A Quote by Tiffany Darwish
I write a lyric, but when I reread it, I think it's awful and either hide it or crumple it up.
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What are the crumple zones on scooters? The helmet is the only crumple zone I can think of.
But what I really long to know you do not tell either: what you feel, although I've given you hints by the score of my regard. You like me. You wouldn't waste time or paper on a being you didn't like. But I think I've loved you since we met at your mother's funeral. I want to be with you forever and beyond, but you write that you are too young to marry or too old or too short or too hungry - until I crumple your letters up in despair, only to smooth them out again for a twelfth reading, hunting for hidden meanings.
It's very rare - and it does happen on occasion - where I'll take a piece of lyric and I'll just sit down and purposefully craft that melody around that lyric because I think the lyric is the wellspring for the song, without question.
I don't have some songwriting formula that I kinda go by. Usually it just comes by way of inspiration. Sometimes I'm inspired by a melody first and sometimes I'm inspired by a lyric. Typically, I'm inspired by an idea for a lyric and then after we get the lyric going then we write a melody to it.
I am committed now to one thing: lyric sequences. I want the intensity of lyric, but the scope and arc of narrative. so, I think I'll just write sequences for the foreseeable (the Beloved sequence doesn't have a 'plot' so I can just keep adding poems to it, it's like a giant bag I can just put beloved lyrics into - I think there are about 300 of them i've published by now).
I'm a real stickler for a great lyric, or what I think is a great lyric. It's almost impossible for me to sing a song I don't love. My thing is: If it's a great lyric, you can do anything with the song.
Sometimes it starts with a random lyric idea that sets the tone for the whole song. Chords and sounds build from the lyric and rhythm, kind of. Sometimes it's a track I fall I love with... but writing my own songs, I rarely write on tracks.
I think that the casual reader and the lyric and confession are trickily tied up together. I mean often when I read my students' poems my first impulse is to say, "O, the subject of this pronoun, this 'I,' is whatever kid wrote this poem." The audience for lyric poems is "confessionalized" to some extent. And I think this audience tends to find long narrative poems, for instance, kind of bewildering.
The visceral nature of hard rock music, the fact that you can have this sledge hammering sound - and that you can hook a lyric up and a feeling up to something and make the lyric jump into this machine that crushes. That has always been really attractive to me, that kind of power.
I don't think there's a problem. First of all, I don't think music turns people into social liabilities. Because you hear a lyric - there's no medical proof that a person hearing a lyric is going to act out the lyric. There's also no medical proof that if you hear any collection of vowels and consonants, that the hearing of that collection is going to send you to Hell.
All of these declarations of what writing ought to be, which I had myself-though, thank God I had never committed them to paper-I think are nonsense. You write what you write, and then either it holds up or it doesn't hold up. There are no rules or particular sensibilities. I don't believe in that at all anymore.
Any negative review you write, they'll say, "Oh, you're being so mean." I think the problem with a lot of criticism is that too many critics either write just description or they write in a Mandarin jargon that only a handful of people can understand, or they write happy criticis - everything is good that they write about. I think that's really not good. I think it's damaged a lot of our critical voices.
I typically will work on a lyric in a three-ring binder. On the right side, I'll write the lyric, and on the left side, I put in alternate things...and things that might be alternates or improvements. I'll turn the page and do it again. I'll turn the page and do it again, or incorporate the improvements. Eventually, I end up with some material, and often it needs to be ordered.
My poetry is not lyric. The epigrams are lyric because they come from my youthful period of lyricism, but my other poetry is not lyric.
I've always thought of music as something which gives the words their flight and their wings and the music often comes first, although sometimes I'll have a concept, a title idea, a lyric idea that I want to write and the lyric will come first.
A stand-up comedian faces the audiences and gets their immediate feedback. I hide behind the comic strip, and unless people write to me, I don't know what they think.
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