A Quote by Kiese Laymon

One of the problems with a lot of "confessional" writing is that it starts and stops with the confessional and doesn't really tie the "I" into a "we" at all. I'm still surprised at how mad critics get at that kind of confessional writing.
As a reader I don't distinguish between confessional and non-confessional work. After all, how do we even know that certain "I" poems are confessional? It's a tricky business, this correlating of the speaker and the poet.
I hate the confessional. I love leaving the confessional. I hate going to the confessional. I would be a mess without it.
I get told I'm a confessional songwriter, which gets on my tits because I think of negative connotations attached to the word "confessional". I don't like the idea of songwriting being therapy. I don't want to put myself so directly in the foreground.
Confessional poetry is, to my mind, more slippery than poems that are sloppily autobiographical; I find the confessional mode much more akin to dramatic monologue.
My writing is remarkably non-confessional; you actually learn very little about me.
It takes, unhappily, no more than a desk and writing supplies to turn any room into a confessional.
I think all writing is necessarily autobiographical to a greater or lesser extent, and the less it tries to be confessional, the more likely it is that you're somehow sneaking the things you need to say in there.
For me, 'risky' is revealing what really happened in my life through music. Risky is writing confessional songs and telling the true story about a person with enough details so everyone knows who that person is.
I've always written songs that were confessional, acoustic, wordy - my writing style matches my personality. The music always has to match the mouth it comes out of.
We missed a lot of church, so the music is our confessional.
I read The Conspiracy Against the Human Race and found it incredibly powerful writing. For me as a reader, it was less impactful as philosophy than as one writers ultimate confessional: an absolute horror story, where the self is the monster.
I read 'The Conspiracy Against the Human Race' and found it incredibly powerful writing. For me as a reader, it was less impactful as philosophy than as one writer's ultimate confessional: an absolute horror story, where the self is the monster.
The work that's interesting to me in other people is really confessional.
Americans are pragmatic; we want quick, clean, simple solutions to vast problems. The paradox is that we're a deeply confessional culture, but we're not often contemplative.
I've been writing a lot about a new form of Russian imperialism. Actually, Russian Orthodox imperialism. It's very little remarked that the cement, the political, ideological cement of the Russian regime now, communism having collapsed and imploded, is increasingly a confessional one.
The hazard of confessional books is how fast the world moves on while they're written.
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