A Quote by Richard Dyer
Vores's settings fit Torgove's voice like a knife's sheath; they are alert to the harmony of every poem and to every shift of tonality within.
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Raphael's pleasure, his kiss, sent her over a second time....and it wasn't until they both stirred again that Raphael reached down and undid the strap of her knife sheath, putting it and the knife on the bedside table. "Beautiful as this sheath is," he said, touching the leather, "I much prefer the one which holds my blade.
We break down every element of the game, shift by shift and within the shift. And maybe sometimes we are over-the-top on that, but love our detail on the staff and how we do things.
San Francisco itself is art, above all literary art. Every block is a short story, every hill a novel. Every home a poem, every dweller within immortal. That is the whole truth.
If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.
Manipulating shadows and tonality is like writing music or a poem.
If a poem is written well, it was written with the poet's voice and for a voice. Reading a poem silently instead of saying a poem is like the difference between staring at sheet music and actually humming or playing the music on an instrument.
A language like Ruby is a toolbox with some really neat little tools that do their job really nicely. JavaScript is a leather sheath with a really really sharp knife inside. That knife can cut anything, and with it you can do anything. You can kill a bear. You can catch fish. You can whittle a piece of wood into a pony. It's even a toothpick.
There's the truth to every moment that you have to bring to every scene, but you have to understand the tonality of the film before you begin, which isn't something that's instinctual to me.
The Vores Third Quartet is a terrific piece that brings disparate components into harmony. . . it's celebratory, imaginative, touching, and fun.
The religion of the short poem, in every age and in every literature, has a single commandment: Less is always more. The short poem rejects preamble and summary. It's about all and everything, the metaphysics of a few words surrounded by much silence. …The short poem is a match flaring up in a dark universe.
From a distance the world looks blue and green,
and the snow-capped mountains white.
From a distance the ocean meets the stream,
and the eagle takes to flight.
From a distance, there is harmony,
and it echoes through the land.
It's the voice of hope, it's the voice of peace,
it's the voice of every man
I believe that poems are a score for performance by the reader, and that you become the speaking voice. You don't read or overhear the voice in the poem - you are the voice in the poem.
Every moment of life is the last, every poem is a death poem.
Every poem holds the unspeakable inside it. The unsayable... The thing that you can't really say because it's too complicated. It's too complex for us. Every poem has that silence deep in the center of it.
Kids today and for the last 20 years have held the fork and knife in unbelievable ways. They hold the fork with a fist and the knife like a saw and they shovel it in. It doesn't matter to them which way they hold their knife and fork. They eat every which way. I'm amazed they get food into their mouths at all.
All that you seek is already within you. In Hinduism it is called the Atman, in Buddhism the pure Buddha-Mind. Christ said, 'the kingdom of heaven is within you.' Quakers call it the ‘still small voice within.’ This is the space of full awareness that is in harmony with all the universe, and thus is wisdom itself.
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