A Quote by Joseph Campbell
How does the ordinary person come to the transcendent? For a start, I would say, study poetry. Learn how to read a poem. You need not have the experience to get the message, or at least some indication of the message. It may come gradually. (92)
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Most of the time when there's a communication problem, it's because the message being received is not the message you want. It's not that they don't know what they need to do, how we need to act as a team, whatever. If you don't like the message, then you go say there's a communication problem.
Some would rather pull a handcart across the prairie than bring up the subject of faith and religion to their friends and co-workers. They worry about how they might be perceived or how it might harm their relationship. It doesn't need to be that way because we have a glad message to share, and we have a message of joy.
And that is that they went about systematically understanding how to disrupt and change a person's entire processes. And these Taliban - I'm not trying to say the Republican Party is the Taliban - no, that's not what we're saying. I'm saying an example of how you go about [sic] is to change a person from their messaging to their operations to their frontline message. And we need to understand that insurgency may be required when the other side, the House leadership, does not follow the same commands, which we entered the game with.
How does one happen to write a poem: where does it come from? That is the question asked by the psychologists or the geneticists of poetry.
It struck him that how you spent Christmas was a message to the world about where you were in life, some indication of how deep a hole you had managed to burrow for yourself
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry is a kind of circuit that takes place between a poet, a poem and a reader and that meaning doesn't exist or in here in poems alone.
The idea of how to read a poem is based on the idea that poetry needs you as a reader. That the experience of poetry, the meaning in poetry, is a kind of circuit that takes place between a poet, a poem and a reader, and that meaning doesn't exist or inhere in poems alone.
A successful poem says what a poet wants to say, and more, with particular finality. The remarks he makes about his poems are incidental when the poem is good, or embarrassing or absurd when it is bad and he is not permitted to say how the good poem is good, and may never know how the bad poem is bad. It is better to write about other people's poetry.
I have a message from the Tea Party, a message that is loud and clear and does not mince words. We've come to take our government back.
The world does not need sermons; it needs a message. You can go to seminary and learn how to preach sermons, but you will have to go to God to get messages.
For me, poetry has a strong link to my filmmaking. My films learn from my poetry. In poetry, you're free. You start in the corner and you don't know where it leads you. I have no message, I have nothing I want to tell, I just start and I see where it leads, and it's a big surprise and relief if it's good. That's the ideal state for filmmaking.
There is all this stuff about how sensitive poets are and how in touch with feelings, etc. they are, but really all we care about is language. At least in the initial stages of the process of writing the poem, though later other things start to come in, and a really good poem usually needs something more than just an interest in the material of language to mean anything to a reader.
I say: If you don't know how to cook, I'm sure you have at least one friend who knows how to cook. Well, call that friend and say, 'Can I come next time and can I bring some food and can I come an hour or two hours ahead and watch you and help you?'
In entertainment, if you have a message in a film, no one wants to be spoon-fed the message. No one wants to be told how to feel. At least, I don't.
We think of communication as words. But a screaming child is trying to say something. A tantrum carries a message. Hitting is communication. Sleep patterns carry a message. Even the sulky belligerence of a teen is an attempt to convey a message. Everything the child does says something to the person who is willing to take the time to listen carefully.
So when we come across somebody who does understand this and makes an effort to try and explain it to us, some people freak out and turn that person into either an object of worship or, some people freak out and want to kill that person. I think it's because they know what's true but they don't want to know, they don't want to face up to what that actually means. So they're going to kill the messenger and hope that by doing so they'll destroy the message so they can go back to living their ordinary life again.
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