A Quote by Theodor Adorno

Writing poetry after Auschwitz is barbaric. — © Theodor Adorno
Writing poetry after Auschwitz is barbaric.
It is barbaric to write poetry after Auschwitz.
Cultural criticism finds itself faced with the final stage of the dialectic of culture and barbarism. To write poetry after Auschwitz is barbaric. And this corrodes even the knowledge of why it has become impossible to write poetry today. Absolute reification, which presupposed intellectual progress as one of its elements, is now preparing to absorb the mind entirely. Critical intelligence cannot be equal to this challenge as long as it confines itself to self-satisfied contemplation.
Suffering has as much right to be expressed as a martyr has to cry out. So it may have been false to say that writing poetry after Auschwitz is impossible.
We need creativity. We need more poetry after Auschwitz.
When we write about Auschwitz, we must know that Auschwitz, in a certain sense at least, suspended literature. One can only write a black novel about Auschwitz or - you should excuse the expression - a cheap serial, which begins in Auschwitz and is still not over.
The dismembering of a human being routinely in 30 minutes on an outpatient bases - or any other way - is barbaric. Four blocks from our church all year long - like churches within smelling distance of Auschwitz or Dachau or Buchenwald.
Poetry must have something in it that is barbaric, vast and wild.
I was already writing poetry, so I transitioned from writing poetry a cappella to writing over beats, and it was way more exciting to me that way.
When I devoted myself to poetry - and poetry is a very serious medium - I don't think the people that knew me as an individual with that tongue-in-cheek kind of humor...well, it didn't always lend itself to my poetry. When you're writing poetry, it's like working with gold, you can't waste anything. You have to be very economical with each word you're going to select. But when you're writing fiction, you can just go on and on; you can be more playful. My editor's main task is to cut back, not ask for more.
I'm a failed poet. Maybe every novelist wants to write poetry ?rst, ?nds he can't, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing.
It helped my lyric writing so much studying poetry. I thought I knew what poetry was before I immersed myself in it. Poetry is meditative. It's reflective.
Shakespeare is a seminal story-teller. I don't think he imagined he was writing classics or that he was writing great poetry. I don't think he dreamt his work would be staged 400 years after he died.
Pound described poetry as original research in language, and just as formal experiment in poetry has to try things and has to go too far, so does experiment with writing about politics in poetry and what the politics of poetry is.
I started writing poetry in high school because I wanted desperately to write, but somehow, writing stories didn't appeal to me, and I loved the flow and the feel and sense of poetry, especially that of what one might call formal verse.
I liked to write from the time I was about 12 or 13. I loved to read. And since I only spoke to my brother, I would write down my thoughts. And I think I wrote some of the worst poetry west of the Rockies. But by the time I was in my 20s, I found myself writing little essays and more poetry - writing at writing.
Poetry is a street fighter. It has sharp elbows. It can look after itself. Poetry can't be used for manipulation; it's why you never see good poetry in advertising.
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