A Quote by Robert Pinsky
I love form, but I'm not interested in forms. I've never written a sonnet or villanelle or sestina or any of that. For me, it's a kind of line. It's a rhythm. It's something musical.
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When you work in form, be it a sonnet or villanelle or whatever, the form is there and you have to fill it. And you have to find how to make that form say what you want to say. But what you find, always--I think any poet who's worked in form will agree with me--is that the form leads you to what you want to say.
In your language you have a form of poetry called the sonnet…There are fourteen lines, I believe, all in iambic pentameter. That’s a very strict rhythm or meter…And each line has to end with a rigid pattern. And if the poet does not do it exactly this way, it is not a sonnet…But within this strict form the poet has complete freedom to say whatever he wants…You’re given the form, but you have to write the sonnet yourself. What you say is completely up to you.
If you want to be considered a poet, you will have to show mastery of the petrarchan sonnet form or the sestina. Your musical efforts must begin with well-formed fugues. There is no substitute for craft... Art begins with craft, and there is no art until craft has been mastered.
The form I most enjoy writing is the sonnet or sonnet-like forms, where you have a - you know, three stanzas or two stanzas that lead into a concluding couplet.
If I basically view criticism as sort of an interesting form of writing about oneself, an interesting form of autobiography, then I don't feel any pressure to have any kind of authoritative, universal voice. That kind of thing has never interested me.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
A dream role is a role that you can't even picture for yourself. Everything I've ever played I never pictured I would get a chance to play. It [has] gone beyond my wildest dreams. One thing I would love to do in my lifetime is a movie musical. I've wanted to do that since I was a kid. That's what made me interested in acting in the first place. I would do any type of musical, but I love the Harlem Renaissance era. I think a dream role in something that I probably can't see and I don't know when it's going to come.
You mean you're comparing our lives to a sonnet? A strict form, but freedom within it? Yes. Mrs. Whatsit said. You're given the form, but you have to write the sonnet yourself. What you say is completely up to you.
For poets today or in any age, the choice is not between freedom on the one hand and abstruse French forms on the other. The choice is between the nullity and vanity of our first efforts, and the developing of a sense of idiom, form, structure, metre, rhythm, line - all the fundamental characteristics of this verbal art.
Life, with its rules, its obligations, and its freedoms, is like a sonnet: You're given the form, but you have to write the sonnet yourself. - Mrs. Whatsit
I'm so not interested in gossip. It just gives me the creeps. I love the work; I love what I do. If somebody sends me an interview that has any connotation of something that's not interesting or genuine, I'm not interested. I really detach myself from it.
I always love to see singing on television; any form of a musical is exciting to me.
Often you've read another poem that you think is so beautiful that you'd like to make something like that. And so you try to make a sonnet that works in a certain kind of way, or you try to make something that's songlike, or you create a refrain, or you love the way a poem works in two line stanzas and you try to do that.
Among those today who believe that modern poetry must do without rhyme or metre, there is an assumption that the alternative to free verse is a crash course in villanelles, sestinas and other such fixed forms. But most... are rare in English poetry. Few poets have written a villanelle worth reading, or indeed regret not having done so.
Any musical form that has been around long enough to have cultural resonance beyond just being a cutting edge kind of communication - but, especially, when it begins to reflect on a time and reflect on a culture - is effective in a musical.
Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.
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