists have always been both vocal supporters and critics of government. And in this age of Trump as President, alternative facts, falsehoods becoming truth at the send of a tweet, it's vital that spoken word poetry does its job helping to keep folks 'woke' and not numb or shut down.
No poet will ever take the written word as a substitute for the spoken word; he knows that it is on the spoken word, and the spoken word only, that his art is founded.
Look, if you ask a child, 'Would you rather have a fulfilled mother or a stay-at-home Sylvia Plath,' they'll pick Sylvia Plath every time. But I think it's really important that children don't feel their parents' emotional lives depend on their success.
If you would be well spoken of, learn to be well-spoken; and having learnt to be well- spoken, strive also to be well-doing; so shall you succeed in being well spoken of.
I love Sylvia Plath and Anne Sexton. I also love more cerebral poets like H.D. and Emily Dickinson. My parents subscribed to a monthly poetry periodical, and as a teenager I was introduced to Denise Levertov, who was an influence.
I think you can perform any poem. But what I believe is that the best examples of spoken word poetry I've ever seen, are spoken word poems that, when you see them, you're aware of the fact they need to be performed. That there's something about that poem that you would not be able to understand if you were just reading it on a piece of paper.
The spoken word is never really effective unless it is backed up by a life, but it is also true that the living deed is never adequate without the support the spoken word can provide.
My first spoken word poem, packed with all the wisdom of a 14-year-old, was about the injustice of being seen as unfeminine. The poem was very indignant, and mainly exaggerated, but the only spoken word poetry that I had seen up until that point was mainly indignant, so I thought that that's what was expected of me.
The first job I got when I was in high school was working for a department store in New York. I worked in the stockroom. That's when I learned that I couldn't work for anyone else, because I was spoken to in a way that I wasn't spoken to at home.
I love to publish new writers, and we do so consistently. But a lot of contemporary American poets sound alike to me. They want to bring spoken, prosy language into poetry and I understand that desire. But they don't edit. It's not very curated work. It seems very lackluster, very uncareful. It may be the un-carefulness is also something they intend but there's a kind of "So what?" quality to a lot of it.
I was really drawn to spoken-word style poetry. I loved the rhythms, and for some reason, I was just drawn to this poetry as a way of expressing my feelings, because I didn't have any other outlet.
I was an English major in college, so I really liked spoken word and poetry; it was what I did before I wrote music.
Our spoken word first hammers a thing desired into shape. Our continued spoken word brings this shaped substance forth and clothes it with a visible body.
Spoken word poetry is the art of performance poetry. I tell people it involves creating poetry that doesn't just want to sit on paper, that something about it demands it be heard out loud or witnessed in person.
I was always into poetry and writing. So the urgency of spoken word is something that really has always appealed to me.
I don't really have a lot of hobbies. I listen to a lot of spoken word. I get books on tape.
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