A Quote by Shirley Geok-lin Lim

Writing a poem is unwriting a knot, like untying a shoelace that is clubbing your foot. — © Shirley Geok-lin Lim
Writing a poem is unwriting a knot, like untying a shoelace that is clubbing your foot.

Quote Author

Battle, n., A method of untying with the teeth a political knot that would not yield to the tongue.
I double-knot my shoe laces. It's a pain untying your shoes afterward-particularly if you get them wet-but so is stopping in the middle of a race to tie them.
How delicious is the winning Of a kiss at Love's beginning, When two mutual hearts are sighing For the knot there's no untying!
With knot of one, the spell's begun. With knot of two, the spell be true. With knot of three, the spell is free. With knot of four, the power is stored. With knot of five, the spell with thrive. With knot of six, this spell I fix.
Long ago in China, knot-makers tied string into buttons and frogs, and rope into bell pulls. There was one knot so complicated that it blinded the knot-maker. Finally an emperor outlawed this cruel knot, and the nobles could not order it anymore. If I had lived in China, I would have been an outlaw knot-maker.
When you're really caught up in writing a poem, it can be a form of prayer. I'm not very good at praying, but what I experience when I'm writing a poem is close to prayer. I feel it in different degrees and not with every poem. But in certain ways writing is a form of prayer.
My soul is an entangled knot, Upon a liquid vortex wrought By Intellect in the Unseen residing, And thine doth like a convict sit, With marline-spike untwisting it, Only to find its knottiness abiding; Since all the tools for its untying In four-dimensional space are lying, Wherein they fancy intersperses Long avenues of universes, While Klein and Clifford fill the void With one finite, unbounded homoloid, And think the Infinite is now at last destroyed.
I approach writing a poem in a much different state than when I am writing prose. It's almost as if I were working in a different language when I'm writing poetry. The words - what they are and what they can become - the possibilities of the words are vastly expanded for me when I'm writing a poem.
When I'm writing the poem, I feel like I have to close my eyes. I don't mean literally, but you invite a kind of blindness, and that's the birth of the poem.
In the Eighties, London was unbeatable for nightlife and for clubbing it would have been Ibiza. But my clubbing days are behind me.
There are only three things that stop me sleeping: hunger, the odd bad dream and cramp in the arches of my feet - it's crippling, as if somebody's trying to tie your foot in a reef knot.
For poetry is, I believe, always an act of the spirit. The poem teaches us something while we make it. The poem makes you as you make the poem, and your making of the poem requires all your capacities of thought, feeling, analysis, and synthesis.
There's a fine line between writing the poem and the poem writing itself. You have to be there and not be there, too.
Most of the clubbing I did was gay clubbing.
To me, 'Alors On Danse' is the definition of clubbing. Because everyone is just trying to forget their problems, but actually, it's so sad, clubbing. We try to sell happiness in clubs, but you can't.
A poem doesn't do everything for you. You are supposed to go on with your thinking. You are supposed to enrich the other person's poem with your extensions, your uniquely personal understandings, thus making the poem serve you.
This site uses cookies to ensure you get the best experience. More info...
Got it!