A Quote by Victoria Chang

I think I've always felt very isolated, and I'm sure lots of poets do. — © Victoria Chang
I think I've always felt very isolated, and I'm sure lots of poets do.
In the world of poetry there are would-be poets, workshop poets, promising poets, lovesick poets, university poets, and a few real poets.
India is a culture in which religious life and spirituality is very much on the surface of things. That doesn't mean it doesn't have depth, but it is very visible. There are lots of temples, lots of Islamic centers, lots of gurdwaras, and lots of teachers.
Nearly all men and women are poetical, to some extent, but very few can be called poets. There are great poets, small poets, and men and women who make verses. But all are not poets, nor even good versifiers. Poetasters are plentiful, but real poets are rare. Education can not make a poet, though it may polish and develop one.
Sure there are poets which did never dream Upon Parnassus, nor did taste the stream Of Helicon; we therefore may suppose Those made not poets, but the poets those.
I felt all the things that other teenagers felt. I was insecure in lots of ways, over-confident in others. I was very emotional. Excitable.
I do lots - I've always felt that the idea when you're on your deathbed is, you know, to do lots of different - to say that you've done lots of different interesting things not, you know, how expensive a lining you can get for your coffin, you know.
Whether splendidly isolated or dangerously isolated, I will not now debate; but for my part, I think splendidly isolated, because the isolation of England comes from her superiority.
You see very senior women leaving technology and the men stay, mostly because they feel quite isolated and are isolated by the very systems.
Writing can be a very solitary business. It's you sat at a desk typing words into a computer. It can get lonely sometimes and lots of writers live quite isolated lives.
I just felt very isolated in France, a very bureaucratic place, no space for thinking in a different way, an artist's way.
Growing up in Georgia in the southeastern United States, I was always reading and always kept to myself. I never felt isolated, though; I just liked being alone.
I think kids are in your temporary care, and that they probably arrive with pretty much the personalities they're going to have. I grew up in a perfectly traditional family and turned out how I did. I'm not sure there's much that the family can do except lots of love and lots of care and lots of chances for them to develop the best they can.
I don't think I'm mainstream. I think what I am is lots and lots of different cults. And when you get lots and lots of small groups who like you a lot, they add up to a big group without ever actually becoming mainstream.
I think there'll always be a kid with a guitar with a song in his heart that's going to turn me on - that's as far as I can see. Whether lots of people agree with that, I'm not sure.
Sizing was also important to me; I wanted to make sure that nobody felt alienated or felt like they weren't thought about in the process of this brand. I wanted to make sure that everyone felt included, which brings us to the gender neutral pieces - the idea of wearing what you want and whatever makes you feel comfortable and confident. I think that's the overall feeling of the Daya collection.
I have always felt an excellent rapport ever since my very first concert in Britain at Hampton Court. I have always felt understood. The British understand opera very well.
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