A Quote by Mary Oliver

I have the feeling that a lot of poets writing now are - they sort of tap dance through it. — © Mary Oliver
I have the feeling that a lot of poets writing now are - they sort of tap dance through it.
I am realizing and accepting my role as a tap dancer in this world is not only to tap dance for the sake of performance, but through tap dance be able to share and spread a message and congregate with people I would not necessarily be with had it not been for dance.
Here in New Orleans, what a lot of the musical families do - and this is a romantic concept on my part - is they teach their kids to tap dance first. Then after tap dance, you learn piano, and after piano, you get to pick between all the instruments that are out there.
I don't know if younger poets read a lot of, you know, the poets - the established poets. There was a lot of pretty boring stuff to sort of put up with and to add to, to make something vital from.
I don't tap dance, and I don't think you can learn to tap dance in three weeks at my ripe old age.
I'm a tap dancer. Once you're a tap dancer, you're always a tap dancer. In 'After Midnight,' I get to dance, but I don't do a full tap number.
It was quite a thespian - 'thespy' - sort of household. My mum had a dance school, and my dad now works in a theatre, so I spent a lot of time going to see dance as a young child - it was just a part of who we were.
There are people who take tap class, do a tap dance. And then there are people who know the dance, who know why they take tap classes. Who know why they do 20 shuffles, or 50 shuffles, before they go on.
There probably aren't a lot of actors my age who tap dance.
To be a great actor, you really don't need to go to acting school or learn dance classes or work on your body. You have to be intelligent. You have to draw on a lot of emotions that you go through in life that you can tap into once you work on a set.
Whenever you're writing something that's reflective, you have to put yourself through some sort of ordeal just to understand the way you're feeling.
I was really creative. I started to dance very young. I loved to dance. I begged my mother to put me into dance classes, and finally, in third grade, she did. Tap and jazz, but not ballet.
On Saturday afternoons, there was a film, of course, and then we did about four shows between the films. And I would do a tap dance, a little military tap.
When I'm writing fiction, I'm sort of interested by the fact that somehow or other I can have the feeling of actually seeing things through someone else's eyes.
Because so many poets have chosen a political idiom right now in the US and so many poets have assigned value and inherent knowledge to their racial identity and used that as a form of argumentation, I'm thinking now's a good time to buy low for my own poems and write poems that are deeply in the interior and the psyche. There are plenty of people out there working on subjects of political poetry, partisan poetry, all the way through to crossing the threshold of propaganda. I start thinking now's a good time for me to start writing about the myths of my own psyche.
She knew that what she was going through was nothing special, just garden-variety heartbreak, the sort of thing that poets and novelists had been writing about for hundreds of years, but she also knew, from those same books, that there were people who never recover form it, ones who go on through life beset by a dim and painful longing.
In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
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